In An Accented Cinema, Hamid Naficy offers an engaging overview of an important trend--the filmmaking of postcolonial, Third World, and other displaced individuals living in the West. How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express. Comparing these films to Hollywood films, Naficy calls them "accented." Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies.
This volume addresses major films in the history of Italian cinema, from Cabiria (1914) to La grande bellezza (2013), and major directors such as Rossellini, Fellini, Antonioni, and Bertolucci.
In both cases, the older traditional form which initially dominated British and Irish film music has been challenged – displaced or amended by forms derived from newer forms of popular culture, and pop music in particular.
Bangkok Dangerous (Oxide and Danny Pang, United States, 2008)* Battle of Wits (Mo Gong/墨攻/墨攻) (Jacob Cheung, ... 2013) Boat People (Tou Ben Nu Hai/投奔怒海/投奔怒海) (Ann Hui, Hong Kong, 1982) Bodyguards and Assassins (Shi Yue Wei ...
Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post ...
Yet how American is Billy Wilder, the Jewish émigré from Central Europe? This book underscores this complex issue, unpacking underlying contradictions where previous commentators routinely smoothed them out.
In the fourth and final volume of A History of Iranian Cinema, Hamid Naficy looks at the extraordinary efflorescence in Iranian film and other visual media since the Islamic Revolution.
This collection of essays from a wide range of different diasporic contexts is a unique contribution to the field.
Shooting the Family, a collection of essays on the contemporary media landscape, explores ever-changing representations of family life on a global scale.
Transnational in scope, these works demonstrate shared thematic concerns and stylistic tendencies.
In Fatih Akın’s Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın.