Table of contents for An accented cinema : exilic and diasporic filmmaking / Hamid Naficy.

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List of Illustrations
1. Situating Accented Cinema
Accented Filmmakers
Exilic Filmmakers
Diasporic Filmmakers
Postcolonial Ethnic and Identity Filmmakers
Mapping Accented Cinema's Corpus
Close-Up: Middle Eastern and North African Filmmakers
The Stylistic Approach
Accented Style
Language, Voice, Address
Embedded Criticism
Accented Structures of Feeling
Tactile Optics
Third Cinema Aesthetics
Border Effects, Border Writing
Authorship and Autobiographical Inscription
Close-Up: Atom Egoyan's Accented Style
2. Interstitial and Artisanal Mode of Production
Postindustrial Mode of Production
Accented Mode of Production
Interstitial Mode of Production
Multisource Funding and Coproduction
Close-Up: Atom Egoyan
Close-Up: Michel Khleifi
Distribution to Academic Institutions
Close-Up: Women Make Movies
3. Collective Mode of Production
Ethnic Collectives: Asian PacificAmerican Film Collectives
Close-Up: Nancy Tong and Christine Choy's In the Name of the Emperor
Close-Up: Mira Nair's Salaam Bombay!

Close-Up: Trinh T. Minh-ha
Close-Up: Marva Nabili's Nightsongs
Iranian Accented Film Production and Reception
Interstitial Production
Close-Up: Ghasem Ebrahimian's The Suitors
Collective Exhibition and Exile Festivals
British Postcolonial Workshops and Collectives
Beur Cinema in France
4. Epistolarity and Epistolary Narratives
Mode of Address
Close-Up: Fernando Ezequiel "Pino" Solanas
Close-Up: ChantalAkerman
Inhibition and Prohibition
Close-Up: Elia Suleiman
Close-Up: Mona Hatoum
Orality and Acousticity
Calligraphic Texts
Close-Up: Trinh T. Minh-ha's Surname Viet Given Name Nam
Telephonic Epistles
Simultaneity, Multifocality, and Paranoia
Close-Up: Fernando Solanas's Tangos: Exile of Gardel
Close-Up: Amir Naderi's Manhattan by Numbers
Close-Up: Atom Egoyan's Calendar
Close-Up: Jonas Mekas
Close-Up: Chris Marker
5. Chronotopes of Imagined Homeland
Homelands Utopian Chronotopes: Boundlessness-Timelessness
Close-Up: Gregory Nava's El Norte
Mountain, Monument
Close-Up: Nizamettin Arif's A Song for Beko
Home Land
Close-Up: Michel Khlefi's Wedding in Galilee
Close-Up: Amos Gitai's House
Close-Up: Andrei Tarkovsky
Close-Up: Atom Egoyan's The Adjuster

Homeland as Prison
Close-Up: Yilmaz Giiney
6. Chronotopes of Life in Exile: Claustrophobia, Contemporaneity
Exile as Prison
Turkish Films in Germany
Close-Up: Tevfik Baser
Close-Up: Yilmaz Arslan's Passages
Iranian Filmmakers in Europe and the United States
Close-Up: Sohrab Shahid Saless
Close-Up: HouchangAllahyari's Fear of Heights
Close-Up: Erica Jordan and Shirin Etessam's Walls of Sand
Close-Up: Jonas Mekas's The Brig
Thirdspace Play of Open and Closed Chronotopes
Close-Up: Nina Menkes's The Great Sadness of Zohara
Close-Up: Joris Ivens's A Tale of the Wind
7. Journeying, Border Crossing, and Identity Crossing
Journey andJourneying
Home-Seeking Journey
Journey of Homelessness
Close-Up: Emir Kusturica's Time of the Gypsies
Homecoming Journey
Close-Up: Fernando Solanas's South and The Journey
Close-Up: Ann Hui's Song of the Exile
Borders and Border Crossings
Border and Chicano Films
Close-Up: Gregory Nava's El Norte
Seaport and Airport
Close-Up: Amir Naderi's The Runner
Close-Up: Ghasem Ebrahimian's The Suitors
Hotels and Motels
Close-Up: RezaAllamehzadeh's The Guests of Hotel Astoria
Close-Up: Atom Egoyan's Speaking Parts
Close-Up: Caveh Zahedi's I Don't Hate Las Vegas Anymore
Trains and Buses
Close-Up: Parviz Sayyad's Checkpoint
Close-Up: Atom Egoyan's Next of Kin
Close-Up: Mitra Tabrizian's The Third Woman
The Ethics and Politics of Performed Identity
Diegetic Staging

Doppelgingers, Doubling, Duplicity
Close-Up: Miguel Littin's General Statement on Chile
Film as Performance
Close-Up: Atom Egoyans Films as Performance of Identity


Library of Congress subject headings for this publication: Motion pictures Developing countries, Intercultural communication in motion pictures