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Acknowledgments List of Illustrations Introduction 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 Themes 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 Film-Letters Mode of Address Communitarianism 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 Daughter-Texts 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 Letter-Films Close-Up: Jonas Mekas Close-Up: Chris Marker 5. Chronotopes of Imagined Homeland Homelands Utopian Chronotopes: Boundlessness-Timelessness Nature 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 House 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 Tunnel 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 Suitcase 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 Self-Reflexivity Self-Inscription Close-Up: Miguel Littin's General Statement on Chile Film as Performance Close-Up: Atom Egoyans Films as Performance of Identity Appendixes Notes Bibliography Index