内容

目次

Acknowledgments xi List of Illustrations xiii Introduction 3 1.Situating Accented Cinema 10 Accented Filmmakers 10 Exilic Filmmakers 11Diasporic Filmmakers 13 Postcolonial Ethnic and Identity Filmmakers 15Mapping Accented Cinema's Corpus 17 Close-Up: Middle Eastern and NorthAfrican Filmmakers 17 The Stylistic Approach 19 Accented Style 22Language, Voice, Address 22 Embedded Criticism 26 Accented Structures ofFeeling 26 Tactile Optics 28 Third Cinema Aesthetics 30 Border Effects,Border Writing 31 Themes 33 Authorship and Autobiographical Inscription 33Close-Up: Atom Egoyan's Accented Style 36 2. Interstitial and Artisanal Modeof Production 40 Postindustrial Mode of Production 40 Accented Mode ofProduction 43 Interstitial Mode of Production 46 Multisource Funding andCoproduction 56 Close-Up: Atom Egoyan 56 Close-Up: Michel Khlei 58Distribution to Academic Institutions 60 Close-Up: Women Make Movies 60 3.Collective Mode of Production 63 Ethnic Collectives: Asian Pacific AmericanFilm Collectives 63 Close-Up: Nancy Tong and Christine Choy's In the Name ofthe Emperor 66 Close-Up: Mira Nair's Salaam Bombay! 68 Close-Up: Trinh T.Minh-ha 70 Close-Up: Marva Nabili's Nightsongs 73 Iranian Accented FilmProduction and Reception 74 Interstitial Production 74 Close-Up: GhasemEbrahimian's The Suitors 81 Collective Exhibition and Exile Festivals 83British Postcolonial Workshops and Collectives 87 Beur Cinema in France 954. Epistolarity and Epistolary Narratives 101 Film-Letters 101 Mode ofAddress 101 Communitarianism 105 Close-Up: Fernando Ezequiel "Pino" Solanas106 Close-Up: Chantal Akerman 111 Inhibition and Prohibition 115 Close-Up:Elia Suleiman 116 Close-Up: Mona Hatoum 118 Orality and Acousticity 120Calligraphic Texts 122 Close-Up: Trinh T. Minh-ha's Surname Viet Given NameNam 123 Daughter-Texts 127 Telephonic Epistles 132 Simultaneity,Multifocality, and Paranoia 132 Close-Up: Fernando Solanas's Tangos: Exileof Gardel 133 Close-Up: Amir Naderi's Manhattan by Numbers 134 Close-Up:Atom Egoyan's Calendar 136 Letter-Films 141 Close-Up: Jonas Mekas 141Close-Up: Chris Marker 146 5. Chronotopes of Imagined Homeland 152Homeland's Utopian Chronotopes: Boundlessness-Timelessness 155 Nature 155Close-Up: Gregory Nava's El Norte 156 Mountain, Monument 160 Close-Up:Nizamettin Aric's A Song for Beko 161 Home Land 166 Close-Up: MichelKhleifi's Wedding in Galilee 167 House 169 Close-Up: Amos Gitai's House 169Close-Up: Andrei Tarkovsky 173 Close-Up: Atom Egoyan's The Adjuster 178Homeland as Prison 181 Close-Up: Yilmaz Guney 181 6. Chronotopes of Life inExile: Claustrophobia, Contemporaneity 188 Exile as Prison 191 TurkishFilms in Germany 191 Close-Up: Tevfik Baser 193 Close-Up: Yilmaz Arslan'sPassages 197 Iranian Filmmakers in Europe and the United States 199Close-Up: Sohrab Shahid Saless 199 Close-Up: Houchang Allahyari's Fear ofHeights 207 Close-Up: Erica Jordan and Shirin Etessam 's Walls of Sand 208Close-Up: Jonas Mekas's The Brig 210 Thirdspace Play of Open and ClosedChronotopes 212 Close-Up: Nina Menkes's The Great Sadness of Zohara 214Close-Up: Joris Ivens's A Tale of the Wind 216 7. Journeying, BorderCrossing, and Identity Crossing 222 Journey and Journeying 222 Home-SeekingJourney 223 Journey of Homelessness 225 Close-Up: Emir Kusturica's Time ofthe Gypsies 226 Homecoming Journey 229 Close-Up: Fernando Solanas's Southand The Journey 230 Close-Up: Ann Hui's Song of the Exile 233 Borders andBorder Crossings 237 Border and Chicano Films 238 Tunnel 240 Close-Up:Gregory Nava's El Norte 240 Seaport and Airport 243 Close-Up: Amir Naderi'sThe Runner 243 Close-Up: Ghasem Ebrahimian's The Suitors 246 Hotels andMotels 248 Close-Up: Reza Allamehzadeh's The Guests of Hotel Astoria 249Close-Up: Atom Egoyan's Speaking Parts 252 Close-Up: Caveh Zahedi's I Don'tHate Las Vegas Anymore 253 Trains and Buses 257 Close-Up: Parviz Sayyad'sCheckpoint 258 Suitcase 261 Close-Up: Atom Egoyan's Next of Kin 262Close-Up: Mitra Tabrizian's The Third Woman 266 The Ethics and Politics ofPerformed Identity 269 Diegetic Staging 271 Doppelgangers, Doubling,Duplicity 272 Self-Refiexivity 276 Self-Inscription 277 Close-Up: MiguelLittyn's General Statement on Chile 279 Film as Performance 282 Close-Up:Atom Egoyan's Films as Performance of Identity 283 Appendixes 289 Note 295Bibliography 317