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Table Of Contents

Situating Accented Cinema
Accented Filmmakers
Exilic Filmmakers
Diasforic Filmmakers
Postcolonial Ethnic and Identity Filmmakers
Mapping Accented Cinema's Corpus
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
Interstitial and Artisanal Mode of Production
Postindustrial Mode of Production
Accented Mode of Production
Interstitial Mode of Production
Multisource Funding and Coproduction
Close-Up: Michel Khleifi
Distribution to Academic Institutions
Collective Mode of Production
Ethnic Collectives: Asian Pacific American Film Collectives
Close-Up: Mira Nairs Salaam Bombay! (1988)
Close-Up: Trinh T. Minh-ha
Iranian Accented Film Production and Reception
Interstitial Production
Collective Exhibition and Exile Festivals
British Postcolonial Workshops and Collectives
Beur Cinema in France
Mode of Address
Close-Up: Fernando Ezequiel "Pino" So/anas
Close-Up: ChantalAkerman
Inhibition and Prohibition
Close-Up: Elia Suleiman
Close-Up: Mona Hatoum
Orality and Acousticity
Calligraphic Texts
Close-Up: Trinh T. Minh-has Surname Viet Given Name Nam (1985)
Telephonic Epistles
Simultaneity, Multifocalityy and Paranoia
Close-Up: Fernando Solanas's Tangos: Exile of Gardel (1985)
Close-Up: Atom Egoyans Calendar (1993)
Close- Up: Jonas Mekas
Close-Up: Chris Marker
Homeland's Utopian Chronotopes: Boundlessness, Timelessness
Close-Up: Gregory Navas El Norte (1983)
Mountain, Monument
Home Land
Close-Up: Andrei Tarkovsky
Homeland as Prison
Close-up: Yilmaz Guney
Exile as Prison
Turkish Films in Germany
Close-Up: Tevfik Baser
Iranian Filmmakers in Europe and the United States
Close-Up: Sohrab Shahid Saless
Close-Up: Jonas Mekass The Brig (1964)
Thirdspace Play of Open and Closed Chronotopes
Close-Up: Nina Menkes s The Great Sadness of Zohara (1983)
Journey and Journeying
Home-Seeking Journey
Journey of Homelessness
Homecoming Journey
Borders and Border Crossings
Border and Chicano Films
Seaport and Airport
Hotels and Motels
Close-Up: Caveh Zahedis I Don't Hate Las Vegas Anymore (1994)
Trains and Buses
Close-Up: Mitra Tabrizians The Third Woman (1991)
The Ethics and Politics of Performed Identity
Diegetic Staging
Doppelgangers, Doubling, Duplicity
Close-Up: Atom Egoyan s Films as Performance of Identity
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Accented Cinema

Accented Cinema

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Published by: Ratchapoom Boonbunchachoke on Nov 11, 2011
Copyright:Attribution Non-commercial


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