Hamid Naficy’s work in An Accented Cinema offers two major aspects of modern filmmaking. The first, Naficy offers a clear and thorough classification of the term “accented cinema”. Naficy’s distinction between exilic, diasporic and postcolonial filmmaking in order to categorise Irish exilic and diasporic films according to their varying relationships a homeland. Second, he remarkably engages the notions of cultural politics of diasporic, exilic and postcolonial filmmaking. And at the same time, throughout his book, Naficy explains and maintains the concern of how experiences of displacement and mobility based on circumstantial conditions, voluntary and or forced impact the films aesthetics to produce what Naficy calls as “the accented style”.
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Whereas, the films which are produced by the diaspora and the exile make are accented in nature. Naficy writes, ‘the accent emanates not so much from the accented speech of the diegetic characters as from the displacement of the filmmakers’ and their artisanal production modes’(Naficy 2001:4). Therefore, Films that are produced by the exile and diasporic filmmakers’, largely, manifest significant similarities, at levels of technique, style, aesthetics and ideology - in the production of their films. The “accented cinema” encompasses all the films that are produced by accented filmmakers’ who hail from of exilic, diasporic and postcolonial ethnic, in short, the filmmakers’ from displaced origins. Yana Meerzon (2012) writes that the accented filmmakers’ either choose, excluded or work independently, outside the studio system or the mainstream cinema (Meerzon 2012:287). Generally, the term displacement is used to signify the opposite meaning of the term emplacement, referring to a position or a location. Naficy further explains that the ‘dialectics of displacement and emplacement are expressed in space-time configurations of accented films in certain specific ways’(Naficy …show more content…
Therefore, a place does not appear to be something that is singularly physical, it has relatively emerged as a concept. A concept that is characterised by history and the social relations that are involved in it. Consequently, the displaced psyche of accented filmmakers’ are heavily influenced by the notion of place and displacement. It is this place and displacement that haunt and define the accented cinema. Besides their experiences of mobility from their “place” (origin) to another “place” (host nation). The identity of this particular group of filmmakers’ is motivated by issues such as the pace and reasons of their mobility (migration) process. Other factors such as social, emotional and psychological experiences, to an extent, distinguishes the accented filmmakers’ from the rest (Naficy 2001). Hence, the crux of accented films is the notion of double consciousness. It is this ‘double consciousness that constitutes the accented style that not only signifies upon exile and other cinemas but also signifies the condition of exile itself’ (Naficy 2001:22). In terms of filmic language and aesthetics, accented films are distinguishable from the predominant universal films. These films are mostly bi- or multi-lingual and shaped by the means of blended aesthetic and stylistic
Whereas, the films which are produced by the diaspora and the exile make are accented in nature. Naficy writes, ‘the accent emanates not so much from the accented speech of the diegetic characters as from the displacement of the filmmakers’ and their artisanal production modes’(Naficy 2001:4). Therefore, Films that are produced by the exile and diasporic filmmakers’, largely, manifest significant similarities, at levels of technique, style, aesthetics and ideology - in the production of their films. The “accented cinema” encompasses all the films that are produced by accented filmmakers’ who hail from of exilic, diasporic and postcolonial ethnic, in short, the filmmakers’ from displaced origins. Yana Meerzon (2012) writes that the accented filmmakers’ either choose, excluded or work independently, outside the studio system or the mainstream cinema (Meerzon 2012:287). Generally, the term displacement is used to signify the opposite meaning of the term emplacement, referring to a position or a location. Naficy further explains that the ‘dialectics of displacement and emplacement are expressed in space-time configurations of accented films in certain specific ways’(Naficy …show more content…
Therefore, a place does not appear to be something that is singularly physical, it has relatively emerged as a concept. A concept that is characterised by history and the social relations that are involved in it. Consequently, the displaced psyche of accented filmmakers’ are heavily influenced by the notion of place and displacement. It is this place and displacement that haunt and define the accented cinema. Besides their experiences of mobility from their “place” (origin) to another “place” (host nation). The identity of this particular group of filmmakers’ is motivated by issues such as the pace and reasons of their mobility (migration) process. Other factors such as social, emotional and psychological experiences, to an extent, distinguishes the accented filmmakers’ from the rest (Naficy 2001). Hence, the crux of accented films is the notion of double consciousness. It is this ‘double consciousness that constitutes the accented style that not only signifies upon exile and other cinemas but also signifies the condition of exile itself’ (Naficy 2001:22). In terms of filmic language and aesthetics, accented films are distinguishable from the predominant universal films. These films are mostly bi- or multi-lingual and shaped by the means of blended aesthetic and stylistic