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Relevant bibliographies by topics / Hamid Naficy

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Academic literature on the topic 'Hamid Naficy'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Hamid Naficy"

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Davari, Arash. "Writing Iran from Exile." Comparative Islamic Studies 13, no. 1-2 (October 23, 2019): 151–62. http://dx.doi.org/10.1558/cis.39190.

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A Social History of Iranian Cinema, vol. 1: The Artisanal Era, 1897-1941. by Hamid Naficy. Duke University Press, 2011. 456pp., Pb. $28.95 ISBN-13: 9780822347750. A Social History of Iranian Cinema, vol. 2: The Industrializing Years, 1941-1978, by Hamid Naficy. Duke University Press, 2011. 560pp., Pb. $29.95. ISBN- 13: 9780822347743. A Social History of Iranian Cinema, vol. 3: The Islamicate Period, 1978-1984. by Hamid Naficy. Duke University Press, 2012. 288pp., Pb. $25.95. ISBN-13: 9780822348771. A Social History of Iranian Cinema, vol. 4: The Globalizing Era, 1984-2010. by Hamid Naficy. Duke University Press, 2012. 664 pp., Pb. $32.95. ISBN-13: 9780822348788.

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Cartwright, L. "Hamid Naficy, The Making of Exile Cultures: Iranian Television in Los Angeles." Screen 36, no. 2 (June 1, 1995): 159–67. http://dx.doi.org/10.1093/screen/36.2.159.

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Marino, Sara. "The Role Of The Refugee And The Impact Of Fragmented Identities In Diasporic Filmmakers. A Review Of Dogville By Lars von Trier." CINEJ Cinema Journal 3, no. 1 (April 8, 2014): 126–49. http://dx.doi.org/10.5195/cinej.2013.84.

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In this article I will review the film Dogville by Lars Von Trier through the perspective given by Hamid Naficy in his book An Accented Cinema: Exilic and Diasporic Filmmaking. The main purpose is to understand how identity is described and performed through the allegory of Grace and the image of the refugee, and the role homelessness and displacement play both for the filmmakers and the content of diasporic films. I will demonstrate how the relationship between minority (Grace-the refugee) and the majority (the population of Dogville) is a topic of transnational cinema, and which conclusions can we make by taking into account the role of identity and sense of belonging for transnational productions.

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Stoller, Paul. ": Otherness and Media: The Ethnography of the Imagined and the Imaged . Hamid Naficy, Teshome H. Gabriel." Film Quarterly 49, no. 1 (October 1995): 58–59. http://dx.doi.org/10.1525/fq.1995.49.1.04a00190.

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Hockenhull, Stella. "Escape to the Country: The Accented World of the Evacuee in Stephen Poliakoff'sPerfect Strangers." Journal of British Cinema and Television 9, no. 4 (October 2012): 628–42. http://dx.doi.org/10.3366/jbctv.2012.0109.

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This article explores the world of the evacuee represented as a fantasy experience in Steven Poliakoff's television drama Perfect Strangers. Through the story, told in flashback, of two young girls evacuated from Birmingham to North Wales during the Second World War, Poliakoff does not present a realistic and factual account of this childhood trauma, but adopts visual strategies wrought from the imagination to articulate the emotions of displacement. The article argues, drawing on the work of Hamid Naficy, that the drama exhibits an ‘accented’ style – one which connotes a nostalgic yearning for the homeland and land of birth and which is particularly associated with diasporic, exilic and ethnic directors. Poliakoff is a second-generation immigrant and, arguably, implicit in his work is a visual approach associated with the transitional and the dislocating. The visual style of this drama is not rooted in mere escapism but is that of the displaced settler, the subject searching for security and protection.

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Stoller, Paul. "Review: Otherness and Media: The Ethnography of the Imagined and the Imaged by Hamid Naficy, Teshome H. Gabriel." Film Quarterly 49, no. 1 (1995): 58–59. http://dx.doi.org/10.2307/1213505.

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Behdad, Ali. "Hamid Naficy, The Making of Exile Cultures: Iranian Television in Los Angeles (Minneapolis: University of Minnesota Press, 1993). Pp. 301." International Journal of Middle East Studies 28, no. 3 (August 1996): 455–57. http://dx.doi.org/10.1017/s0020743800063741.

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Saljoughi, Sara. "Hamid Naficy, A Social History of Iranian Cinema, vol. 1: The Artisanal Era, 1879–1941 (Durham, N.C.: Duke University Press, 2011). Pp. 388. $99.95 cloth, $27.95 paper. - Hamid Naficy, A Social History of Iranian Cinema, vol. 2: The Industrializing Years, 1941–1978 (Durham, N.C.: Duke University Press, 2011). Pp. 525. $99.95 cloth, $27.95 paper. - Hamid Naficy, A Social History of Iranian Cinema, vol. 3: The Islamicate Period, 1978–1984 (Durham, N.C.: Duke University Press, 2012). Pp. 255. $89.95 cloth, $24.95 paper. - Hamid Naficy, A Social History of Iranian Cinema, vol. 4: The Globalizing Era, 1984–2010 (Durham, N.C.: Duke University Press, 2012). Pp. 631. $99.95 cloth, $29.95 paper." International Journal of Middle East Studies 46, no. 4 (October 9, 2014): 824–26. http://dx.doi.org/10.1017/s0020743814001226.

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Wiącek, Elżbieta. "Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf." Studia Migracyjne – Przegląd Polonijny 46, no. 3 (177) (2020): 61–84. http://dx.doi.org/10.4467/25444972smpp.20.031.12595.

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Iranian film director Mohsen Makhmalbaf left Iran in 2005 shortly after the election of Mahmoud Ahmadinejad. The artist underwent a multiphase evolution away from the supporter of Islamic regime in the early 1980s to cosmopolitan internationally acclaimed auteur. Finally, he became not only a dissident filmmaker but also a political dissident in the aftermath of 2009 presidential election. As exile wears on, Makhmalbaf became postnational filmmaker, making a variety of “accented films”. Not all the consequences of internationalization are positive – to be successful in transnational environment he has to face much larger competition and the capitalist market. Having in mind the categories of displaced Iranian directors distinguished by Hamid Naficy – exilic, diasporic, émigré, ethnic, cosmopolitan – I would like to find out which one of them applies to Mohsen Makhmalbaf’s life and work. I also will focus on the following questions: To what extent the censorship of Makhmalbaf’s artistic activity was a reason for his migration? how are migratory experiences expressed in his movies? What features of “the accented cinema” his movies are manifesting? I would argue that the experience of migration and the transnationality was the characteristic feature of Makhmalbaf’s his work long before leaving the home country. It can be said that regardless this stylistic diversity, all of Makhmalbaf’s movies made abroad can be described as the example of “accented cinema” which comprises different types of cinema made by exilic and diasporic filmmakers who live and work in countries other than their country of origin.

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Beeman, William O. "Torture, Television, and Iranian Culture: The Making of Exile Cultures: Iranian Television in Los Angeles . Hamid Naficy. ; Torture and Modernity: Self, Society and State in Modern Iran . Darius M. Rejali." American Anthropologist 98, no. 4 (December 1996): 875–77. http://dx.doi.org/10.1525/aa.1996.98.4.02a00250.

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Dissertations / Theses on the topic "Hamid Naficy"

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Cheung, Wai Yee Ruby. "Hong Kong cinema 1982-2002 : the quest for identity during transition." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/516.

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Book chapters on the topic "Hamid Naficy"

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Krstić, Igor. "Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration." In World Cinema and the Essay Film, 55–69. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0004.

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Igor Krstić brings together the notion of ‘accented cinema theory’ (Hamid Naficy) with the category of the essay, in order to conceptualise a burgeoning body of film, video, and other moving image practices in what sociologists have termed ‘the age of migration.’ Through this confluence of a supposedly generic category (the essay film) with a theory that has been of great importance to film scholarship since its emergence, Krstić provides new perspectives on an emerging transnational body of films, all of which have been produced by diasporic, exilic or interstitial documentary and/or essay filmmakers in the recent past. In applying Naficy’s terminology, one can describe these examples as ‘accented essay films’, because they all deal with displacement, exile or migration in the essayistic format. His study includes readings of The Nine Muses(Akomfrah, 2009),Grandmother’s Flower(Jeong-Hyun Mun, 2007), Home (Hruza, 2008) and A Hungarian Passport(Kogut, 2001).

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Ennaïli, Leïla. "Accented Mappings of France in a Globalised World: Le Havre (2011) and Samba (2014) through the Lens of Cinéma-monde." In Cinéma-monde. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0011.

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This chapter discusses two recent, and very different, films about illegal immigration to and through France: Le Havre (2011) by Aki Kaurismäki and Samba (2014) by Olivier Nakache and Eric Toledano. This comparison between examples of alternative cinema (Le Havre) and mainstream cinema (Samba) is facilitated by the concept of cinéma-monde, which acts as a levelling field allowing all ‘accents’ as defined by Hamid Naficy – be they dominant or alternative – to be connected. Each of the two films selected for this analysis offer valuable mappings of France’s global situation. These mappings are revealed by an analysis of issues of language, accents, working practices, and mobility, and offer new ways of framing French identity.

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Gott, Michael, and Thibaut Schilt. "The Kaleidoscope of Cinéma-monde." In Cinéma-monde. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0001.

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Building upon the concepts of littérature-monde (citing a 2007 manifesto) and cinéma-monde (citing a 2013 article by Bill Marshall), this introduction aims to explore the opportunities and limitations of adopting the label of ‘cinéma-monde’ as a critical framework through which to approach a corpus of films linked to the francophone world and its production networks. To this end, it discusses the Trophées Francophones du cinéma (created in 2013), the first cinema awards specifically dedicated to internationally produced francophone films, as well as the concepts of ‘accented cinemas’ (a term borrowed from Hamid Naficy), ‘franco-zones’ and cinematic ‘hubs’ in order to further delineate cinéma-monde and articulate a decentred approach to global French-language filmmaking. A kaleidoscope is forwarded as a metaphor because it involves looking at the world through a particular yet variable and adjustable optic. The introduction ends with a summary of the fourteen chapters and three epilogues, which comprise the volume.

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Phillis, Philip E., and Philip E. Phillis. "Tragic Pathos and Border Syndrome: Constantine Giannaris’s Hostage." In Greek Cinema and Migration, 1991-2016, 103–24. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437035.003.0004.

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Giannaris’s film provides an original evocation of border crossing through its reimagining of the 1999 hijacking of an intercity bus in Greece by a clandestine Albanian migrant who endured police brutality in Greece. This chapter affords an in-depth analysis of the film’s form and thematic preoccupations so as to comprehend issues of mobility that are essential to (cinematic) migrant journeys. The author argues that the film’s layered use of on-screen and off-screen mobility reveal the politics of transnational migration and their impact on the migrant’s body. These conventions and their ideological are conveyed to the reader through close readings of select scenes. To further achieve this, the author resorts to the notion of ‘border syndrome’, coined by Gazmend Kapllani in his Short Border Handbook and to Hamid Naficy’s meditations on border subjects in his Accented Cinema, and argues that Hostage reimagines the migrant as a tragic outsider, prone to victimhood.

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