I’m working on a film question and need a sample draft to help me study.
This is the prompt I have attached the readings,. lecture notes and will attach the class recordings that will help you answer this prompt 🙂
Prompt: Discuss the difference between Hamid Naficy’s categories of accented cinema: the exilic, the diasporic, and the ethnic. What does he mean by saying that: “Not all accented films are exilic or diasporic, but all exilic or diasporic films are accented”?
Please use all the feedback as usual that I have given you in the past 500-word essay questions i need help with also in terms of writing style here is a classmate’s notes: Naficy covers an important aspect of filmmaking where the makers are influenced in their works by their roots and origins in a postcolonial/Third World country. The feeling around this displacement from one country to another is always evident in the ways filmmakers keep few things that are only specific to their countries of origin, meanwhile also adapting some of those ideas around more western ways of thinking. The technological advancements, the possibilities for better self-expression found in the northern centers gives these filmmakers a better outlet for their art. I wonder, is it ever possible to fully leave the “homeland” out of the art and the cinema that they are making? I tend to believe not. Given that exile or just simply “escaping” has a serious impact on those that have to do so makingfilms out of these heavy feelings of displacement can be quite useful in sending a message or simply trying to find one’s style. Do these filmmakers realize their different ways of approaching the world around them and with that also their unique ways of making films? speaking from personal experience, I never paid attention to those differences until i was told about some of them. I think for a lot of these filmmakers it was scary to just express themselves freely when a lot of times these works aren’t fully understood due to their unique structure and background that many don’t know about.
Finding similarities between filmmakers that come from the same background makes the process of understanding diasporic filmmakers and also exilic filmmakers. I have not heard of many of these filmmakers before studying film here at Mount Holyoke and I wonder why is it that they are not that known? Through easier access to film in the world that we live in now, I think there should be a moment where we look back and learn from them.
recording 1: https://drive.google.com/file/d/1B5lVHld2CxLCdLsLs…
recording 2: https://drive.google.com/file/d/1BWQALQuhDO0pQbJmO…
recording 3: https://drive.google.com/file/d/1fSM1b9zw0N89OrnvK…2 attachmentsSlide 1 of 2
UNFORMATTED ATTACHMENT PREVIEW
Vernacular Modernism Globalization Week VIIA • The reconfiguration of film history in relation to Miriam Hansen’s observations about 20th century Modernism and her description of American cinema as an international “alternate public sphere.” • Hamid Naficy and transnational, accented cinema. “The Mass Production of the Senses,” Miriam Hansen, 1999 • Interest in understanding the hegemony of American cinema and what we call Classical Hollywood style—how and why did it come to influence Russian/Soviet cinema and dominate the world? • Challenges the separation of what is called Classical vs. Modernist cinema in film history and theory. • Reimagines the notion of classical cinema in relation to broader early 20th century Modernism by taking a step back from the description of the orderly system through which CHC was created to discuss
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