Original full text link : http://cinej.pitt.edu
The Role of the Refugee and The Impact of Fragmented Identities
In Diasporic Filmmakers. A Review of Dogville By Lars von Trier
Sara Marino
Abstract
In this article I will review the film Dogville by Lars von Trier through the perspective given by HamidNaficy in his book An Accented Cinema: Exilic and Diasporic Filmmaking. The main purpose is tounderstand how identity is described and performed through the allegory of Grace and the image of therefugee, and the role homelessness and displacement play both for the filmmakers and the content ofdiasporic films. I will demonstrate how the relationship between minority (Grace-the refugee) and themajority (the population of Dogville) is a topic of transnational cinema, and which conclusions can wemake by taking into account the role of identity and sense of belonging for transnational productions.
Keywords: transnational cinema, diaspora, accented cinema, Dogville, Lars von Trier, Naficy, exile,
The role of the refugee and the impact of fragmented identities in diasporic
filmmakers. A review of Dogville by Lars von Trier
Sara Marino
Situating Accented Cinema
Hamid Naficys work, An accented cinema, offers an engaging overview of the filmdirected and produced by postcolonial, Third World, and other displaced filmmakers living inthe West. First and most straightforwardly the focus is on how post-1960s filmmakers from theMiddle East, South Asia, and Latin America reverse their personal experiences of exile ordiaspora into cinema. This general overview includes, among many others, a reflection on theworks of Trinh T. Minh-ha, Ghasem Ebrahimiam, Mira Nair, and Ann Hui, as well as somefilmmakers who grew up in the West, but have undergone experiences of displacement. Naficytakes into account the problems and challenges of placement, displacement and replacementfrom a professional and personal point-of-view which involves the different aspects andparticipants of the process of filmmaking. Each topic is illustrated by several examples that hecalls “close-ups” of film directors and/or producers such as Kusturica and Guney among others,and includes a specific film related to the subject being discussed. By considering creativity asa social practice, the author demonstrates that the films are in dialogue not only with the homeand host societies but also with audiences, whose desires and fears are often narrated indiasporic films.Comparing these films to Hollywood films.
Naficy calls them lsquo;accentedrsquo;.“If the dominant cinema is considered universal and without accent, the films that diasporicand exilic subjects make are accented. [...] The accent emanates not so much from the accentedspeech of the diegetic characters as from the displacement of the filmmakers and their artisanalproduction modesrsquo;. (Naficy 2001:4).
The term lsquo;accentedrsquo; is borrowed from Linguistics. In its original sense, an accent refers to adifferent pronunciation that qualifies the speaker as being a foreigner or from a different socialor educational background. The accent becomes a mark of identity and a clear indicator ofstatus and geo - territorialisation. In Naficyrsquo;s case the accent is related to geographicaldisplacement or “deterritorialised locations.” According to him, “all exilic and diasporic filmsare accented” (Naficy 2001:23). Language is a main component of the exile and a fundamentalsymbolic mark. The experience of diaspora, or exile 1 , cannot be fully understand if we not takeinto account the impact that loosing onersquo;s own language has on personalities that go through aninner journey of self repositioning in a foreign environment. In diasporic productions, thelsquo;accentrsquo; comes from the experience of displacement of the filmmakers; the style, which isfragmented, multilingual, self reflexive; the themes, which include displacement, identity,sense of belonging, liminal subjects and places. In this lsquo;taxonomyrsquo; of accented productions, thedirectors are deeply involved with territory and territoriality, where the ideal lsquo;rolersquo; is played bytransnational spaces such as borders, airports, hotels, trains, buses and other mobile places.Every inhabited space always hide an emotional journey, in the course of which old identitiesare sometimes shed and new characters are performed. Identity is described as a process inconstant transformation, even a daily and suffered performance.
As Joel Gordon pointed out in his review of Naficyrsquo;s book, “the accent refers notsimply to pronounced speech, but to an entire lsquo;performance of identityrsquo; that is the outgrowth ofdisplaced, deterritorialised exiles living in a diaspora that will never truly be home” (Gordon2002:150).
That idea of lsquo;performancersquo; must be seen as a key topic for the understanding of the impactthat the politics of diaspora and the experiences of mobility - either voluntary or forced - haveon what Naficy calls the lsquo;accented stylersquo;. Accented cinema is an emerging genre, one thatrequires new sets of viewing skills on the part of audiences, who are often involved ascharacters of the narrative.
Filmmakers of lsquo;accented cinemarsquo; have lsquo;liminal subjectivity and interstitial location insociety and the film industryrsquo; and lsquo;are the products of [hellip;] dual postcolonial displacement andpostmodern or late modern scatteringrsquo;. Following this perspective, the conventional realism offeature films are “if not subverted, at least inflected differently,” (Naficy 2001:987). Typicalmotifs are distinct pronunciations, ethnic font tropes, lsquo;visual homeland fetishes,rsquo; decenterednarrations, liminal perspectives, ambivalence, journey stories, lsquo;everyday - but - particularisedauthorness.
The several components of the accented style, tog
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Nanjing University of Technology
毕业设计英文资料翻译
Translation of the English Documents for Graduation Design
2020年 12 月 31 日
Original full text link : http://cinej.pitt.edu
The Role of the Refugee and The Impact of Fragmented Identities
In Diasporic Filmmakers. A Review of Dogville By Lars von Trier
Sara Marino
Abstract
In this article I will review the film Dogville by Lars von Trier through the perspective given by HamidNaficy in his book An Accented Cinema: Exilic and Diasporic Filmmaking. The main purpose is tounderstand how identity is described and performed through the allegory of Grace and the image of therefugee, and the role homelessness and displacement play both for the filmmakers and the content ofdiasporic films. I will demonstrate how the relationship between minority (Grace-the refugee) and themajority (the population of Dogville) is a topic of transnational cinema, and which conclusions can wemake by taking into account the role of identity and sense of belonging for transnational productions.
Keywords: transnational cinema, diaspora, accented cinema, Dogville, Lars von Trier, Naficy, exile,
The role of the refugee and the impact of fragmented identities in diasporic
filmmakers. A review of Dogville by Lars von Trier
Sara Marino
Situating Accented Cinema
Hamid Naficys work, An accented cinema, offers an engaging overview of the filmdirected and produced by postcolonial, Third World, and other displaced filmmakers living inthe West. First and most straightforwardly the focus is on how post-1960s filmmakers from theMiddle East, South Asia, and Latin America reverse their personal experiences of exile ordiaspora into cinema. This general overview includes, among many others, a reflection on theworks of Trinh T. Minh-ha, Ghasem Ebrahimiam, Mira Nair, and Ann Hui, as well as somefilmmakers who grew up in the West, but have undergone experiences of displacement. Naficytakes into account the problems and challenges of placement, displacement and replacementfrom a professional and personal point-of-view which involves the different aspects andparticipants of the process of filmmaking. Each topic is illustrated by several examples that hecalls “close-ups” of film directors and/or producers such as Kusturica and Guney among others,and includes a specific film related to the subject being discussed. By considering creativity asa social practice, the author demonstrates that the films are in dialogue not only with the homeand host societies but also with audiences, whose desires and fears are often narrated indiasporic films.Comparing these films to Hollywood films.
Naficy calls them lsquo;accentedrsquo;.“If the dominant cinema is considered universal and without accent, the films that diasporicand exilic subjects make are accented. [...] The accent emanates not so much from the accentedspeech of the diegetic characters as from the displacement of the filmmakers and their artisanalproduction modesrsquo;. (Naficy 2001:4).
The term lsquo;accentedrsquo; is borrowed from Linguistics. In its original sense, an accent refers to adifferent pronunciation that qualifies the speaker as being a foreigner or from a different socialor educational background. The accent becomes a mark of identity and a clear indicator ofstatus and geo - territorialisation. In Naficyrsquo;s case the accent is related to geographicaldisplacement or “deterritorialised locations.” According to him, “all exilic and diasporic filmsare accented” (Naficy 2001:23). Language is a main component of the exile and a fundamentalsymbolic mark. The experience of diaspora, or exile 1 , cannot be fully understand if we not takeinto account the impact that loosing onersquo;s own language has on personalities that go through aninner journey of self repositioning in a foreign environment. In diasporic productions, thelsquo;accentrsquo; comes from the experience of displacement of the filmmakers; the style, which isfragmented, multilingual, self reflexive; the themes, which include displacement, identity,sense of belonging, liminal subjects and places. In this lsquo;taxonomyrsquo; of accented productions, thedirectors are deeply involved with territory and territoriality, where the ideal lsquo;rolersquo; is played bytransnational spaces such as borders, airports, hotels, trains, buses and other mobile places.Every inhabited space always hide an emotional journey, in the course of which old identitiesare sometimes shed and new characters are performed. Identity is described as a process inconstant transformation, even a daily and suffered performance.
As Joel Gordon pointed out in his review of Naficyrsquo;s book, “the accent refers notsimply to pronounced speech, but to an entire lsquo;performance of identityrsquo; that is the outgrowth ofdisplaced, deterritorialised exiles living in a diaspora that will never truly be home” (Gordon2002:150).
That idea of lsquo;performancersquo; m
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