A Deleuzean Look on Tony Gatlif’s Accented Cinema

2019 ◽

pp. 55-69

Author(s):

Igor Krstić

Keyword(s):

Recent Past ◽

Moving Image ◽

Accented Cinema ◽

Transnational Body

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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Tragic Pathos and Border Syndrome: Constantine Giannaris’s Hostage

10.3366/edinburgh/9781474437035.003.0004 ◽

2020 ◽

pp. 103-124

Author(s):

Philip E. Phillis ◽

Philip E. Phillis

Keyword(s):

Transnational Migration ◽

Border Crossing ◽

Police Brutality ◽

Depth Analysis ◽

Accented Cinema

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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On the Borderlines of South-Eastern Europe : Migration in the Films of Aida Begić and Želimir Žilnik

Refugees and Migrants in Contemporary Film, Art and Media ◽

10.5117/9789463724166_ch11 ◽

2022 ◽

Author(s):

Iva Leković

Keyword(s):

Eastern Europe ◽

South Eastern ◽

The World ◽

Virtual Realities ◽

Accented Cinema ◽

South Eastern Europe

This paper analyses recent works by Aida Begić and Želimir Žilnik— Never Leave Me (2017) and The Most Beautiful Country in the World (2018), respectively. These works narrate the evolving lives of migrants on the borderlines of the Balkan Anatolian region. Migrants’ aspiration to reach their “dream land” is interpreted as a journey towards unfolding “the virtual realities of consciousness” of both actors and directors. The reflections of both Begić and Žilnik on the issue of migration, filmed in an accented style, highlight their own post-Yugoslav perspectives, which allows us to analyse the two films in context of “return to homeland”—a concept present both in Naficy’s theories of an accented cinema and in Boym’s notion of “reflective nostalgia.”

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Third World On the Move: Cinematic Destination Belgrade/Serbia

Refugees and Migrants in Contemporary Film, Art and Media ◽

10.5117/9789463724166_ch10 ◽

2022 ◽

Author(s):

Nevena Daković

Keyword(s):

Third World ◽

Migration Pattern ◽

The Balkans ◽

Practical Guide ◽

Accented Cinema ◽

Definition Of

The aim of this paper is to map manifold notions of migrant cinema and its history, in other words, film narratives about migrations from, across, and to the Balkans. The analysis looks at broader Balkan cinema that features as the context for focusing the changes of the migration pattern from and to Belgrade. The paper takes Practical Guide to Belgrade with Singing and Crying (Praktičan vodič kroz Beograd sa pevanjem i plakanjem, Bojan Vuletić, 2011) as its case study to show the recent reversal of migrant narratives in which the Balkans are the desired destination, in itself an exception to the rule. The analyses are based on the appropriated definition of migrant cinema and complemented with notions of inner exile and accented cinema.

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