This anthology on otherness and the media, first published in 1993, was prompted by the proliferation of writings centring on issues of 'difference', 'diversity', 'multiculturalism', 'representation' and 'postcolonial' discourses. Such issues and discourses question existing canons of criticism, theory and cultural practice but also because they suggest a new sense of direction in theorisation of difference and representation.

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts.
This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack.

How have global changes in capital, technology and the media affected our ideas of home and community? This book brings together a transnational array of distinguished critics, including Thomas Elsaesser, George Lipsitz, Margaret Morse, David Morley and Ella Shohat, to discuss the ways in which film, television, music, computer and electronic media are shaping identities and cultures in an increasingly globalized world.

This anthology on otherness and the media, first published in 1993, was prompted by the proliferation of writings centring on issues of 'difference', 'diversity', 'multiculturalism', 'representation' and 'postcolonial' discourses. Such issues and discourses question existing canons of criticism, theory and cultural practice but also because they suggest a new sense of direction in theorisation of difference and representation.

In "An Accented Cinema," Hamid Naficy offers an engaging overview of an important trend--the filmmaking of postcolonial, Third World, and other displaced individuals living in the West. How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express.

Comparing these films to Hollywood films, Naficy calls them "accented." Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies.

Hamid Naficy is one of the world's leading authorities on Iranian film, and "A Social History of Iranian Cinema" is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

"Volume 1" depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country's first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.

"A Social History of Iranian Cinema
""Volume 1: The Artisanal Era, 1897-1941
Volume 2: The Industrializing Years, 1941-1978
Volume 3: The Islamicate Period, 1978-1984
Volume 4: The Globalizing Era, 1984-2010
"

Dreams of a Nation is a lively investigation into Palestinian film and documentaries, and the people who make them. In addition to Said's preface, the book includes an engaging introduction by Hamid Dabashi, which situates the political, cultural and aesthetic concerns particular to Palestinian filmmakers and their audiences; an essay by Prof Joseph Massad (Columbia University) on cinema and Palestinian Liberation struggle; an essay by Prof Ella Shohat (NYU) on gender, nationalism and diaspora; an interview with Elia Suleiman (director of 'Divine Intervention'), the most globally celebrated Palestinian filmmaker; and other contributions.

Hamid Naficy is one of the world's leading authorities on Iranian film, and "A Social History of Iranian Cinema" is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

The extraordinary efflorescence in Iranian film, TV, and the new media since the consolidation of the Islamic Revolution animates "Volume 4." During this time, documentary films proliferated. Many filmmakers took as their subject the revolution and the bloody eight-year war with Iraq; others critiqued postrevolution society. The strong presence of women on screen and behind the camera led to a dynamic women's cinema. A dissident art-house cinema--involving some of the best Pahlavi-era new-wave directors and a younger generation of innovative postrevolution directors--placed Iranian cinema on the map of world cinemas, bringing prestige to Iranians at home and abroad. A struggle over cinema, media, culture, and, ultimately, the legitimacy of the Islamic Republic, emerged and intensified. The media became a contested site of public diplomacy as the Islamic Republic regime as well as foreign governments antagonistic to it sought to harness Iranian popular culture and media toward their own ends, within and outside of Iran. The broad international circulation of films made in Iran and its diaspora, the vast dispersion of media-savvy filmmakers abroad, and new filmmaking and communication technologies helped to globalize Iranian cinema.

"A Social History of Iranian Cinema
""Volume 1: The Artisanal Era, 1897-1941
Volume 2: The Industrializing Years, 1941-1978
Volume 3: The Islamicate Period, 1978-1984
Volume 4: The Globalizing Era, 1984-2010"

Hamid Naficy is one of the world's leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own. In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema. A Social History of Iranian Cinema Volume 1: The Artisanal Era, 1897-1941 Volume 2: The Industrializing Years, 1941-1978 Volume 3: The Islamicate Period, 1978-1984 Volume 4: The Globalizing Era, 1984-2010

Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era. A Social History of Iranian Cinema Volume 1: The Artisanal Era, 1897–1941 Volume 2: The Industrializing Years, 1941–1978 Volume 3: The Islamicate Period, 1978–1984 Volume 4: The Globalizing Era, 1984–2010

Reflecting the burgeoning academic interest in issues of nation, race, gender, sexuality, and other axes of identity, Multiculturalism, Postcoloniality, and Transnational Media brings all of these concerns under the same umbrella, contending that these issues must be discussed in relation to each other. Communities, societies, nations, and even entire continents, the book suggests, exist not autonomously but rather in a densely woven web of connectedness. To explore this complexity, the editors have forged links between usually compartmentalized fields (especially media studies, literary theory, visual culture, and critical anthropology) and areas of inquiry-particularly postcolonial and diasporic studies and a diverse set of ethnic and area studies. This book, which links all these issues in suggestive ways, provides an indispensable guide for students and scholars in a wide variety of disciplines. Essays in this groundbreaking volume include Julianne Burton-Carvajal on ethnic identity in Lone Star; Manthia Diawara on diasporic documentary; Hamid Naficy on independent transnational film genres; Robyn Wiegman on whiteness studies; Faye Ginsburg on indigenous media; and Jennifer Gonzales on race in cyberspace; Ana M. Lopez on modernity and Latin American cinema; and Inderpal Grewal and Caren Kaplan on Warrior Marks and multiculturalism and globalization. A volume in the Depth of Field Series, edited by Charles Affron, Mirella Jona Affron, and Robert Lyons Ella Shohat is a professor of cultural studies at New York University. Her books include Israeli Cinema, Dangerous Liaisons, and Talking Visions. Robert Stam has been named University Professor at New York University. He is the author of over ten books on film and cultural studies. Together, Shohat and Stam authored the award-winning Unthinking Eurocentrism: Multiculturalism and the Media.