Hamid Naficy
Biographic Data
| ID | 201444 |
|---|---|
| NAME | Hamid Naficy |
| GIVEN NAMES | Hamid |
| FAMILY NAME | Naficy |
| SIGNATURE | NAFICY H |
| AFFILIATIONS | Rice University |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 49 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 4 |
Otherness and the Media
The anthropological unconscious of Iranian ethnographic films
Employing Dagenais’ performative model of textual production and his notion of ethical reading, this article analyses how scribal re-inscription and intertextual references to kesik-baş (severed head) and menakibname (accounts of heroic and miraculous deeds) effectively foreground or elide the prophetic dreams and miraculous saint-like powers of an Ottoman commander in a corpus of earlymodern Ottoman gazavatname (campaign) manuscripts. In doing s…
Home, Exile, Homeland
For a theory of regional cinemas
An Accented Cinema
Divorce Iranian Style. [Iran] 1998 76 min. Dir/Prod
Divorce Iranian Style. [Iran] 1998 76 min. Dir/Prod: Kim Longinotto and Ziba Mir-Hosseini for Channel 4, BBC/TV. Distributor: Women Make Movies, 462 Broadway, Suite 500 E, New York, NY 10013. Tel: 212/925-0606. Fax: 212/925-2052. Email: [email protected] - Volume 33 Issue 1
Narrdwcasting in Diaspdra
Identity Politics and Iranian Exile Music Videos
All Cultures are Located in Place and Time. Exile culture is located at the intersection and in the interstices of other cultures. Physically placed outside its original homeland, it is mentally and emotionally both here and there, and, as a result, it is both local and global. Exile culture is not just physically, mentally, and emotionally [dis]located; it is also discursively and sociopolitically situated in a foreign land. Exile discourse, the…
Theorizing "Third-World" Film Spectatorship
Theorizing "Third-World" Film Spectatorship Hamid Naficy (bio) At home, I had lived most intensely in the cinema.... In those dark halls, I had dreamed of a life elsewhere. Now, in the place that for all those years had been the "elsewhere," no further dream was possible. (Naipaul 1986, 41) This is an essay about cinematic spectatorship across cultures. It seeks to problematize the master narratives of cross-cultural cinematic discourses through …
Palestinian film letters
Iranian Cinema under the Islamic Republic
The making of exile cultures
Popular Culture of Iranian Exiles in Los Angeles
From Broadcasting to Narrowcasting
Narrowcasting And Nationality
Essay| February 01 1993 Narrowcasting And Nationality: Middle Eastern Television In Los Angeles Hamid Naficy Hamid Naficy Hamid Naficy is a Rockefeller fellow at Rice University’s Center for Cultural Studies. He has two books in press this year: Constructing Exile Culture (University of Minnesota Press) and Otherness and the Media (co-edited, Gordon and Breach Publications). Search for other works by this author on: This Site PubMed Google Schola…
Cultural Dynamics of Iranian Post- Revolutionary Film Periodicals
This essay is in two parts. Part I examines the dynamism and the political economy of the popular culture in Iran by focusing on the developments in the publication of film periodicals since the revolution of 1979. Part II provides a list of periodicals since the revolution that have dealt with cinema and the film industry. Periodicals specializing in film and cinema as well as those which devote only a section of each issue to the motion-picture…
Introduction—Consuming the other
The Poetics and Practice of Iranian Nostalgia in Exile
Diaspora 1:3 1991 The Poetics and Practice of Iranian Nostalgia in Exile Hamid Naficy University of California, Los Angeles 1. Nostalgia as Cultural Practice In this article, I will focus on the poetics and practice of nostalgia in exilic popular culture, drawing primarily on examples from some 10 years of Iranian television programs and music videos produced in Los Angeles. Nostalgia, a feature of exile, has in recent years become a "cultural pr…
The Averted Gaze in Iranian Postrevolutionary Cinema
Iran has a long history of cinema. In fact, this year it celebrates its ninety-first year as a major producer of films in the Middle East. The fnst Iranian documentary was filmed in 1900; the first public theater opened in 1904; and the fust feature film was released much later, in 1930. Despite this late start, however, the Iranian feature-film industry caught up and in the 1960s and 1970s, during the reign of Shah Mohammad Reza Pahlavi, produce…
Cinema in Iran, 1900–1979 , Mohammad Ali Issari, New York
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Iranian feature film
(1979). Iranian feature film: A brief critical history. Quarterly Review of Film Studies: Vol. 4, No. 4, pp. 443-464
Jean Rouch
(1979). Jean Rouch: A personal perspective. Quarterly Review of Film Studies: Vol. 4, No. 3, pp. 339-362
Nonfiction Fiction
Iran has often been the subject of many nonfiction films and television programs produced by Western countries, particularly Britain and the United States. Although these films about Iran were made by a diverse group of private and governmental agencies, overall they have tended both to emphasize the supremacy of West over the ancient, backward East and to support the evolving policies and ideologies toward Iran held by the Western governments an…
The Poetics and Practice of Iranian Nostalgia in Exile
Diaspora 1:3 1991 The Poetics and Practice of Iranian Nostalgia in Exile Hamid Naficy University of California, Los Angeles 1. Nostalgia as Cultural Practice In this article, I will focus on the poetics and practice of nostalgia in exilic popular culture, drawing primarily on examples from some 10 years of Iranian television programs and music videos produced in Los Angeles. Nostalgia, a feature of exile, has in recent years become a "cultural pr…
Iranian Cinema under the Islamic Republic
Identity Politics and Iranian Exile Music Videos
All Cultures are Located in Place and Time. Exile culture is located at the intersection and in the interstices of other cultures. Physically placed outside its original homeland, it is mentally and emotionally both here and there, and, as a result, it is both local and global. Exile culture is not just physically, mentally, and emotionally [dis]located; it is also discursively and sociopolitically situated in a foreign land. Exile discourse, the…
Introduction—Consuming the other
Theorizing "Third-World" Film Spectatorship
Theorizing "Third-World" Film Spectatorship Hamid Naficy (bio) At home, I had lived most intensely in the cinema.... In those dark halls, I had dreamed of a life elsewhere. Now, in the place that for all those years had been the "elsewhere," no further dream was possible. (Naipaul 1986, 41) This is an essay about cinematic spectatorship across cultures. It seeks to problematize the master narratives of cross-cultural cinematic discourses through …
Nonfiction Fiction
Iran has often been the subject of many nonfiction films and television programs produced by Western countries, particularly Britain and the United States. Although these films about Iran were made by a diverse group of private and governmental agencies, overall they have tended both to emphasize the supremacy of West over the ancient, backward East and to support the evolving policies and ideologies toward Iran held by the Western governments an…
The Averted Gaze in Iranian Postrevolutionary Cinema
Iran has a long history of cinema. In fact, this year it celebrates its ninety-first year as a major producer of films in the Middle East. The fnst Iranian documentary was filmed in 1900; the first public theater opened in 1904; and the fust feature film was released much later, in 1930. Despite this late start, however, the Iranian feature-film industry caught up and in the 1960s and 1970s, during the reign of Shah Mohammad Reza Pahlavi, produce…
Iranian feature film
(1979). Iranian feature film: A brief critical history. Quarterly Review of Film Studies: Vol. 4, No. 4, pp. 443-464
Jean Rouch
(1979). Jean Rouch: A personal perspective. Quarterly Review of Film Studies: Vol. 4, No. 3, pp. 339-362
Nonfiction Fiction
Iran has often been the subject of many nonfiction films and television programs produced by Western countries, particularly Britain and the United States. Although these films about Iran were made by a diverse group of private and governmental agencies, overall they have tended both to emphasize the supremacy of West over the ancient, backward East and to support the evolving policies and ideologies toward Iran held by the Western governments an…
Cinema in Iran, 1900–1979 , Mohammad Ali Issari, New York
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Introduction—Consuming the other
The Poetics and Practice of Iranian Nostalgia in Exile
Diaspora 1:3 1991 The Poetics and Practice of Iranian Nostalgia in Exile Hamid Naficy University of California, Los Angeles 1. Nostalgia as Cultural Practice In this article, I will focus on the poetics and practice of nostalgia in exilic popular culture, drawing primarily on examples from some 10 years of Iranian television programs and music videos produced in Los Angeles. Nostalgia, a feature of exile, has in recent years become a "cultural pr…
The Averted Gaze in Iranian Postrevolutionary Cinema
Iran has a long history of cinema. In fact, this year it celebrates its ninety-first year as a major producer of films in the Middle East. The fnst Iranian documentary was filmed in 1900; the first public theater opened in 1904; and the fust feature film was released much later, in 1930. Despite this late start, however, the Iranian feature-film industry caught up and in the 1960s and 1970s, during the reign of Shah Mohammad Reza Pahlavi, produce…
Cultural Dynamics of Iranian Post- Revolutionary Film Periodicals
This essay is in two parts. Part I examines the dynamism and the political economy of the popular culture in Iran by focusing on the developments in the publication of film periodicals since the revolution of 1979. Part II provides a list of periodicals since the revolution that have dealt with cinema and the film industry. Periodicals specializing in film and cinema as well as those which devote only a section of each issue to the motion-picture…
The making of exile cultures
Popular Culture of Iranian Exiles in Los Angeles
From Broadcasting to Narrowcasting
Narrowcasting And Nationality
Essay| February 01 1993 Narrowcasting And Nationality: Middle Eastern Television In Los Angeles Hamid Naficy Hamid Naficy Hamid Naficy is a Rockefeller fellow at Rice University’s Center for Cultural Studies. He has two books in press this year: Constructing Exile Culture (University of Minnesota Press) and Otherness and the Media (co-edited, Gordon and Breach Publications). Search for other works by this author on: This Site PubMed Google Schola…
Palestinian film letters
Iranian Cinema under the Islamic Republic
Theorizing "Third-World" Film Spectatorship
Theorizing "Third-World" Film Spectatorship Hamid Naficy (bio) At home, I had lived most intensely in the cinema.... In those dark halls, I had dreamed of a life elsewhere. Now, in the place that for all those years had been the "elsewhere," no further dream was possible. (Naipaul 1986, 41) This is an essay about cinematic spectatorship across cultures. It seeks to problematize the master narratives of cross-cultural cinematic discourses through …
Narrdwcasting in Diaspdra
Identity Politics and Iranian Exile Music Videos
All Cultures are Located in Place and Time. Exile culture is located at the intersection and in the interstices of other cultures. Physically placed outside its original homeland, it is mentally and emotionally both here and there, and, as a result, it is both local and global. Exile culture is not just physically, mentally, and emotionally [dis]located; it is also discursively and sociopolitically situated in a foreign land. Exile discourse, the…
Divorce Iranian Style. [Iran] 1998 76 min. Dir/Prod
Divorce Iranian Style. [Iran] 1998 76 min. Dir/Prod: Kim Longinotto and Ziba Mir-Hosseini for Channel 4, BBC/TV. Distributor: Women Make Movies, 462 Broadway, Suite 500 E, New York, NY 10013. Tel: 212/925-0606. Fax: 212/925-2052. Email: [email protected] - Volume 33 Issue 1
An Accented Cinema
For a theory of regional cinemas
Home, Exile, Homeland
The anthropological unconscious of Iranian ethnographic films
Employing Dagenais’ performative model of textual production and his notion of ethical reading, this article analyses how scribal re-inscription and intertextual references to kesik-baş (severed head) and menakibname (accounts of heroic and miraculous deeds) effectively foreground or elide the prophetic dreams and miraculous saint-like powers of an Ottoman commander in a corpus of earlymodern Ottoman gazavatname (campaign) manuscripts. In doing s…
Otherness and the Media
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