Michael Cacoyannis Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

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Michael Cacoyannis Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

Michael Cacoyannis ç”µå½± ä¸²è¡Œ (å¤§å…¨) Nan https://zh.listvote.com/lists/film/movies/nan-100999531/actors Stella https://zh.listvote.com/lists/film/movies/stella-1576364/actors The Story of Jacob https://zh.listvote.com/lists/film/movies/the-story-of-jacob-and-joseph-1679445/actors and Joseph The Trojan https://zh.listvote.com/lists/film/movies/the-trojan-women-2534044/actors Women A Matter of Dignity https://zh.listvote.com/lists/film/movies/a-matter-of-dignity-3072311/actors The Wastrel https://zh.listvote.com/lists/film/movies/the-wastrel-3205347/actors A Girl in Black https://zh.listvote.com/lists/film/movies/a-girl-in-black-3208919/actors Windfall in Athens https://zh.listvote.com/lists/film/movies/windfall-in-athens-3226771/actors Sweet Country https://zh.listvote.com/lists/film/movies/sweet-country-3506510/actors Our Last Spring https://zh.listvote.com/lists/film/movies/our-last-spring-428348/actors Attilas '74 https://zh.listvote.com/lists/film/movies/attilas-%2774-4818470/actors Clothing the naked https://zh.listvote.com/lists/film/movies/clothing-the-naked-60852498/actors Miss Margarita https://zh.listvote.com/lists/film/movies/miss-margarita-61629914/actors TheÂ glassÂ world https://zh.listvote.com/lists/film/movies/the%C2%A0glass%C2%A0world-63119567/actors Hamlet https://zh.listvote.com/lists/film/movies/hamlet-64224633/actors The Day the Fish https://zh.listvote.com/lists/film/movies/the-day-the-fish-came-out-7729223/actors Came Out Barefoot in the https://zh.listvote.com/lists/film/movies/barefoot-in-the-park-77425655/actors Park https://zh.listvote.com/lists/film/movies/%E4%BC%8A%E8%8F%B2%E5%90%89%E5%A6%AE%E5%A8%85- ä¼Šè² å‰ å¦®å¨… 1080171/actors https://zh.listvote.com/lists/film/movies/%E5%8E%84%E5%8B%92%E5%85%8B%E7%89%B9%E6%8B%89- åŽ„å‹’å…‹ç‰¹æ‹‰ 1326400/actors æ«»æ¡ƒåœ’ https://zh.listvote.com/lists/film/movies/%E6%AB%BB%E6%A1%83%E5%9C%92-3207135/actors å¸Œè‡˜å·¦å·´ https://zh.listvote.com/lists/film/movies/%E5%B8%8C%E8%87%98%E5%B7%A6%E5%B7%B4-818710/actors.

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Michael Cacoyannis, 1956)
A GENEALOGY OF SADNESS: A GIRL IN BLACK (Michael Cacoyannis, 1956) I. "Yes it will be a grace if I die. To exist is pain. Life is no desire of mine anymore." - Sophocles, Electra. A ship sets sail from the harbor of Piraeus. The opening frames of Michael Cacoyannis' third feature film, A Girl in Black – accompanied by the cheerful melodies of well-known Greek folk songs – range from brief glimpses of the urban surroundings of Athens' port to images of the voyage itself: the sun-kissed waters of the Aegean sea embracing – and luring – the audience into a world of endless possibilities and pure sensory indulgence. Anyone familiar with Cacoyannis' debut feature film, Windfall in Athens (1954), would have probably expected a breezy romance or a quirky comedy of manners. Instead, the film shares more in common – both thematically and aesthetically – with Cacoyannis' second feature, Stella (1955), a devastating story about jealousy, revenge and, ultimately, tragedy. The appearance of the film's title, A Girl in Black – implying mourning and death – over the idyllic seascape, betrays Cacoyannis' intentions of misleading the audience and subverting expectations with his vivid and sharp criticism against the mindset of small-town communities. This is one of many contradictions – the idyllic scenery concealing the rotten core of society’s standards – on which the filmmaker has structured the narrative threads of his harrowing drama. Reveling in the wild natural beauty of the Greek landscape, Cacoyannis’ carefully constructed shots culminate in unforgettable images of the mountainous island of Hydra. When the imposing and picturesque town 1 emerges behind the island's steep slopes, one can immediately sense its charming and welcoming atmosphere.
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Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations.
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Greek Tragedy in Modern Greece
ALL IS WELL THAT ENDS TRAGICALLY: FILMING GREEK TRAGEDY IN MODERN GREECE ANASTASIA BAKOGIANNI The king’s a beggar now the play is done: All is well ended, if this suit be won, That you express content; which we will pay With strife to please you, day exceeding day. Ours be your patience, then, and yours our parts: Your gentle hands lend us, and take our hearts. William Shakespeare, All’s Well that Ends Well What does it take to adapt Greek tragedy successfully for the cinema?’ The debate centres on the issue of authenticity2 as well as the question of the successful integration of tragedy into the cinematic medium. The problematic nature of any attempt to adapt Greek tragedy for the cinema makes it a particularly challenging enterprise for filmmakers.3 In comparison with the cinematic reception of other aspects of ancient Greece and Rome, attempts to film Greek tragedy offer us fewer examples to work but they do attract the talents of some of the world’s best independent film directors,5 who have created some remarkable cincmatic receptions. ’ This is an exciting and ongoing debate and one articlc cannot hope to encompass all the issues concerned. The present article will focus on one aspect of this debate and is indebted to the pioneering work of Professor Marianne McDonnald and Dr Pantelis Michelakis in the field of the reception of Greek Drama on film. The author is also greatly indebted to Professor Mike Edwards and Professor Charles Chiasson for their many helpful suggestions. I am also indebted to Mr.
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Euripides' Iphigenia: Ancient Victim, Modern Greek Heroine?
ARTIGO Recebido em 8/8/2019 Aprovado em 19/11/2019 Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?1 Ifigênia de Eurípides: vítima antiga, heroína grega moderna?2 Anastasia Bakogianni3 e-mail: [email protected] orcid: https://orcid.org/0000-0002-4870-642X DOI: https://doi.org/10.25187/codex.v7i2.30457 ABSTRACT: In his Aristotle dismisses RESUMO: Em sua , Aristóteles descarta a Poetics Poética Iphigenia’s characterisation as inconsistent. Why does caracterização de Ifigênia como inconsistente. Por que the eponymous heroine of change a heroína homônima de muda de Iphigenia at Aulis Ifigênia em Áulis her mind and decide to die willingly? This central ideia e decide morrer espontaneamente? Essa questão question has preoccupied not only classical scholars, central preocupou não apenas estudiosos clássicos, mas but receiving artists, too. How Iphigenia’s change of também artistas de recepção. Como a mudança da heart in portrayed on stage and screen affects the atitude de Ifigênia, retratada no palco e na tela, afeta a audience’s response to the character. Is Iphigenia a resposta do público à personagem? Ifigênia é uma victim or a heroine (or a mixture of both)? The vítima ou uma heroína (ou uma mistura de ambas)? O Greek-Cypriot filmmaker Michael Cacoyannis cineasta greco-cipriota Michael Cocayannis acreditava believed he enjoyed a special relationship with ter um relacionamento especial com Eurípides, mas Euripides, but his interpretation was shaped by sua interpretação foi moldada por eventos políticos na political events in Modern Greece and Cyprus in the Grécia moderna e em Chipre nas décadas de 1960 e 1960s and 70s.
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Aquila Theatre's Mission Is to Make Classical Works
Aquila Theatre’s mission is to make classical works accessible to the greatest number. A play becomes ‘classical’ because we recognize that after a time it transcends the original culture it was created for. It retains the power to provoke the central question of what it means to be human. As a company dedicated to the classics, we feel a responsibility to acknowledge and explore newfound classical works. Aquila was founded in London in 1991 by Peter Meineck. In 1997, Aquila became a US non-for-profit organization and is currently based in New York. Aquila’s programs include: PRODUCTIONS IN NEW YORK CITY: Aquila is a major part of New York's theatrical landscape, producing a regular season of plays. Aquila recently produced: The Trojan War: Our Warrior Chorus, based on the writings of Homer, Aeschylus, Euripides, Sophocles and reimagined through the experiences of modern day military veterans at Brooklyn Academy of Music; Romeo and Juliet, The Adventures of Sherlock Holmes and Philoctetes at GK ArtsCenter in Brooklyn, a staged workshop production of A Female Philoctetes at BAM Fisher’s Hillman Studio as part of our YouStories program, Euripides’ Herakles at BAM, Shakespeare’s Macbeth at the GYM at Judson, Shakespeare’s A Midsummer Night’s Dream, Mary Shelley’s Frankenstein, Pirandello’s Six Characters in Search of an Author, Shakespeare’s As You Like It and Ibsen’s An Enemy of the People at the Skirball Center for the Performing Arts at New York University, and Joseph Heller’s Catch-22 and Homer’s The Iliad: Book One Off-Broadway at the Lucille Lortel Theatre.
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Reading Classical Drama on Film Edwin Hees
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Greek Cinema – Pictures from Greek Films 1900-2000, Volume 6/ Trifon Tzavalas Tzavalas, Trifon, 2012 P
GREEK CINEMA Volume 6 Pictures From Greek Films 1900 - 2000 Trifon Tzavalas 1 © Copyright 2012, Trifon Tzavalas and the Hellenic University Club of Southern California. All rights reserved. Work may not be reproduced without permission by Trifon Tzavalas or the publisher. Quoting is permitted with a reference to the source and a notice to the publisher at [email protected]. Please use this e-mail to inform the editor of any errors. Published by the Hellenic University Club of Southern California PO Box 45581 Los Angeles, CA 90045-0581 USA Library of Congress Catalog-in-Publication Data Tzavalas, Trifon, 1935- Greek Cinema – Pictures from Greek Films 1900-2000, Volume 6/ Trifon Tzavalas Tzavalas, Trifon, 2012 p. cm Includes bibliographical references and index, 1. Pictures from Greek Films 1911-2000 ISBN-13: 978-1-938385-16-2 791.976 Published in the United States of America First Edition 2012 10 9 8 7 6 5 4 3 2 1 ____________________________________________ DONATION INFORMATION The Hellenic University Club of Southern California is a Non-Profit Cultural Organization and its publications are intended to help readers and researchers enhance the knowledge and understanding of the Greek cultural heritage. For more information on its activities go to: www.huc.org Use of this book is free; however we kindly request a donation of $5.00 per printed volume of the work. This donation will fund grants to educational organizations which promote Greek culture. Libraries and public institutions are exempt from this request. You can donate by visiting the web site of the Club Please write below the PayPal receipt or www.huc.org, and using PayPal or by sending a check to: check number, and date to show the Hellenic University Club of Southern California legitimacy of your copy.
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A Retrospective of Greek Film April 23 - June 14, 1993
The Museum of Modern Art For Immediate Release March 1993 CineMythology: A Retrospective of Greek Film April 23 - June 14, 1993 The first film exhibition to provide an overview of the history of Greek cinema is presented at The Museum of Modern Art from April 23 to June 14, 1993. CineMythology: A Retrospective of Greek Film, composed of forty-five films, reveals a cinema with a strong sense of social awareness. Thematically, it draws on distinctly Greek sources, including mythology and classical drama; questions of national identity, displacement and immigration; and the transformation of an agrarian society into a modern industrial one. During the opening weekend of the exhibition, Melina Mercouri and Irene Papas introduce films in which they star. On Friday, April 23, at 6:00 p.m., Ms. Mercouri and director Michalis Cacoyannis introduce Stella (1955). On Saturday, April 24, at 5:00 p.m., Ms. Papas and Mr. Cacoyannis introduce Electra (1962). On Sunday, April 25, at 2:00 p.m., Ms. Mercouri introduces Never on Sunday (1960). Other programs feature appearances by directors Costas Ferris, Nikos Koundouros, Nicos Papatakis, Pantelis Voulgaris, and Costas Vrettakos. While Greek cinema is clearly a part of a European tradition, it possesses a distinct style with periods of excellence often interrupted by turbulent political events. The early developments of Greek cinema, late in comparison to Europe and the United States, exhibit unique qualities. Social Decay (1931, Stelios Tatasopoulos) is informed by a distinct political and social awareness, and Daphnis and Chloe (1931, Oresits Laskos) is closely tied - more - 11 West 53 Street, New York, N.Y.
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Bookend 7Th Annual Los Angeles Greek Film Festival Cinemax® to Sponsor Screening of Elia Kazan’S "America America"
FOR IMMEDIATE RELEASE For More Information Contact: Beve Regas b.regas(at) kallistapr.com ph: 818.850.1279 CC: Sharon Kahn sjkahn(at) kahnmediastrategies.com For Press Accreditation visit: http://lagff.org/mentions/media-credentials "METEORA" AND "MITSIGAN-HARDSHIPS AND BEAUTIES" BOOKEND 7TH ANNUAL LOS ANGELES GREEK FILM FESTIVAL CINEMAX® TO SPONSOR SCREENING OF ELIA KAZAN’S "AMERICA AMERICA" Los Angeles, CA - MAY, 2013; The 7th Annual Los Angeles Greek Film Festival - LAGFF (June 6-9, Writers Guild Theater, Beverly Hills) announced its 2013 Program, including the selected feature for the ever-popular Opening Night gala, which will be Spiros Stathoulopoulos' drama, METEORA, which debuted at this year’s Berlin Film Festival. Kimon Tsakiris' (SUGARTOWN) documentary, MITSIGAN – HARDSHIPS AND BEAUTIES, will close the festival on Sunday, June 9th, following the presentation of this year’s Orpheus Awards. In addition, festival representatives elaborated on their previously announced tribute to writer/director Elia Kazan, noting the screening of Kazan's AMERICA AMERICA, introduced by HBO's President of Miniseries & Cinemax Programming and LAGFF Advisory Board member, Kary Antholis, on Friday, June 7. Greece has long been known for cinematic masters such as Theodoros Angelopoulos and Michael Cacoyannis. In the last three years, thanks to directors such as Yorgos Lanthimos, Greek cinema has become increasingly important in the world scene, gaining critical acclaim in prestigious festivals such as CANNES, VENICE, TORONTO and KARLOVY VARY. LAGFF gives the opportunity to U.S. audiences and the U.S. film industry to view and participate in its many depths. LAGFF Director of Programming Aristotle Katopodis said, “This year we have over 30 features, documentary and short films representing the Greek diaspora in over 11 countries - more than ever before.
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Cacoyannis' Electra: Un Film Noir Du Grec
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WWI Student Competition Country Focus Retrospective
SR. NO. TITLE ORIGINAL TITLE RUNTIME YEAR DIRECTOR COUNTRY Opening Film 1 Ovsyanki Silent Souls 75 2010 Aleksei Fedorchenko Russia World Competition 1 Rompecabezas Puzzle 88 2010 Natalia Samanta Argentina,France Bosnia&Herzegovina,Austria,Germ 2 Na Putu On the Path 100 2010 Jasmila Zbanic any,Croatia 3 Retratos en Un Mar De Mentiras Portrait In A Sea Of Lies 90 2009 Carlos Gaviria Colombia Michaell Noer,Tobias 4 R R 90 2010 Denmark Lindholm 5 La Rivière Tumen Dooman River 90 2010 Zhang Lu France,South Korea 6 Hitler à Hollywood Hitler in Hollywood 86 2010 Frederic Sojcher France,Belgium,Italy 7 Tehroun Teheran 95 2009 Nader Takmil Homayoun France,Iran 8 Shahada Faith 88 2010 Burhan Qurbani Germany 9 Poll The Poll Diaries 134 2010 Chris Kraus Germany,Austria,Estonia 10 Kanasemba Kudureyaneri Riding the Stallion of a Dream 110 2009 Girish Kasaravali India 11 Rewers The Reverse 99 2009 Borys Lankosz Polland 12 Ovsyanki Silent Souls 75 2010 Aleksei Fedorchenko Russia Aloyna 13 Ryabinovy Vals The Rowan Waltz 98 2010 Semenova,Alexander Russia Smirnov Alejandro Gonzalez 14 Biutiful Biutiful 147 2010 Spain,Mexico Inarritu Marathi Competition Akshay Mahadik alias 1 Aarambh Aarambh 120 2010 India Akshay Yashwant Datt 2 Aaghaat Aaghaat 130 2010 Vikram Gokhale India 3 Baboo Band Baaja Baboo Band Baaja 127 2010 Rajesh Pinjani India 4 Champions Champions 108 2010 Ramesh More India Ananth Narayan 5 Mee Sindhutai Sapkal I Am Sindhutai Sapkal 114 2010 India Mahadeven 6 Lalbaug Paral Lalbaug Paral 130 2010 Mahesh Manjrekar India 7 Taryancha Bait Taryancha
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Chalkou, Maria (2008) Towards the Creation of 'Quality' Greek National Cinema in the 1960S
Chalkou, Maria (2008) Towards the creation of 'quality' Greek national cinema in the 1960s. PhD thesis. http://theses.gla.ac.uk/1882/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] TOWARDS THE CREATION OF ‘QUALITY’ GREEK NATIONAL CINEMA IN THE 1960S by Maria Chalkou Submitted in fulfillment of the requirements for the Degree of PhD Department of Theatre, Film & Television Studies Faculty of Arts University of Glasgow Supported by the State Scholarship Foundation of Greece (I.K.Y.) 6 December 2008 CONTENTS ABSTRACT (1) INTRODUCTION (2-11) 1. THE ORIGINS OF NEK: SOCIOPOLITICAL, CULTURAL, LEGISLATIVE AND CINEMATIC FRAMEWORK, AND THE NATIONAL CINEMA DEBATE (12-62) 1.1 The 1960s: the sociopolitical and cultural framework (13-20) 1.2 The commercial film industry and the development of two coexisting and intersecting film cultures (20-27) 1.3 The state’s institutional and financial involvement in cinema: the beginning of a new direction (27-33) 1.4 The public debate over a ‘valued’ Greek national cinema (34-63) a.
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