A Retrospective of Greek Film April 23 - June 14, 1993
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’. -
272916 Zaroulia Whatisourmot
Τι είν’ η πατρίδα μας; Performing ‘time out of joint’ at the National Theatre of Greece (2011-13) ‘We are going to open the chapter “Greece”. Our aim is to talk exclusively about our country.’1 (Anon 2011) With these words, in May 2011, the artistic director of the National Theatre of Greece Yiannis Houvardas launched the theatre’s programme for the autumn 2011 - spring 2013 period. The season under the title What is our motherland? (Τι ειν’ η πατρίδα μας;) featured works by Greek and non-Greek artists that focused on three areas: Greeks’ perceptions of themselves, non-Greeks’ views of the country and its people, and what Greece might signify in that particular historical moment. The What is our Motherland? Season that concluded Houvardas’s six-year tenure, included different kinds of events: performances, talks, rehearsed readings and exhibitions, they all offered a synchronic and diachronic perspective on the Greek nation.2 This article explores three performances of Greek plays that were programmed as part of that season: Lena Kitsopoulou’s Austras or Couch Grass (Άουστρας ή η Αγριαδα [2011]); Iakovos Kampanellis’s The Backyard of Miracles (Αυλή των Θαυμάτων, [1957/58]), and Spyridon Peresiadis’s Golfo (Γκόλφω, [1893/94]). These three texts offer insight into the performance of Greek national identity in markedly different historical moments: the pastoral drama Golfo was originally staged 1 All translations from Greek material are mine. The analysis is based on my experience as audience member of The Backyard of Miracles (February 2012) and Golfo (Epidaurus theatre, August 2013) as well as on the video recordings of the productions held at the library of the National Theatre in Athens; the reading of Austras is solely based on the video recording, the unpublished playscript and other documentation material available at the National Theatre library. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
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. -
Annual Sustainability Report 2015
Annual Sustainability Report 2015 1 Message from Theano Metaxa, the Wife of the Founder Nikolaos Metaxas CRETA MARIS Ἒργο ζωῆς 40 χρόνων A 40 years work.. a life achievement The number 40 sacred symbol in Cretan folklore and the Christian religion. 40 days after the birth of the child the mother takes the wish. 40 days after death, is the memorial to the dead. 40 days is the Fast lasting before Christmas Eve. 40 days before the New Year Eve Christians bring the sacred icon to the church. 40 herbs and greens cooked for treatment. 40dentri (sarantadendri is a local plant) ... to dissolve the spell. 40 Saints (celebrating on March 2nd) “Forty sow, forty planted, forty reap.” (local saying) 40 waves should have passed the girls the silkworm eggs, in order to open. 40 years was the age of adulthood. Sarantari (Saranta means 40 in Greek) (location name) Sarantatris (family name) Sarantizo (greetings treat the evil eye) Centipede (in Greek called 40-legs) Number 40 is also used in many songs and Greek sayings. 40 – a very important number for our people, a very important number for Creta Maris. Forty years - a lifetime – of supply in Tourism, Crete, People. Let’s make them a hundred! 2 Message from the CEO, Andreas Metaxas “The amount of resources someone has is of minor importance in comparison with his willingness and expertise to implement these resources” The literal meaning of the word “Sustainability” in Greek is associated with the concept of bearing fruit eternally (“Αειφορία < αεί + -φορία”). In familiar lan- guage, sustainability means to produce/use a resource while maintaining the balance that exists in nature. -
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18)
36TH CAIRO INTERNATIONAL FILM FESTIVAL PROGRAMME November (9-18) • No children are allowed. • Unified prices for all tickets: 20 EGP. • 50% discount for students of universities, technical institutes, and members of artistic syndicates, film associations and writers union. • Booking will open on Saturday, November 8, 2014 from 9am- 10pm. • Doors open 15 minutes prior to screenings • Doors close by the start of the screenings • No mobiles or cameras are allowed inside the screening halls. 1 VENUES OF THE FESTIVAL Main Hall – Cairo Opera House 1000 seats - International Competition - Special Presentations - Festival of Festivals (Badges – Tickets) Small Hall – Cairo Opera House 340 seats - Prospects of Arab Cinema (Badges – Tickets) - Films on Films (Badges) El Hanager Theatre - El Hanager Arts Center 230 seats - Special Presentations - Festival of Festivals (Badges – Tickets) El El Hanager Cinema - El Hanager Arts Center 120 seats - International Cinema of Tomorrow - Short films Competition - Student Films Competition - Short Film classics - Special Presentations - Festival of festivals (Badges) Creativity Cinema - Artistic Creativity Center 200 seats - International Critic’s Week - Feature Film Classics (Badges) El Hadara 1 75 seats - The Greek Cinema guest of honor (Badges) 2 El Hadara 2 75 seats - Reruns of the Main Hall Screenings El Hanager Foyer- El Hanager Arts Center - Gallery of Cinematic Prints Exhibition Hall- El Hanager Arts Center - Exhibition of the 100th birth anniversary of Barakat El- Bab Gallery- Museum of Modern Art - -
VIDEOSALAS - JULIO - 2017 CAAV | Lerdo De Tejada 2071, Colonia Americana Ex Convento Del Carmen | Av
VIDEOSALAS - JULIO - 2017 CAAV | Lerdo de Tejada 2071, Colonia Americana Ex Convento del Carmen | Av. Juárez 638, Zona Centro 1 al 7 2 JULIO Sábado 1 | Domingo 2 | Funciones: 4:00, 6:00 y 8:00 HILARY Y JACKIE Dir. Anand Tucker | Con: Emily Watson, Rachel Griffiths, James Frain | Reino Unido | 1998 | 120 min. 1998: 2 Nominaciones al Oscar: Mejor actriz (Emily Watson), actriz de reparto (Griffiths). Nominada al Globo de Oro: Mejor actriz drama (Emily Watson). 5 Nominaciones BAFTA, incluyendo mejor actriz (Watson), guión adaptado y sonido. Cuando eran niñas, las hermanas Hilary y Jackie estudiaron música; pero, mientras que Jackie, la menor, adquirió pronto fama como concertista de violoncello, Hilary no tuvo tanto éxito con la flauta. Martes 4 | Funciones: 4:00, 6:00 y 8:00 LA LLAMA ETERNA Dir. Sidney Franklin | Con: Norma Shearer, Fredric March, Leslie Howard | USA | 1932 | 98 min. 1933: Nominada al Oscar: Mejor película. John ha llevado una vida solitaria durante treinta años desde la muerte de Moonyeen Clara. Pero ahora Owens, un amigo cercano, insiste en que cuide de su sobrina, Kathleen, huérfana desde que sus padres se perdieron en el mar. Los años pasan, y la niña Kathleen se convierte en una bella joven que es la viva imagen de Moonyeen. Miércoles 5 | Funciones: 4:00, 6:00 y 8:00 PASIÓN DE LIBERTAD Dir. Frank Lloyd | Con: Cary Grant, Martha Scott, Cedric Hardwicke | USA | 1940 | 116 min. 1940: 2 nominaciones al Oscar: Mejor Música Original, sonido. Guerra de Independencia norteamericana (1775-1783). Una joven virginiana reniega de sus orígenes aristocráticos y se casa con un plebeyo con ideas democráticas. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
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. -
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. -
The Greek Orthodox Community of NSW Presents
The Greek Orthodox Community of NSW presents Presenting Partner An initiative of the Greek Orthodox Community of NSW Sydney 13 - 30 October 2011 Melbourne Palace Norton Street Cinemas Adelaide Leichhardt Brisbane www.greekfilmfestival.com.au 18 TH WELCOME GREEK FILM FESTIVAL The 18th Greek Film Festival of Sydney The Greek Orthodox Community of NSW welcomes you to the 18th Greek Film is presented by the Greek Orthodox Festival presented in partnership with the Bank of Cyprus Australia. Community of NSW and presenting partner Bank of Cyprus Australia In one of our most dynamic programs to date we will be presenting 28 of the most innovative contemporary and classic Greek films including everything Greek Film Festival of Sydney from multi-award winners to box office successes to compelling documentaries. Organising Committee Our tradition of showcasing classic retrospective Greek cinema continues with Nia Karteris (Chair), Tim Anastasi, a tribute to the late Michael Cacoyiannis featuring unforgettable filmsStella Zissimos Chassis, Harry Danalis, Ula George, Themis Kallos, Vicky Mitsios, and A Girl in Black, and with closing night special the highly acclaimed Kosta Manolis Plantzos, Sue Thliveris, Michael Ferris filmRebetiko – proving that Greek cinema has been worthy of Tsilimos, Pelissa Tsilimidos-Thorne, international recognition for decades. Dr Alfred Vincent In a time of uncertainty and of financial instability, some of the most encouraging works of Greek cinema are being created, impacting cinemagoers Film Festival Co-ordinator with films that reach beyond the realms of simply telling a story but also Dimitra Lafazanos creating an experience. It is these films that we have selected to bring to you Film Festival Assistant Co-ordinator in a film festival that goes from strength to strength. -
The Films of Theo Angelopoulos: a Voyage in Time
The Films of Theo Angelopoulos: A Voyage in Time Evangelos Makrygiannakis Thesis submitted for the degree of Doctor of Philosophy The University of Edinburgh 2008 Abstract This thesis provides a critical enquiry into the films of Theo Angelopoulos. Dividing his films into two periods—the one running through the seventies and the other starting with the advent of the eighties—I will examine the representation of history in the first period of Angelopoulos and the metaphor of the journey in his subsequent films. Furthermore, I will trace the development of an aesthetic based on long takes which evokes a particular sense of time in his films. This aesthetic, which is based on the internal rhythm of the shot, inscribes a temporality where past, present, and future coexist in a contemporaneous image. Being free from the requirements of an evolving plot, this image is an autonomous image which allows the passing of time to be felt. Autonomy, which I will define after philosopher Cornelius Castoriadis as an immanent movement towards change, can be also used to describe the process of changing oneself or a given society from within. In exploring the resonances autonomy has, I will make a connection between the social and the cinematic; an attempt which is informed by what Angelopoulos’ films do of their own accord. In this way, I will suggest that Angelopoulos is important not only for the history of film but also for one’s modus vivendi. iii iv Acknowledgements I would like to deeply thank my supervisors, the late Professor Dietrich Scheunemann, Professor Martine Beugnet and Professor John Orr, for all their precious feedback and support throughout the years.