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A Journal for Greek Letters a Journal for Greek letters Pages on Greek Cinema Editors Vrasidas Karalis & Panayota Nazou Guest Editor Betty Kaklamanidou Modern Greek Studies AUSTRALIA & NEW ZEALAND The Modern Greek Studies All published contributions by academics are refereed Association of Australia and (standard process of blind peer assessment). This is a New Zealand (MGSAANZ) DEST recognised publication. President - Vrasidas Karalis Το περιοδικό φιλοξενεί άρθρα στα Αγγλικά και τα Vice President - Maria Herodotou Ελληνικά αναφερόμενα σε όλες τις απόψεις των Treasurer - Panayota Nazou Νεοελληνικών Σπουδών (στη γενικότητά τους). Secretary - Panayiotis Diamadis Υποψήφιοι συνεργάτες θα πρέπει να υποβάλλουν κατά προτίμηση τις μελέτες των σε ηλεκτρονική The Modern Greek Studies Association of Australia και σε έντυπη μορφή. Όλες οι συνεργασίες από and New Zealand (MGSAANZ) was founded in 1990 πανεπιστημιακούς έχουν υποβληθεί στην κριτική as a professional association by those in Australia των εκδοτών και επιλέκτων πανεπιστημιακών and New Zealand engaged in Modern Greek Studies. συναδέλφων. Membership is open to all interested in any area of Published for the Modern Greek Studies Association Greek studies (history, literature, culture, tradition, of Australia and New Zealand (MGSAANZ) economy, gender studies, sexualities, linguistics, cinema, Diaspora etc.). Department of Modern Greek, University of Sydney The Association issues a Newsletter Ενημέρωση( ), NSW 2006 Australia holds conferences and publishes two journals T (02) 9351 7252 annually. [email protected] Editorial board ISSN 1039-2831 Vrasidas Karalis (University of Sydney) Panayota Nazou (University of Sydney) Copyright Anthony Dracopoulos (The University of Sydney) Copyright in each contribution to this journal belongs Elizabeth Kefallinos (Maquarie University) to its author. Michael Tsianikas (Flinders University) © 2018, Modern Greek Studies Association of Australia and New Zealand Membership and subscriptions (including annual subscription for 2 issues) All rights reserved. No parts of this publication Individual: AUS $50 may be reproduced, stored in a retrieval system or US $50 transmitted in any form or by any means electronic, EUR €40 mechanical or otherwise without the prior permission Institutions: AUS $100 of the publisher. US $100 EUR €80 Editors Full-time students/ Vrasidas Karalis & Panayota Nazou Pensioners AUS $30 Design US $40 Marietta and Martin Buikema EUR €30 TWOMINDS Design Studio Correspondence and payments Printing Department of Modern Greek A18, Blink Print University of Sydney, NSW 2006 Australia T (+612) 9351 7252 Typeface E-mail [email protected] Museo Sans, Chaparral Pro and Please send submissions in Times New Roman Athelas 12pt, 1.5 spacing, single inverted commas for quotes, with endnotes rather than footnotes. The periodical welcomes papers in both English and Greek on all aspects of Modern Greek Studies (broadly defined). Prospective contributors should preferably submit their papers on disk and hard copy. Μια Τρελλή Τρελλή Οικογένεια: Μια διαφορετική Contents ανάγνωση / p.189 Natasa Dadousi PART 1 Κινηματογράφος και Έθνος: Εθνικές, PART 2 Διακρατικές και Διαμεσικές /intermedial Προοπτικές / p.11 George Michelakakis: Art as Re-collecting Thomas Elsaesser Goya’s The Third of May / p.209 George Vassilacopoulos and Ο Ελληνικός Κινηματογράφος Ως Σύγχρονο Toula Nicolacopoulos Ιστοριογραφικό Πρόταγμα (Μερικά Μεθοδολογικά Ζητήματα) / p.35 Joice NanKivell Loch: an Australian Vrasidas Karalis Contribution to Byzantium’s Modern Greek Reception / p.227 Ρένα Γαλάνη: Μία πρώιμη γυναικεία Maria Mavroudi κινηματογραφική γραφή τη δεκαετία του 1960 / p.69 “Cross to the other bank.” The postmodern Ursula-Helen Kassaveti turn in Elytis’ Maria Nephele / p.249 Olympia Tachopoulou Στρατηγικές διαμόρφωσης ενός (άλλου) κανόνα: Στέλλα vs Το τελευταίο ψέμα / p.85 Από τη δυστοπία στο γκροτέσκο ή μεταξύ Achilleas Ntellis πολιτικών και μεταπολιτικών μυθοπλασιών / p.275 Έγκλημα στο Κολωνάκι: το «αθηναϊκό Sofia Iakovidou αστυνομικό μυθιστόρημα» του Γιάννη Μαρή στις ελληνικές οθόνες του 1960 / p.105 H πρώτη περίοδος του Νίκου Καρούζου και η Thanassis Agathos απορία της ύπαρξης / p.293 Anthony Dracopoulos Μουσική και μουσικοί στον Παλιό Ελληνικό Κινηματογράφο: Μία εθνογραφική Gender Psychodynamics in Margarita Manda’s προσέγγιση της πολιτικής οικονομίας της Gold Dust / p.309 κινηματογραφικής μουσικής / p.121 Sophia Sakellis Nick Poulakis A Greek Tragedy against the abuses of power: Μνήμη και αφήγηση του πολέμου στο The Trojan Women (1971) by Michael Cacoyannis Ξυπόλυτο Τάγμα και την Προδοσία / p.149 / p.327 Sandra M. Nikolic Alejandro Valverde García Η περίπτωση του ελληνικού φιλμ νουάρ τη δεκαετία του 1960 / p.167 Anna Poupou 7 8 PART 1 Introduction a Journal for Greek letters Special Edition PART 1 Guest Editor Betty Kaklamanidou Aristotle University of Thessaloniki Introduction The papers in this section of the jounrnal were originally delivered at the 1st International Film Conference on Greek Cinema The Unknown Greek Cinema: New Cartographies, New Protagonists, New Discoveries of The Past (1945-1967) Organised by School of Film Studies Aristotle University of Thessaloniki MAY 28-30, 2015 Thessaloniki Keynote Speaker: Professor Thomas Elsaesser Plenary Speaker: Professor Vrasidas Karalis The Greek films of the period 1945-1967 have traditionally been classified as belonging to the Old Greek Cinema, a label that has harbored several problematic assumptions regarding the artistic merit and the cultural significance of Greek filmmaking practices of the time. Most writings on Old Greek Cinema seem to reproduce the standard tenets of an equally ‘old’ trend in film historiography, which is built on two key premises; firstly, the interest in film as an art form and, secondly, the examination of film as a reflection or mirror of society. Adhering to the first principle, several scholars so far have focused on a limited number of popular films of that period and criticized them for lacking artistic sophistication, imitating Hollywood formulas and, above all, not being cinematic enough. Other academics have analyzed extensively the same small sample of films focusing on the ways they represented various aspects of Greek society, and using the standard interpretative models of semiotics, psychoanalysis or feminism. Academic Committee Christina Adamou, Betty Kaklamanidou, Eleftheria Thanouli 9 PART 1 10 PART 1 Elsaesser Thomas Elsaesser University of Amsterdam Κινηματογράφος και Έθνος: Εθνικές, Διακρατικές και Διαμεσικές / intermedial Προοπτικές Μετάφραση: Σωτήρης Πετρίδης Επιμέλεια μετάφρασης: Μπέτυ Κακλαμανίδου Εισαγωγή Με μια πρώτη ματιά, τίποτα άλλο δεν είναι πιο παλιομοδίτικο και απαρχαιωμένο από την ιδέα του «εθνικού κινηματογράφου»: αυτή η αγχώδης και παρανοϊκή, αλλά επίσης ματαιόδοξη και αυτο-προσηλωμένη προσπάθεια να συλλάβεις την ουσία του εθνικού χαρακτήρα, συνήθως μέσω μίας αυθαίρετης επιλογής ταινιών. Πρόκειται ουσιαστικά για μία άσκηση παροχής αλληγορικών ερμηνειών σε αυτές τις ταινίες, με τον/τη συγγραφέα να βρίσκει ακριβώς αυτό που ψάχνει σε μία σειρά από αυτο-επικυρωμένες ταυτολογίες ή από την αντίθετη πλευρά, να βρίσκει αυτό που λείπει, προσφέροντας συμπτωματικές αναγνώσεις των κενών και των απουσιών, των ρωγμών και των παραλείψεων στην «αναπαράσταση του έθνους». Όπως γνωρίζουμε οι περισσότεροι/ες: δεν μπορούμε να υπερασπιστούμε πλήρως τέτοιες ερμηνευτικές κινήσεις, αλλά δεν μπορούμε και να ζήσουμε χωρίς αυτές. Yπάρχει ένα πλεονέκτημα όταν ξεκινάς αργότερα, επειδή έχεις υπόψη τόσο τις αρχικές προσεγγίσεις υπέρ του εθνικού κινηματογράφου (όπως την έννοια της «συλλογικής νοοτροπίας» του Siegfried Kracauer, η οποία εμφανίζεται μέσω της αφήγησης, του φύλου και του χαρακτήρα), και θεωρείς δεδομένη τη μεταγενέστερη κριτική του εθνικού κινηματογράφου (ότι ο εθνικός κινηματογραφικός πολιτισμός είναι συνήθως ευρύτερος από την εθνική παραγωγή και ότι τα εθνικά κοινά διαμορφώνονται τουλάχιστον εξίσου από τις ταινίες του Hollywood όσο και από τις εγχώριες, ειδικά αν οι εγχώριες είναι 11 Elsaesser PART 1 art house και ταινίες δημιουργού). Με άλλα λόγια, δεν χρειάζεται να κάνεις λόγο για εθνικό κινηματογράφο ως μία απλή διαμεσική επέκταση ή παραλλαγή της εθνικής λογοτεχνίας, ενώ συνεχίζεις να αναγνωρίζεις την ανάγκη να επιστρέψουμε στην ιδέα του «εθνικού» στον κινηματογράφο, τα μέσα και την πολιτική – ειδικά τώρα, που η κατασκευασμένη και προωθημένη από την Ευρωπαϊκή Ένωση εικόνα της Ευρώπης τα τελευταία πενήντα περίπου χρόνια, βρίσκεται στο χείλος της διάσπασης στα δύο άκρα της: Εδώ στην Ελλάδα, στο νοτιοανατολικό άκρο, και στη Βρετανία, στο βορειοδυτικό άκρο της ηπείρου. Ο εθνικισμός είναι και πάλι «της μόδας», στην αριστερά (Σκωτία και Ισπανία), στη δεξιά (Γαλλία και Ουγγαρία), και στην αριστερά και τη δεξιά (Ελλάδα). Είναι γεγονός του σύγχρονου τρόπου ζωής, είτε μας αρέσει είτε όχι. Συνεπώς, τα επιχειρήματα που κάποτε πιστέψαμε ότι είχαν αποδειχθεί λάθος έχουν επιστρέψει και πάλι με εκδικητική χροιά και θα ήταν ταυτόχρονα ανόητο και ανεύθυνο να μην τα πάρουμε στα σοβαρά. Οπότε, ας κάνουμε πίσω ώστε να επαναπροσανατολιστούμε σε αυτό το δραματικά αλλαγμένο τοπίο. Τρεις προκλήσεις μπορούν να εντοπισθούν όταν έρχεται στο προσκήνιο το θέμα της επανεξέτασης των επιχειρημάτων υπέρ και κατά της ιδέας του εθνικού κινηματογράφου: γεωπολιτικές, τεχνολογικές και διακρατικές. Γεωπολιτικές προκλήσεις: οι εθνικοί κινηματογράφοι της Ευρώπης, στο βαθμό που υπάρχουν, έχουν την τάση να μην αναδύονται ή να παγιώνονται εντός των εθνικών ορίων ή εθνικών κινηματογραφικών αγορών, αλλά συνήθως
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