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Memory, History, and Entrapment in the Temporal Gateway Film
Lives in Limbo: Memory, History, and Entrapment in the Temporal Gateway Film Sarah Casey Benyahia A thesis submitted for the Degree of Doctor of Philosophy (PhD) Department of Literature, Film, and Theatre Studies University of Essex October 2018 Abstract This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life. -
The Cinema of Theo Angelopoulos Edited by Angelos Koutsourakis & Mark Stevens Edinburgh: Edinburgh University Press, 2015
FILMICON: Journal of Greek Film Studies ISSUE 4, December 2017 BOOK REVIEW The Cinema of Theo Angelopoulos edited by Angelos Koutsourakis & Mark Stevens Edinburgh: Edinburgh University Press, 2015 Thanassis Vassiliou Université de Poitiers The collective volume The cinema of Theo Angelopoulos, edited by Angelos Koutsourakis and Mark Stevens, attempts to establish and highlight the reasons why the cinema of Theo Angelopoulos holds a very important position in the history of world cinema. The book comprises seventeen essays and is divided in four complementary parts: authorship, politics, poetics, and time. In the introduction of the book, discussion revolves around whether Theo Angelopoulos’s work, which starts in the late 1960s, can be interpreted through the prism of late-modernism as the oeuvre of one of the many significant directors who proved that cinema becomes universal when is deeply anchored in the traditions and the history of its country of origin. This, however, cannot be perceived only in positive terms. The critical reception of Angelopoulos’s work was often uneasy about the fact that his films are deeply imbricated in modern Greek history (p. 9). This uneasiness was further increased by the fact that Angelopoulos was always considered as a living anachronism. The editors aptly juxtapose the question of the position of Angelopoulos’s work in modern cinema with its critical reception, and before they pass the torch to the contributing authors, they make sure to offer a short synopsis of modern Greek history, necessary to the unacquainted readers. Ι. Authorship The five texts comprising the first part of the book approach Angelopoulos’s work through his formation as an author. -
“Ajaline Ja Ajatu”
PÖFF, Nargenfestival, Eesti Kontsert, Nordea, Coca-Cola Hellenic esitlevad: “Ajaline ja ajatu” pühendatud Theo Angelopoulosele Eleni Karaindrou fi lmimuusika kontsert Tallinna Kammerorkester Eleni Karaindrou (klaver, Kreeka) Vangelis Christopoulos (oboe, Kreeka) Aristotles Dimitriadis (mandoliin, Kreeka) Larysa Zhykhareva (akordion, Kreeka) Dirigent Tõnu Kaljuste R 23. november kell 19 Estonia kontserdisaal 2012 Οn the Road | The Weeping Meadow (2004) The Weeping Meadow | The Weeping Meadow Refugee’s Theme | The Suspended Step Of The Stork (1991) Ulysses’ Gaze | Ulysses’ Gaze (1995) Βy The Sea | Eternity and a Day (1998) Depart and Eternity Theme | Eternity and a Day Seeking Var II | Dust of Time (2008) Dance Theme | Dust of Time Αdagio – Father’s Theme | Landscape in the Mist (1988) Voyage | Voyage to Cythera (1984) Concerto – Alexandros’ theme | Voyage to Cythera Τhe Suspended Step – Finale | The Suspended Step Of The Stork (1991) Valse | Τhe Beekeeper (1986) Theme of the uprooting | Τhe Weeping Meadow The weeping meadow II | Τhe Weeping Meadow Parade | Happy Homecoming, Comrade (1985) Return | Happy Homecoming, Comrade Nostalgia in 5/8 | The “10” Seeking | Dust of Time Waltz by the River | Dust of Time Farewell Theme | Τhe Beekeeper Eternity Theme | Eternity and a Day Paljude auhindadega pärjatud režissöör Theodoros Angelopoulos (1935–2012), kes on domineerinud kreeka fi lmimaastikul alates 1970. aastate teisest poolest, kuulub maailma kõige mõjukamate ja lugupeetavamate fi lmitegijate hulka. 1935. aastal Ateenas sündinud Angelopoulos alustas oma sünnilinna ülikoolis õpinguid õigusteaduse erialal, ent jättis need pooleli ja suundus Pariisi, tudeerides Sorbonne’is kirjandust. Jõudmata ka sel alal lõpudiplomini, jätkas Angelopoulos haridusteed Pariisi fi lmikoolis (L’Institut des hautes études cinématographiques). 1963. aastal Kreekasse naastes tegutses ta fi lmikriitikuna vasakpoolses Ateena päevalehes Dimokratiki Allaghi, mille 1967. -
Eternity and History: the Cinema of Theo Angelopoulos,’ the First Complete U.S
FOR IMMEDIATE RELEASE ‘ETERNITY AND HISTORY: THE CINEMA OF THEO ANGELOPOULOS,’ THE FIRST COMPLETE U.S. RETROSPECTIVE IN 25 YEARS Film series focusing on the director of Landscape in the Mist, The Traveling Players, and Eternity and a Day July 8–24, 2016 at Museum of the Moving Image Astoria, Queens, NY, June 23, 2016—Greece’s most prominent film director of the post-1968 era, Theo Angelopoulos (1935–2012) was a master cinema stylist. His investigations into history and politics, tyranny and resistance, and spiritual anomie and emotional devastation place him on equal footing with filmmakers like Andrei Tarkovsky, Bernardo Bertolucci, and Wim Wenders. Today, at a time when Greece has struggled with impending economic collapse, and as the country’s refugee crisis has worsened, with displaced populations fleeing war in the Middle East and massing on its borders, the themes of Angelopoulos’s cinema are pressing once again. Museum of the Moving Image will present Eternity and History: The Cinema of Theo Angelopoulos, a complete retrospective of the director’s career—the first in the United States in 25 years—from July 8 through 24, 2016. The retrospective will also be presented at the Harvard Film Archive in Cambridge, Massachusetts, from July 15 through August 22. The presentation of the retrospective at Museum of the Moving Image was made possible with support from the Stavros Niarchos Foundation and the Hellenic American Chamber of Commerce. “As a new generation of Greek filmmakers, including Yorgos Lanthimos and Athina Rachel Tsangari, have reached international prominence, the time is ripe to see Angelopoulos anew, as cinema that reflects on the past while foretelling the turbulent world we are now living in,” said Chief Curator David Schwartz. -
Prolegomena to Theo Angelopoulos' Life and Filmmaking
Introduction Prolegomena to Theo Angelopoulos’ Life and Filmmaking Exploring the Oeuvre This monograph aims to present the Greek fi lmmaker Theo Angelopoulos as a global auteur by contextualising his life and work, delineating central elements of his cinematic language and analysing crucial motifs of the po- litical, aesthetic and mythopoetic visual imagery embodied in his movies. It a empts a synoptic but thorough interpretation of his fi lms and their poetics, pointing out continuities and discontinuities between them while interrogating the wider questions embedded in their narrative and visual structure. Overall, the book is about Angelopoulos the me eur en scène, the screenwriter and the image-maker, rather than the political thinker, le -wing ideologue or ambassador for a national culture. Despite the usual framing of his work as representing the epitome of political modernism in the European periphery, and of Angelopoulos as the symbol of a ‘national or local cinema’, I argue for the global and trans- national signifi cance of his oeuvre by unframing it from its ‘marginal’ or ‘peripheral’ character. My intention is to explore the cinematographic po- etics of Angelopoulos’ visual idiom, his cinécriture, in the sense that Rob- ert Bresson understood the term, as ‘writing with images in movement and with sounds’ (Bresson 1986 [1975]: 7). I will also discuss the various problematics Angelopoulos incorporated in his images, or indeed brought out with his images, with the intention of providing an alternative to the hegemonic regimes of occlusion that popular culture, and its cultural The Cinematic Language of Theo Angelopoulos Vrasidas Karalis https://www.berghahnbooks.com/title/KaralisCinematic 2 The Cinematic Language of Theo Angelopoulos privileging by postmodernism, imposed on cinematic production a er the mid-eighties. -
Angelopoulos and the Lingua Franca of Modernism
IntrodUctIon Angelopoulos and the Lingua Franca of Modernism Angelos Koutsourakis and Mark Steven he twenty-eighth Cannes Film Festival in 1975 was marked by the T enthusiastic reception of a film that did not officially represent Greece, the country of its production. The right-wing government of the time refused to nominate it because it considered the leftist portrayal of modern national history offensive. Yet a Greek filmmaker and his crew managed to smuggle a copy of this film and show it as part of Pierre-Henri Deleau’s renowned pro- gramme, the Directors’ Fortnight. The filmmaker was Theo Angelopoulos and the film Ο Θίασος (The Travelling Players, 1975). While the organisers of the festival were trying to find ways to sidestep the rules stipulating that only national commissions could be awarded festival prizes, by May 20, 1975 this 230-minute film had enjoyed its fourth screening in Cannes. Deleau’s anecdote typifies the passionate response of the cinéphile community: I remember once we had a four-hour film, and we thought no one would stay until the end. But it was Angelopoulos’ The Travelling Players: it got a standing ovation. At the back of the auditorium, there was this strange-looking man walking up and down in an almost military fashion, staring straight at Angelopoulos, who had his back to the stage. The man started to walk towards him and Angelopoulos began to get worried. Then he went down on his knees, kissed Angelopoulos’ feet and left without saying a word. It was Werner Herzog. Later, when I mentioned this to Werner, he told me that the film had made him jealous so he had to genuflect before the filmmaker. -
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n Phillis, Philip (2015) Towards an inclusive discourse: representation of Albanian immigrants in Greek cinema. PhD thesis. http://theses.gla.ac.uk/6303/ 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 an Inclusive Discourse Representation of Albanian Immigrants in Greek Cinema Philip Phillis (BA, MsC) Submitted in fulfilment for the requirements of the degree of Doctor of Philosophy March 2015 ©Philip Phillis Abstract This thesis outlines and discusses portrayals of Albanian and Ethnic Greek migrants from Albania in contemporary Greek cinema. The focus is on seven coproduced films made between 1993 and 2009 that set out to challenge endemic xenophobia and nationalism. The latter have served the most in the exclusion of Albanian immigrants in Greece. The exclusion of Albanian migrants in Greece can be linked to a history of opposition between both countries which has led to a collective predisposition towards Albanians as inherently criminal. This is not an isolated event, but a broad phenomenon that saw Southern European cinemas becoming increasingly preoccupied with the presence of migrants in a region that has not been conditioned to hosting but rather to sending émigrés. -
Theo Angelopolous' the Traveling Players and the Transformation Of
Theo Angelopoulos’ The Traveling Players and The Transformation of Aeschylus’ Oresteia Andrew Horton, describing the films of the Greek director, Theo Angelopoulos, claims that the “films are filled with echoes and fragments from Greece’s long classical past (…and that) the innovation of such a past suggests a contrast with a supposedly glorious ‘golden age’ (Horton (1997a) 33). In Angelopoulos’ last completed film, The Dust of Time (2009), the search for family and home associated with the crossing of boundaries thematically echoes The Odyssey as does Landscape in the Mist (1988), about two young children in search of their father, with references to Telemachus’ journey. Ulysses’ Gaze (1995) is another explicit exploration of the ancient narrative of war and wandering and the modern history of the Balkans. In the latter, the protagonist, A, travels from Greece to Albania, Macedonia, Bulgaria, Romania, Serbia, and Bos- nia during the bloody war. Angelopoulos’ first film, Reconstruction (1970), about a guest worker who kills his wife and her lover upon his return to his Greek village, echoes the events in the Ag- amemnon and the theme of the consequences of war upon the soldier’s return. Similarly, Angelopoulos’ complex film, The Traveling Players, follows a troupe of trav- eling actors, whose names, Clytaemnestra, Agamemnon, Aegisthus, Orestes and Electra, imme- diately evoke the events of the complete Oresteia trilogy. The troupe bring the play, Golfo the Shepherdess,to various regions of Greece and are witnesses to political and military events dur- ing the period from 1939, just prior to World War II, to 1952, just after the end of the Greek Civ- il War. -
Screening Boredom: the History and Aesthetics of Slow Cinema
SCREENING BOREDOM THE HISTORY AND AESTHETICS OF SLOW CINEMA Orhan Emre Çağlayan A Thesis submitted for the degree of Doctor of Philosophy in Film Studies University of Kent February 2014 ABSTRACT This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. -
10. Kyriakos, Logeion 8 (2018).Pdf
KONSTANTINOS KYRIAKOS BETWEEN TWO CENTURIES CONTEMPORARY GREEK CINEMA AND THE READINGS OF ANCIENT GREEK TRAGEDY ABSTRACT: In the present paper, the Greek films that have made use of ele ments from ancient tragedy and myth while commenting on the current polit ical and social changes in Greece, the Balkans and Europe, are recorded and critically presented. Ancient myth and ancient tragedy adaptations in Greek cinematography during the 21st century are determined by the landmarks of the 2004 Olympic Games and the consequences of the 2010 economic/so cial crisis. After describing all types of films — and especially those of Theo Angelopoulos —, the paper focuses on the relation of ancient tragedy with contemporary immigration experience in the films Hades (1996, Stelios Char alampopoulos) and Hostage (2005, Constantine Giannaris). In Hades, the fic tional Heracles brings back Alcestis from the “Hades” of Hoxha’s regime in Albania. Constantine Giannaris in Hostage (2005) connects the tragedy of Sophocles’s Aias with xenophobia and the construction of maleness. An Index of the relevant films of the period (19892018) is included. INTRODUCTION T IS A FOREIGN FIlm, where its most alienating part appears to be “Ipurely Greek, within the cultural notion of the term, since it faces and reconstructs both directly and indirectly an ancient tragedy, a sheer Greek mode of expression.”1 The film Interruption (2015) by Yorgos Zois, to which the writer Di mitris Dimitriadis refers, is one of the most interesting cinematic portrayals of the relations of tragedy with politics during “the period of the crisis”. If The Travelling Players (1975) of Theo Angelopoulos was the film that * I would like to thank the journal’s “anonymous referee”, for his insightful suggestions. -
E N Ka a Nd Ou
Monday 09/ 20.30, STAVROS NIARCHOS HALL En Kaandou Music for Films Exclusive grant: The acclaimed composer Eleni Karaindrou will perform on the piano supported by top soloists, such as: Vangelis Christopoulos (oboe), David Lynch (tenor saxophone), Sokratis Sinopoulos (classical kemenche), Natalia Michailidou (piano), Stella Gadedi (flute), Panagiotis Sioras (clarinet), Giannis Evangelatos (bassoon), Sofia Siora (trumpet), Aggelos Sioras Eleni Karaindrou presents her cinematic work in a unique concert at (French horn), Dinos Hatziordanou (accordion), Aris Dimitriadis (mandolin) the Stavros Niarchos Hall at the Stavros Niarchos Foundation and Lilya Esipova (harp). Cultural Center. A string ensemble with Iro Seira as concertmaster also participates in the concert and has joined Eleni Karaindrou both in recordings of her work and In her once-in-a-lifetime concert at the SNFCC, Eleni Karaindrou will live appearances at the «La Colline» National Theater in Paris, the Odeon take us on an emotionally charged melodic journey, fusing classical and of Herodes Atticus (Athens Festival), and the Mannheim National Theater traditional elements with sensitivity and passion. in Germany (Enjoy Jazz Festival). In charge of the concert’s music direction is Miltos Logiadis, with Antonis Antypas as stage director, and Eleni Kara- The composer will present the musical scores from all her collaborations indrou’s long-time associate, Giorgos Karyotis, as always on sound design, with the internationally acclaimed Greek film director Theo Angelopou- continuing a collaboration of thirty years on all of her work and studio los. Together, they have written a part of global film history, forming one records. of the greatest duos of the Seventh Art of Cinema, which has been praised extensively by critics the world over. -
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KEEPING TIME IN PLACE Modernism, Political Aesthetics, and the Transformation of Chronotopes in Late Modernity Alexis Radisoglou Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Alexis Radisoglou All rights reserved ABSTRACT Keeping Time in Place: Modernism, Political Aesthetics, and the Transformation of Chronotopes in Late Modernity Alexis Radisoglou In this dissertation, I identify a conspicuous shift in the formal articulation of time and space in modernist literature and film of the late 20th and early 21st centuries. This “transformation of chronotopes,” I argue, has important historical, political, and aesthetic implications that have to do with a critical negotiation of our – and art’s – being-in-history in late modernity. In case studies on the work of Theo Angelopoulos, Heiner Müller and Alexander Kluge, I demonstrate that literary and cinematic time-space articulations function as both formal sedimentations of and antagonistic aesthetic responses to a transformed understanding of time, space and the historical process in the wake of the world-historical transformations around and after 1989 as well as in an age of globalization. All three authors are centrally concerned with the precarious status of modernity and futurity today – with the question, that is, of what happens to the constitutively modern promise about an “open future” amid a wide-spread exhaustion of the historical imagination in European societies, amid hyper- acceleration in the fields of technology and the economy, and amid manifold processes of systemic autonomization that undermine concepts of human praxis and self-determination.