Greek Elysium and Egyptian Ideas at About 663
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Book Factsheet Petros Markaris Crossing Athens
Book factsheet Petros Markaris General Fiction, Travel writing Crossing Athens 208 pages 11.3 × 18 cm August 2013 Published by Diogenes as Quer durch Athen Original title: Athena tes mias diadromes World rights are handled by Diogenes (except Greek rights) Rights currently sold: French (Miel des anges) Italian (La nave di Teseo) Spanish/world (Tusquets) Turkish (Istos) Awards 2019 ›Premi a la trajectòria literària‹ des El Segre de Negre Literaturfestivals, Lleida, Katalonien 2019 ›Premi Cubelles Noir‹ für die Krimifigur Kostas Charitos des Gènere Negre del Garraf Festivals, Barcelona 2019 ›Premio Contea di Bormio‹ des La Milanesiana Festivals, Bormio 2018 ›Premio Negra y Ciminal‹-Preis des 3. Festival Atlantico des Krimigenres ›Tenerife Noir‹ für sein Lebenswerk in der Stadtbibliothek von Santa Cruz de Tenerife 2016 Ehrendoktorwürde der Aristoteles Universität Thessaloniki in der Abteilung für Deutsche Sprache und Philologie 2014 ›Bundesverdienstkreuz 1. Klasse‹, verliehen in Athen vom Deutschen Botschafter 2013 ›Prix Le Point du polar européen‹ der französischen Wochenzeitung Le Point für Faule Kredite 2013 Spanischer Übersetzerpreis ›Premio Literario Arcebispo Juan de San Clemente‹ für Zahltag 2013 ›Goethe-Medaille‹ 2012 VII Premi Pepe Carvalho für seine ›Kostas-Charitos‹-Romane 2012 Am 34. Fregene Prize for Journalism, Literature Scientific and Cultural Research ist Petros Markaris der Gewinner in der Kategorie A Journey from Piraeus to Kifissia with 24 maps. ›International Prize‹ In his detective novels, Petros Markaris sends Inspector Haritos 2011 ›Raymond Chandler Award‹ beim through the labyrinths of Athens – this time, he takes his readers italienischen Film- und Literaturfestival along, travelling across the city with them on Line 1 of the venerable ›Courmayeur Noir‹ für sein Lebenswerk metro. -
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. -
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. -
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. -
The Desire for History in Lars Von Trier's Europa and Theo
The Desire for History in Lars von Trier’s Europa and Theo An- gelopoulos’ The Suspended Step of the Stork By Angelos Koutsourakis Spring 2010 Issue of KINEMA THE PERSISTENCE OF DIALECTICS OR THE DESIRE FOR HISTORY IN LARS VON TRIER’S EUROPA AND THEO ANGELOPOULOS’ THE SUSPENDED STEP OF THE STORK In this article I intend to discuss cinema’s potential to represent history in a period that political conflict and historical referents seem to be absent. I am going to pursue this argument through a comparative reading of two films, Lars von Trier’s Europa (1991) and Theo Angelopoulos’ The Suspended Step of the Stork (1991). My contention is that these two films exploit historical narratives of the past and the present with theview to negating teleological and ahistorical assumptions that history has come to a standstill. The central topos of the postmodern theory is that the distinctions between real and fictional reference are not clear-cut and in order to gain an historical understanding one has to go beyond reductionist simplifications between facts and representations. This loss of historical specificity has been heightened by the collapse of a socialist alternative which provided for many years a sense of political conflict. European Cinema has responded in that loss of historicity in various ways. For the most part history becomes a fetish that puts forward a postmodern nostalgia that does not offer an understanding of the historical present. For instance, in Wolfgang Becker’s Goodbye Lenin (2003) the East German past becomes a site of fascination stemming from the absence of overt concrete political conflict in contemporary history. -
Los Vaivenes De Jules Dassin a Lo Largo Del Mundo, Con Melina
PERSONALIDADES (IV) Los vaivenes de Jules Dassin a lo largo del mundo, con Melina Antes de conocer a Melina Mercouri, Ju les Dassin era otro: el cine social norte Fue un realista en USA, donde conoció a Mark Hellinger; americano y el mundo exterior le habían después abandonó su país en tiempos de McCarthy; dado prestigio de realista. Su obra más re después conoció a Melina Mercouri. ciente ha fortalecido la imagen de que Da Una obra muy variada y cambiante, con intereses que oscilan ssin es un apasionado, un humorista y un ad entre el planteo social, la reflexión poética, la alegoría sobre la libertad mirador de lo griego, incluida Melina, los y el individuo, aproximaciones a clásicos griegos, a la personalidad clásicos de la tragedia y el teatro. Claro que el teatro form ó parte de su-primera vocación de la Mercouri, propone, la interrogante de su final definición como creador. y que sus antecedentes son griegos. Empero Las explicaciones se intentan en este análisis. su obra se fractura cuando abandona los Es Lo que no ofrece dudas es que err varios films Dassin ha demostrado tados Unidos y se va a Europa donde en ser capaz de lograr obras mayores 1950 dirige Siniestra obsesión, que prolon y en dos ejemplos concretos alcanzar la maestría. ga su obra previa, y en 1954 Rififi, que es un film policial y se parece a los que hizo en su país entre 1947 y 1950. Dos años des pués hace El que debe morir, que es un rela to apasionado, y dos años después padece la fijación de Melina y la.causa griega, que tie nen sus costados pasionales. -
De La Pasión a La Revolución. Kazantzakis Reinterpretado Por Dassin1
De la Pasión a la revolución. Kazantzakis reinterpretado por Dassin1 From Passion to Revolution. Kazantzakis Reinterpreted by Dassin AMOR LÓPEZ JIMENO Universidad de Valladolid [email protected] ORCID ID: 0000-0002-0136-9091 Resumen: Jules Dassin fue el Abstract: Jules Dassin was the first primero en llevar al cine una novela de filmmaker to adapt a novel by Kazantzakis, Cristo de nuevo crucificado. Kazantzakis, Christ Recrucified. This La autora realiza un análisis contrastivo paper presents an analysis that de ambas obras y la trayectoria artística contrasts both of these works and the de sus respectivos creadores. artistic careers of their respective creators. Palabras clave: novela griega, cine, Key Words: Greek novel, cinema, Nikos Kazantzakis, Jules Dassin. Nikos Kazantzakis, Jules Dassin. 1 Este trabajo ha sido realizado dentro del Proyecto de Innovación Docente (PID) la Universidad de Valladolid Materiales audiovisuales sobre el mundo griego: elaboración y análisis, y del Proyecto de Investigación subvencionado por la Junta de Castilla y León Materiales lúdicos para el aprendizaje pragmático de segundas lenguas (español, griego, italiano, inglés, alemán). Trasvases entre la literatura y el cine, 2, 2020, págs. 141-160 ISSN-e: 2695-639X DOI: 10.24310/Trasvasestlc.vi2.9471 Amor López Jimeno 1. CRISTO DE NUEVO CRUCIFICADO Kazantzakis era ya un autor consagrado internacionalmente cuando publica su segunda novela, Cristo de nuevo crucificado (O Jristós xanastavrónete), en 1948. Como la anterior, Vida y andanzas de Alexis Zorba (Bíos ke politía tu Alexi Zorbá), obtuvo un considerable éxito y fue inmediatamente traducida, primero al noruego y alemán (1951 como Pasión griega, título inicial de la obra), después al inglés (Nueva York, 1953), español (Buenos Aires), sueco, francés, y así hasta 52 lenguas en 1986. -
Jules Dassin BRUTE FORCE 1947, (98 Min.)
September 23, 2008 (XVII:5) Jules Dassin BRUTE FORCE 1947, (98 min.) Directed by Jules Dassin Written by Richard Brooks Produced by Mark Hellinger Cinematography by William H. Daniels Film Editing by Edward Curtiss Burt Lancaster... Joe Collins Hume Cronyn... Capt. Munsey Charles Bickford... Gallagher Yvonne De Carlo... Gina Ferrara Ann Blyth... Ruth Ella Raines... Cora Lister Anita Colby... Flossie Sam Levene... Louie Miller #7033 Jeff Corey... 'Freshman' Stack Roman Bohnen... Warden A.J. Barnes Sir Lancelot... Calypso Jay C. Flippen... Hodges Howard Duff... Robert 'Soldier' Becker Art Smith... Dr. Walters Whit Bissell... Tom Lister JULES DASSIN (18 December 1911, Middletown, Connecticut— 31 March 2008, Athens, Greece, complications from flu) directed 25 films, the last of which was Circle of Two (1980). Some of the others were Topkapi (1964), Phaedra (1962), Celui qui doit mourir/He Who Must Die (1957), Du rififi chez les homes/Riffifi (1955), Night and the City (1950), Thieves' Highway (1949), The and 1931). He was nominated for three best cinematography Naked City (1948), Brute Force (1947), The Canterville Ghost Oscars (How the West Was Won 1962, Cat on a Hot Tin Roof (1944), Nazi Agent (1942) and The Tell-Tale Heart (1941 1958, and Anna Christie) and won one (Naked City 1948). He shot 164 films, the last of which was Move (1970). Some of the RICHARD BROOKS (18 May 1912, Philadelphia, Pennsylvania— others were Marlowe (1969), In Like Flint (1967), Von Ryan's 11 March 1992, Beverly Hills, California, congestive heart Express (1965), The Prize (1963), All the Fine Young Cannibals failure) wrote 36 screenplays and directed 24 films. -
JULES DASSIN January 20 - 31, 1995
The Museum of Modern Art For Immediate Release December 1994 JULES DASSIN January 20 - 31, 1995 Selections from the forty-year career of the influential film director, Jules Dassin (b. 1911), are on view at The Museum of Modern Art from January 20 to 31, 1995. A native of New York, Dassin has worked in the United States, England, France, Italy, and Greece, his adopted country. Such an international career has allowed the innovative and audacious filmmaker to develop a visual style usually associated with European cinema, giving his narratives a unique blend of lyricism and realism. JULES DASSIN includes twelve feature-length works; Mr. Dassin will appear at the Museum to introduce the evening screenings of Du Rififi chez /es hommes (Rififi, 1956) on January 20 and Night and the City (1950) on January 21. Dassin's filmography includes pivotal works in a variety of genres. Highlights include three postwar film noirs that render the mythic struggle between good and evil: Brute Force (1947); The Naked City (1948), in which the urban landscape of New York plays a major role; and Night and the City, shot in London. Also presented are Du Rififi chez les hommes, Dassin's prototype for the French policier, which earned him the Best Director Award at the 1955 Cannes Film Festival and which features a famous robbery sequence shot without dialogue or music; and Celui qui doit mourir (He Hho Must Die, 1956), his astonishing version of the Passion Play. Phaedra (1962) and A Dream of - more - 11 West 53 Street, New York, N.Y. -
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Cinema Andrew Horton The Jeanne H Smith Professor of Film b Media Studies, The University of Oklahoma Theo Angelopoulos and the Cinema of Contemplation I dedicate this essay to Theo Angelopoulos' wife Phoebe Economopoulou and their daughters, Anna, Eleni and Katerina A bstract I am honored to be here at the University of Sydney for this, the 11th Biennial Conference of the Modern Greek Studies Association of Australia and New Zealand. It was last Fall that I was invited to speak on the cin ema of Theo Angelopoulos since I have known him and written about his films for over thirty five years. But the invitation was before this renowned Greek filmmaker died after being accidently run over by a motorcyclist on the set of his latest film The Other Sea January 24th of this year, 2012. I wish to state up front, what a hard moment this was and is, not only for the Angelopoulos family and for Greek cinema, but for those fans including my self all over the world who appreciate the kind of distinctively individually crafted cinema that Theo’s films represent. I am speaking personally also because I was actually on the set of this film with Theo during the first week of January, two weeks before his death. I wish to begin with three quotes that I feel provide a framework for Theo, as we shall call him here, and his cinema of contemplation that I wish to discuss. First, I offer the opening lines of Constantine Cavafy’s well known poem, “Ithaca”: As you set out for Ithaka hope the voyage is a long one, full of adventure, full of discovery. -
The Disjunctive Aesthetics Af Myth and Empathy in Thea Angelopaulas' Ulysses Gaze Vrasldas Karalls
The Disjunctive Aesthetics af Myth and Empathy in Thea Angelopaulas' Ulysses Gaze Vrasldas Karalls 77ze true is inimitable, the false un transformable. Robert Bresson j) As a Prelude In his insightful study on Theo Angelopoulos' cinema, Andrew Horton posits an extremely crucial question about the director's visual strategies in order to establish creative empathy between his audience and his epic cinema of 'contemplation': "while Angelopoulos often refers to Brecht and the need for an audience to think as well as feel in theater and cinema, we do not experience anything close to what could be called an 'alienation effect' in Brechtian terms. To the contrary, the mixture of theatricality and reality in his films often leads us into a deeper, fuller emotional bond with the film - one that, we could say, embraces our thinking mind as well".1 In our opinion, this premise needs qualifications and some further discussion in order to better appreciate the formal and visual techniques employed by Angelopoulos to transport his viewer through imaginative empathy into the levels of meaning that themselves establish and denote. For this purpose we will attempt a close look at one of his most 'epic' films, Ulysses' Gaze (1995), in order to examine the creative dilemmas of the artist in an era of intense commercialisation of cinema and of the absence of political projects for artistic renewal. 1 I lorton. Andrew, (1997: 14-15) The Films ofTheo Angelopoulos. A Cinema ofContemplation. Princeton University Press. Princeton New Jersey. Vrasidas Karalis, -
Theo Angelopoulos: “A Voyage in History, Time and Space”
Theo Angelopoulos: “A Voyage in History, Time and Space” Iakovos Panagopoulos, University of Central Lancashire, United Kingdom The European Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract This paper aims at analyse the historical and dialectical approach of Angelopoulos’s mise-en-scene as well as its connection to historical events in his films: Day’s of ’36 (1972), The Travelling Players (1975), The Hunters (1977), Alexander the Great (1980). Angelopoulos was particularly interested in Greek History of the twentieth century and put it under examination, because of the events that the Greek nation had been through during WWII and the Greek Civil War (1946-1949) and after them. The visualisation of the history from the point of view of the defeated gives him the opportunity to develop his narratives and style and allows us to conceive the story through a new language: melancholy, a materialist poetics with a Marxist taste, which follows the lives of those who lost someone or have been lost into the maelstrom of the historical events. This first period of Angelopoulos’s film-making coincides with the most turbulent political and historical years after WWII: the dictatorship (1967- 1974) of the colonels. The director uses the dictatorship as his advantage in order to represent history from a critical point of view and with a dialectic approach. He makes a reference to the current situation through a kind of political and theatrical scene that he creates in his films, which could include different places and different times, using forms and techniques of the well-known Bertolt Brecht’s “epic theatre”.