Ancient Drama, modern literature and history The view that Greek film could achieve cultural respectability through the artistic value of its scripts was deeply rooted in the minds of commentators, producers and filmmakers. See also Kotzia Attendance […] exceeds expectation. The mass radicalisation, which encompassed people from across the social, political and cultural spectrum, helped shape the socio-political situation in Greece of the s and reflected major concerns of Greek society at the time. The lack of interest in noting and discussing such an impressive phenomenon at the time of its emergence, in combination with the fact that there was no real explanation for such a sudden and dramatic turn in film attendance, leads us to consider statistics with some suspicion and to wonder whether the way numbers were collected had changed. Politics therefore became an integral part of cultural production.
It is significant primarily because, from onwards, classical myth and drama constitute a key thematic and representational component of NEK films, as they were used extensively as a source for the narrative and style. We have to realize first of all that cinema, as it has been shaped all over the world, is not only a means of entertainment and pleasure for the audience. Kostas Sfikas, for instance, states that it was at the Ethnographic Festival that he first encountered British Free Cinema and that he decided to make short documentaries. At the same time, due to the radicalized mass and cultural movement and the Centrist regime, the atmosphere of repression that had stifled society during the previous decades began to ease. Violence, either physical or emotional, and often combined with strong sexual motives, was also common in the narratives of popular movies. The Seventh Day of Creation exemplifies this type of narrative.
The following examples of films screened illustrate the rich diversity of the viewing experience: Our social poverty and political oppression were sufficient reasons for discovering in the Italian films of the time the artistic ideal that deserved the devotion of the best in ourselves.
I thought it was kind of odd that she was signing periwteri him since the grandfather cinemx blind, but then a few minutes later you find out he’s dead. Markopoylo – Porto Rafti – Koropi. From the early s people within the industry had expressed goivos anxiety about the future of Greek film, widely reflected in interviews, texts and debates of the period.
However the students ignored the order to stop the screening. They brought an older generation of filmmakers such as Grigoris Grigoriou and Dinos Dimopoulos, who were teachers, into contact with a younger generation who were students, often functioning 92 I am using the name of the school as it was known in the s.
In addition, the prominence accorded by scholars to the role of producers ffoivos genres has disregarded the importance of the director in PEK.
Plenty of room for investment in film activity was created for old and foivoos production companies — distributors and exhibitors as well — and at the same time for more or less ambitious newcomers who sought a place in the market. The surrealist film of Louis Cinfma Zazie in the Metro […] was shown for a whole week […]. Moreover, with the greater realism, more natural styles of acting emerge e.
Some of them also worked as assistant directors in films made by Nikos Koundouros and Cacoyannis.
FOIVOS – CINEMA – 1, ETHNIKIS ANTISTASEOS in PERISTERI (ATTIKI ELLADA)
At the festival, the director, Lucia Rikaki, stated that this film is about loss. Creative authors and new movements across Europe and the world carried out fresh energies that transformed the international cinemascape.
InI entered the field of Greek Cinema and I cinma as an assistant director. Particular attention was given by the cine clubs to pre- and post-war European and American cinema, distinguished directors, foreign shorts including animationdocumentaries, new waves and other new developments in western and Eastern Europe.
It is significant primarily because, from onwards, classical myth and drama constitute a key thematic and representational component of NEK films, as they were used extensively as a source for the narrative and style. Pl Amerikis – Pl Koliatsoy. Tzavellashe hired for the female lead the 16 For example, films made by independent enterprises often bear Neo-Realist qualities, since poor financing did not permit the extensive use of studios.
At the same time, through its political rhetoric the Left constantly produced and promoted images of the past, seeking legitimization and vindication in history itself. Manousakis did not pay attention to his subject. Collective and subjective memory was considerably strong, because many of the issues of the recent past, especially the Nazi Occupation and the Civil War, had remained unresolved. What distinguishes the s from the previous period is that, apart from the dramatic proliferation of critical writing on film in general, there was a large shift in the focus of critical texts on Greek cinema.
Books by Venezis, Mirivilis and other younger writers provide material for great films that will use Greek settings and simultaneously touch the foreign spectator. Aside from the two auteurs Cacoyannis and Nikos Koundouros, several popular directors of the s demonstrated a remarkable interest in cinematic language and the visual properties of cinema. This phenomenon is attributed to the educational crisis in Greece and the low level of intellectual and artistic life in the country.
Her character is far from the typical clear-cut good or evil female protagonist: Stratis Myrivilis attended the official opening of the Week, while Roviros Manthoulis and Vasilis Andreopoulos addressed the audience on the last day. Voulgaris who was assistant director to Dimopoulos.
Information given by Stavrakas. According to Bacoyannopoulos, the audience smashed the glass in the doors of the theatre Trianon in foiivos eagerness to get in. So, as the narratives became darker and more psychologically complex, there was an increased focus on space and set as a means of expressing the inner life of the heroes. Fear, Monemvasia and Desire in the Cursed Marshoverturning the traditional function of spectator-character identification and creating a degree of distance and estrangement.
Prominent among theatrical groups was the legendary Theatro Technis [Art Theatre], oeristeri under the leadership of 9 Small music halls providing live music. Commenting on Dalianidis and the genre of musical, the NEK film critic Christos Vakalopoulos remarks on the dominance of the commercial director and the shift in Greek film towards the visual.
Since their majority could categorised as resistance, partisan or revolutionary films, they served the function of filling a gap in Greek cinema, namely the absence of direct cinematic treatment of cinnema communists and the left partisan movement, offering positive images with which people on the Left could identify. These few achievements were credited most often to two highly respected directors, Cacoyannis and Koundouros who, according to the dominant view of the time, rose above the folvos of triviality and mediocrity, displaying artistic inspiration and European quality.
It is the only one way perosteri the heroes and the theme to demonstrate reality and originality.
Two committees were established: Use the HTML below. Plot complexity is subordinated to the visual style of the film with the director constantly escaping in aesthetic playfulness and directing audience attention to the image.
Please log in first
See also Apendix in Kalandidis However, in my view, looser-structured and episodic narratives emerge in some s popular films, in a different context: Fear is another film that includes shocking violence, with an extremely realistic rape and crime sequence. The films that have neither artistic nor technical merit will not receive permission for public release.
He wanders around Athens either taking part in leisure activities or looking for a proper occupation.
I think that it is not difficult to combine foiivos with commerce. The aftermath of the Civil War found the Left — which had led the domestic armed mass Resistance against the Axis occupation — defeated, while the right-wing establishment was making constant efforts to secure its power through the institution of a powerful apparatus of repression and exclusion of the Left.
As a consequence of this, and in response to the growing public interest in film, cinema attracted much critical attention, especially in the s. Massive emigration approximately 1, Greeks left mainly for Germany and Foivks that caused a flood of remittances, vast population movement towards the cities and the subsequent growing urbanisation, extensive peristdri to which the method of antiparohi contractual consideration 6 contributed greatly and the following changes in housing conditions, the growing availability of consumer goods and great improvements in standards of welfare influenced the dramatic transformations of socio-economic conditions.