By Vrasidas Karalis
The heritage of Greek cinema is a slightly vague and unexamined affair. Greek cinema began slowly after which collapsed; for a number of years it struggled to reinvent itself, produced its first mature works, then collapsed thoroughly and virtually vanished. as a result of this sort of complicated ancient trajectory no entire survey of the improvement of Greek cinema has been written in English. This ebook is the 1st to discover its improvement and the contexts that outlined it by means of targeting its major movies, personalities and theoretical discussions.
A background of Greek Cinema makes a speciality of the early a long time and the makes an attempt to set up a "national" cinema priceless to social solidarity and nationwide identification. It additionally analyses the issues and the dilemmas that many Greek administrators confronted with the intention to identify a unique Greek cinema language and offers some of the levels of improvement during the heritage of the turbulent political historical past of the rustic. The e-book combines old research and discussions approximately cinematic shape in to build a story historical past approximately Greek cinematic successes and screw ups.
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Additional info for A History of Greek Cinema
12 Behatoros left for Paris in 1916 and was lost to Greek cinema, as it seems was his fortune, after the failure of the film. Unfortunately, as early as 1931 the film was considered lost. The political unrest of the period, starting with the Balkan Wars and culminating in the tragic National Division (1916–1917), created a precarious environment for the consolidation of the new art form. In 1915, the first attempt to adapt a novel to cinema came with Constantinos Hristomanos’ The Wax Doll (I Kerenia Koukla) by Mihael Glytsos, the second feature film in the country; despite the money invested in the film, it had no commercial success and received vitriolic reviews.
It has encoded the collapse of political and moral authority by exposing power to the objectifying eye of the camera so that it becomes a public spectacle. At the same time, its depiction of rural innocence combined with its lack of historicity exoticized ancient Greece and depicted it as an escapist landscape. So, the messages of the film are both radical and conservative, making it a paradoxical space of confusion and disorientation, an image of a society in transition and turmoil. Unfortunately, after the Second World War, Laskos squandered his artistic vision on slapstick comedies and period pieces without ever rising to the level of his early work.
Set in the “innocent” landscape of a traditional village, which formed an organic continuity with the natural landscape, the film idealized an already lost way of living. Nevertheless, through the nostalgic recreation of an innocence lost and an authenticity sought after by the urban masses, Gaziadis implicitly criticized roles and institutions, which after the Asia Minor Catastrophe, had lost their legitimacy and moral authority. Greek “authentic” life was not a matter for the present but a thing of the past: Astero can be seen as a narrative of consolation set against the background of cities filled with refugees living in abject poverty.
A History of Greek Cinema by Vrasidas Karalis