A History of Greek Cinema by Vrasidas Karalis

By Vrasidas Karalis

The heritage of Greek cinema is a slightly imprecise and unexamined affair. Greek cinema all started slowly after which collapsed; for a number of years it struggled to reinvent itself, produced its first mature works, then collapsed thoroughly and nearly vanished. due to this type of advanced ancient trajectory no finished survey of the improvement of Greek cinema has been written in English. This booklet is the 1st to discover its improvement and the contexts that outlined it by way of targeting its major motion pictures, personalities and theoretical discussions.

A historical past of Greek Cinema makes a speciality of the early many years and the makes an attempt to set up a "national" cinema important to social solidarity and nationwide identification. It additionally analyses the issues and the dilemmas that many Greek administrators confronted which will identify a different Greek cinema language and offers many of the levels of improvement through the historical past of the turbulent political background of the rustic. The ebook combines historic research and discussions approximately cinematic shape in to build a story heritage approximately Greek cinematic successes and screw ups.

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Early Greek Cinema: 1905–1945 atmosphere of love and betrayal, most of the characters over-act and undermine the director’s attempts to create a distinct psychological aura around them. Also, Gaziadis avoided confronting or criticizing the patriarchal morality or the dominant conventions surrounding the representation of women. 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.

Yet another of Ertuğrul’s films, In the Streets of Istanbul (1931), the first talking Turkish film, was one of the most successful films in Athens. The Greek-Turkish collaboration was to become untenable, however, due to fierce nationalistic criticism. As a consequence it became necessary to find a new location. The masterpiece of the decade and of the entire period of silent movies in Greece is Orestes Laskos’ (1907–1992) Daphnis and Chloe (1931). This appears to be the first Greek film with a script written for the cinema and successfully adapted from the ancient Greek story by Longos.

Despite their meagre technical means, Meravidis and Gaziadis managed to move the camera horizontally and to create visual effects similar to those on ancient Greek vases—one-dimensional figures in stylized gestures moving in linear sequence and foregrounding the character of ancient tragedy as sacred initiation. Their camera moved between deep-focus photography, longmedium shots and close-ups, alternating with shots of the depthless landscape and stressing the timelessness of tragic performance, the ritualistic slowness of the chorus, and the expressionless neutrality of the dramatic mask.

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