Themes and films that will not only be a moral reward to those who 21 The commercial success and popularity of resistance, partisan and revolution films at the time of their release is hard to judge due to the lack of data from second-run cinemas, in which these films were repeatedly screened. In the s violence appeared either as a generic innovation in mountain films introducing the subgenre of mountain adventure and crime movies or it pervaded a wide range of features: When Laiko Theatro [Popular Theatre], which was headed by the left-wing actor Manos Katrakis, staged the play I Antigoni tis Katohis [Antigone of Occupation] by the leftist Notis Pergialis in June , it was attacked by the Left for falsifying history, mainly due to the sympathetic depiction of a German officer. Tornes 23 The commercial sector provided therefore an important, and sometimes the only, educational and early professional grounding for many of the filmmakers who later worked in the context of NEK. Higher cultural standards seemed to offer opportunities for further development and a way to avert crisis in the industry. So the mass radicalization of the public, as we have described above, was accompanied by counter-forces: He is an aimless, passive observer who gets drawn into situations.
Realism was promoted primarily by the official left-wing rhetoric, which was extremely influential because a large number of artists and intellectuals were attracted by the Left. Some of these films, derived from all three types of production companies, attempted to indigenize the European art film or internationalize the Greek film product. This thesis considers NEK to be the summation of cinematic practices which developed as alternatives to the established popular Greek film culture in terms of productivity and popularity, but not of critical acceptance. The total production of the s reached films, while in the s it almost quadrupled, rising to movies. 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. Takis Hatzopoulos, short film director 88 The idea of making films for the Festival and not for the audience is definitely wrong. Different points of cultural and stylistic references are also evident. These newspapers have been chosen because of the emphasis they had placed on Greek cinema, publishing key texts written by key writers.
Additionally the s was an era of an explosive flourishing of cultural creativity that grappled with the Civil-War trauma, investigated new forms of expression, openly referenced new movements in European and international art and placed emphasis on questions about Greek identity and cultural tradition.
Pathena zoi – epeisodio 169
This shows that not only the curiosity but also the taste of the audience has gradually begun to improve. In addition, it includes elements that attract the masses e. Secondly, for a long time Greek cinema irkides not receive any kind of state support. However, a serious conflict between these two models did also exist. In addition, it must be conceived as a medium of education and guidance of the masses. In contrast to the majority of European countries,1 Greek audiences had been exposed to an impressively wide range of foreign features because there had been no market protectionist measures.
The visual is stressed further in developments taking place in comedy particularly with the rise of an alternative type of comedian, Thanasis Vengos.
Towards the creation of ‘quality’ Greek national cinema in the s | Maria Chalkou –
Nevertheless many good films have earned huge profits. He suffers a personal crisis and undergoes transformative experiences to eventually recover his humanity and moral values. This is a great fortune for the older of us who had worked as assistants in Greek cinema. Aside from these regular discussions, which were often accompanied by critical and informative texts about the films screened, the societies, especially OKLE, also arranged cinema lectures and seminars.
Therefore the presence of history in Greek cinema can be discussed in terms of continuity and correspondence, rather than difference. Prominent among them was Pavlos Zannas. These films were screened not only for the specialist audiences of film societies or during week-long festivals devoted to the national cinemas of the former socialist countries, as we have already seen, but they were also shown in public venues. A more pronounced interest in real-life issues and subjects which had previously been considered unacceptable, as well as a more open treatment of sexual behavior and violence, wider use of location shooting, realistic sets and spontaneous acting display a growing engagement of the commercial sector with realist practices.
Stratis Myrivilis attended the official opening of the Week, while Roviros Manthoulis and Vasilis Andreopoulos addressed the audience on the last day. Interestingly the films which were excluded from statistics were 6 Turkish, 3 Spanish, 1 Indian and 1 Mexican. The police and right-wing extremists exercised arbitrary powers, creating an atmosphere of terror and suffocation especially in the provinces.
Thirdly, the exclusive way in which the theoretical discourse on Greek film tends to define PEK and NEK obscures the fact that the historicization of Greek film — 42 For a detailed explanation of the rise of the historical film during the dictatorship see Theodoridis This is demonstrated by the large number of articles in the left-wing press concerning the Resistance in Greek films and its treatment in other European national cinemas, usually ending with statements such as the following: By contrast, art cinema originates in experimentation and belongs to the filmmaker.
The following examples of films screened illustrate the rich diversity of the viewing experience: To substantiate my argument, I am citing a few cases in point from the pages of Avgi during the period, as well as examples I have collected from other relevant sources.
This grsek of leftists-cinephiles-writers-lecturers-filmmakers, gathered around certain publications, institutions and collectives, began to exert increasing influence, formulate criteria about cinema and more importantly to influence the taste of the cinephile and youth audiences, because they controlled all aspects of s cinephile culture.
It encompassed a diversity of production and promotion practices, form, narrative, ideology, authorial view, aesthetic trends and artistic achievements. This realist depiction of the city According to Giorgos Zervoulakos, in an interview given to the writer, Damianos said that the relevant scenes in Evdokia were inspired by the images of the life and training of the soldiers in Eternal Love.
Fortunately, there is still time to recover and make films that address international audiences without dishing up exoticism.
To tatoyaz – s2 epeisodio 35 – video dailymotion
These included the prohibition of films [e. Is Greek cinema a serious matter, to take it seriously? Later of course things changed. All of them shared the notion that Greek cinema was of low quality and bad taste.
More importantly, the ethnographic festival was to some extent a formative event for filmmakers of the NEK generation. Secondly, the official interpretation of history is not as dominant in popular Greek cinema of the s and s and the Civil War is not such an atrophied theme as scholars tend to believe. Claude Bernard Auber, pr.
To tatoyaz – s2 epeisodio 35
Highlighting sexual expression and violent behavior in films, marginal until then social groups and previously suppressed social relations came into greater prominence. Sex not only increased the commercial success of films in Greece, but it made them more exportable. 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.
However, Ferris had the main responsibility for directing the movie see Frangoulis When he fails to get a job for which he had hardly tried, he hides the truth from his family and pretends to go work every greeek, drifting around the city streets.
Today they are integral to the shared experiences of generations of filmmakers. Ferris 22 Idoides had to do a lot of things when you worked on a Greek movie. However Decline can be seen as a turning point because sexuality was a key element of the iroidea.
Another important aspect of the gteek life of the geeek was that the internal ideological disputes of the Left found considerable expression in public discussions about art and intellectual subjects. There were, broadly speaking, three types of competitors: Prominent among theatrical groups was the legendary Theatro Technis [Art Theatre], which under the leadership of 9 Small music halls providing live music.
It was not only the Left that wanted to see the past explored in films, but history was widely considered to be a fitting subject and an imperative for Greek cinema. Their official announcement in the press highlighted the ambition of crossing the borders: Culture and politics in the s were, as we have discussed, closely connected, with cultural events providing a space in 77 Screenings: Information given by Stavrakas.
The event was a great success: