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 sort of complicated historic trajectory no finished survey of the advance of Greek cinema has been written in English. This e-book is the 1st to discover its improvement and the contexts that outlined it via targeting its major movies, personalities and theoretical discussions.
A background of Greek Cinema specializes in the early a long time and the makes an attempt to set up a "national" cinema necessary to social unity and nationwide id. It additionally analyses the issues and the dilemmas that many Greek administrators confronted so one can identify a unique Greek cinema language and provides a few of the levels of improvement in the course of the history of the turbulent political historical past of the rustic. The booklet 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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Additional resources for A History of Greek Cinema
Franklin L. ”24 As the state was using an archaic and, to a certain degree, incomprehensible language, cinema became the first form of collective entertainment through which the vernacular gained legitimacy and acceptance. The transition to the new technology, however, did not take place without resistance. One of the most prominent public intellectuals of the period Pavlos Nirvanas, who wrote the script for Gaziadis’ The Storm and Astero and who had a persistent interest in cinema, declared in frustration: The characters in [silent] films not only talk but they talk in a special way.
In any case, this is a deceptively simple movie. Early Greek Cinema: 1905–1945 Tongo Mizrahi, The Refugee Girl (1938). Greek Film Archive Collection. 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, 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.
A History of Greek Cinema by Vrasidas Karalis