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The book is a detailed historical survey of Greek cinema from its very beginning (1905) until today (2010).
Covering the silent era to the present, this wide-ranging collection of essays examines Greek cinema as an aesthetic, cultural, and political phenomenon with the potential to appeal to a diverse range of audiences. Using a range of methodological tools, the authors investigate the ever-shifting forms and meanings at work within Greece's national cinema and locate it within the booming interdisciplinary study of European cinema at large. Designed for undergraduate courses in film studies, this well-researched volume fills a substantial gap in the market for critical works on Greek cinema in English.
This entertaining and useful book provides a comprehensive survey of films about the ancient world, from The Last Days of Pompeii to Gladiator. Jon Solomon catalogues, describes, and evaluates films set in ancient Greece and Rome, films about Greek and Roman history and mythology, films of the Old and New Testaments, films set in ancient Egypt, Babylon, and Persia, films of ancient tragedies, comic films set in the ancient world, and more. The book has been updated to include feature films and made-for-television movies produced in the past two decades. More than two hundred photographs illustrate both the films themselves and the ancient sources from which their imagery derives.
This volume examines cinematic representations of ancient Greek women from the realms of myth and history. It discusses how these female figures are resurrected on the big screen by different filmmakers during different historical moments, and are therefore embedded within a narrative which serves various purposes, depending on the director of the film, its screenwriters, the studio, the country of its origin, and the sociopolitical context at the time of its production. Using a diverse array of hermeneutic approaches (such as gender theory, feminist criticism, psychoanalysis, viewer-response theory, and personal voice criticism), the essays aim to cast light on cinema's investments in the classical past and decode the mechanisms whereby the women under examination are extracted from their original context and are brought to life to serve as vehicles for the articulation of modern ideas, concerns, and cultural trends. The volume thus aims to investigate not only how antiquity on the screen depicts, and in this process distorts, compresses, contests, and revises, antiquity on the page but also, more crucially, why the medium follows such eclectic representational strategies vis-à-vis the classical world.
The book provides a response to urgent calls to comprehend the cultural impact of immigration in Greece, and to determine the capacity of contemporary Greek cinema to challenge the logic of Fortress Europe.
The book is a detailed historical survey of Greek cinema from its very beginning (1905) until today (2010).
This revised and expanded second edition responds to new developments in the reception of Greece in contemporary popular culture, and particularly the impact of the film 300 (2006).Why, in a century of film-making, have so few versions of the story of Alexander the Great - or that of Troy's fall - made it to the big screen? In the aftermath of Gladiator (2000), with Hollywood studios rushing to revisit the ancient world with Troy and Alexander (both 2004), this question takes on renewed significance.Nisbet unpacks the ideas that continue to make Greece hot property - often too hot for Hollywood to handle. His lively explorations, which assume no prior expertise in classical or film studies, will appeal to all with an interest in 'reception': the present day's re-use and re-invention of the past.
Bringing together established and emerging scholars from multiple disciplines, the collection's unique contribution is to show how Angelopoulos created singularly intricate forms whose aesthetic contours invite us to think critically about modern history.
How should the people that initiated a journey be remembered? What obligations arise as a result of their passing away? What role do films and photographs play in the process of memorialisation? Drawing on the events surrounding the arrival of the author's family in Australia from Cyprus, The Old Greeks traces how film and photography serve as toolkits for making sense of the experience of migration - at the level of everyday life and creative practice. 'The cinema is not just an art, a culture, ' Jean Mitry once wrote, 'but a means to knowledge...not just a technique for disseminating facts but one capable of opening thought onto new horizons.' George Kouvaros reveals how deeply the perceptual and emotional displacements that define migration are embedded in the forms of thinking produced by photographic media. Combining techniques and methods associated with autobiography, with those associated with critical analysis, The Old Greeks develops a form of writing that approaches complex social and cultural issues with intimacy. It also marks an acknowledgement that migration and the crossing of boundaries can pave the way for new forms of writing that challenge distinctions between literary genre and style. The outcome can be viewed as a new aesthetics of migration shedding light on the complex forms of human interaction surrounding photography and film