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Contemporary Greek Film Cultures from 1990 to the Present

Series:

Tonia Kazakopoulou and Mikela Fotiou

This collection of new writing on contemporary Greek cinema builds and expands on existing work in the field, providing a coherent analysis of films which, despite their international importance, have so far received limited critical attention. The volume maps key trends in Greek cinema since the 1990s within the wider context of production and consumption at both national and international levels. It offers a wide range of critical analyses of documentary and avant-garde filmmaking, art house and popular cinema, and the work of established and new directors as well as deliberations on teaching methodologies and marketing strategies. The book seeks to highlight the continuities, mutual influences and common contexts that inform, shape and inspire filmmaking in Greece today.

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1 Short Voyages to the Land of Gregarious Animals: On Political Aesthesia in Sto Lyko and Sweetgrass (Ulrich Meurer / Maria Oikonomou)

Extract

Ulrich Meurer and Maria Oikonomou 1 Short Voyages to the Land of Gregarious Animals: On Political Aesthesia in Sto Lyko and Sweetgrass The End (One) It is early morning, shortly after sunrise. Mist blurs the contours of the distant mountain, a damp cloud clinging to its side. The wan light allows no differentiation of the greyish colours. In the foreground, one can see a muddy plain with a puddle of water (it has been raining all through the movie), bordered by a strip of black grass and shrubbery; a rack of three or four bolted steel bars, next to it the silhouette of a small tree with pale blossoms – or is it a dim cluster of houses on the far side of the valley? – and the tin roof of a small shed or stable. This indistinct landscape is cleaved by the strong legs of an electric pylon, on the left, sending forth a sheaf of cables to another, more distant tower, on to another, then to a fourth on the horizon. At the beginning, one can only hear the atmospheric noise of the countryside (the dimensions of space at first daylight), interwoven with faint birdsong – a chaffinch’s series of whistles. Then, the rumble of an opening gate, footsteps on a dirt ground and the muted sound of sheep or goat bells – a dog barking, another one whimpering, a bleating of goats, underlain by a vague metallic clatter. Suddenly, the bells sound more agitated, the bleating and whining more frenzied, and...

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