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Contemporary Greek Film Cultures from 1990 to the Present

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Edited By 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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3 The Spatio-Temporality of the Avant-Gardes: Feminist Avant-Garde U-Topoi in Greek Cinema from Transition to Crisis (Rea Walldén)

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Rea Walldén 3 The Spatio-Temporality of the Avant-Gardes: Feminist Avant-Garde U-Topoi in Greek Cinema from Transition to Crisis This chapter raises spatio-temporal questions with regard to the avant- gardes,1 using examples from Greek cinema. The first part of the chapter investigates the kind of spatio-temporality that underlies the definition of the avant-garde, and its application to cinema. The second part situates the issues addressed in Greek cinema, particularly during two significant moments in its history: the transition to democracy after the Junta, and the present crisis. It then explains the choice of case studies, four films by two avant-garde Greek filmmakers of different generations: Idées Fixes/ Dies Irae (1977) and Topos (1985) by Antoinetta Angelidi, and Attenberg (2010) and The Capsule (2012) by Athina Rachel Tsangari. The third and fourth parts consist of a comparative analysis of the four films, focusing on the intersection between feminism, avant-garde and cinematic u-topoi. The purpose of the chapter is double: on the one hand, to address the articula- tion between spatio-temporality and avant-garde art; on the other, to better understand the inscription of avant-garde cinema in the Greek context. 1 I use the plural form ‘avant-gardes’ when referring to the particular avant-garde movements in the arts, in order to stress their diversity and to draw attention to their socio-historical conditionality. I choose the singular form ‘avant-garde’ when referring to the concept of the avant-garde. 72 Rea Walldén Spatio-Temporal Questions Regarding Avant-Garde Art and their Application to Cinema Situated between...

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