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.
5 Family, Gender and the Emotional Economy in Tsemberopoulos’s The Enemy Within (Angie Voela)
Angie Voela 5 Family, Gender and the Emotional Economy in Tsemberopoulos’s The Enemy Within Introduction O Ehthros Mou/The Enemy Within (Yorgos Tsemberopoulos 2013) was screened at the fifty-eighth London Film Festival (2014), at the Ritzy cinema in Brixton. I remember sitting at the last row, by the exit. The auditorium was full. The plot: a father takes revenge for his daughter’s rape, killing the perpetrator. For the best part of the film both the protagonist and the audi- ence are led to believe that the perpetrator was an immigrant, but is later proved to be Greek. The film explores the frightful balance of misconcep- tions, paranoid projections and defences of a ‘society under siege’.1 Athens in recent decades has witnessed an influx of immigrants, political turmoil and an economic decline with huge social consequences. Xenophobia and the rise of fascism, as is often the case, followed. The hero of The Enemy Within, Costas Stasinos (Manolis Mavromatakis), is a mild-mannered man of progressive leftwing convictions caught up in all this; a tragic figure imploding under personal trauma and pressure to defend an antiquated code of family honour, befuddled by the racist rants of his neighbour and the exhortations of his father-in-law. As the lights went on in the cinema, I noticed the director standing next to me, in the aisle. I gave him an emphatic ‘thumps up’. He whispered 1 Zygmunt Bauman uses the term ‘society under siege’ to describe how Western socie- ties respond to the emotional uncertainties of globalization,...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.