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.
8 A Touch of Spice: Postmodern Identities and the Construction of the Other through Film Music (Nick Poulakis)
Nick Poulakis 8 A Touch of Spice: Postmodern Identities and the Construction of the Other through Film Music In this chapter,1 I engage with the contemporary theoretical, methodologi- cal and epistemological debates in the field of (ethno)musicology, as well as other socio-anthropological sciences with reference to the politics of music (and cultural) identities.2 Since cinema is considered to be a locus of vari- ous representations and negotiations, critical film analysis can effectively portray the ways that film music contributes to the shaping and the projec- tion of national, cultural and ethnic identity and Otherness. Through the examination of the contemporary Greek film Politiki Kouzina/A Touch of Spice (Tassos Boulmetis, 2003), this study underlines several aspects of film music practice that – in the overall context of the film – reinforce the above argument. Moreover, the chapter attempts to stress the invisible contradic- tions and ambiguities which disrupt the traditional filmic constructions, through an allegorical reading of the music and other elements of the film A Touch of Spice, keeping in mind Mark Slobin’s observation that ‘every 1 This chapter is an extended revised version of my article (in Greek), which was included in the proceedings of the symposium ‘Music, Sound and Place’, organized in June 2005 by the Department of Popular and Traditional Music of the Technological Educational Institute of Epirus in Arta, Greece. Unless otherwise noted, all transla- tions in this chapter are my own. 2 I am referring particularly to Martin Stokes, ed., Ethnicity, Identity and Music: The...
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