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.
13 Nikolaidis’s Diptych Those Who Loved a Corpse: A ‘Pasticcio of Pastiches’ (Mikela Fotiou)
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13 Nikolaidis’s Diptych Those Who Loved a Corpse: A ‘Pasticcio of Pastiches’
Nikos Nikolaidis is a postmodern auteur with a controversial body of work, which polarizes film critics and audience. Nikolaidis’s work is greatly influenced by popular culture and especially by the classic film noir of the 1940s and 1950s. A great cinephile, Nikolaidis creates pastiche films that are intertexts of a combination of genres, styles, modes and original films. At the same time, the filmmaker appropriates these sources in order to critique contemporaneity, to express his antiauthoritarian ideology and his everlasting concern about the future of societies and of cinema. Nikolaidis’s work is autobiographical, not only because he bases some of his work on real-life incidents,1 but because he perpetuates his ideas and fixations about a forthcoming catastrophic future for society and cinema. His work is very consistent in terms of projecting these concerns, and it is characterized by pessimism and fatalistic views. Regardless of the placelessness and timelessness of the majority of his films, his antiauthoritarian ideology targets the Greek state, no matter which political party was in the government when he was making each film. This fact is contradictory and problematic, as these governments were funding his films through the Greek Film Centre. His antifascist ideology is not related to a specific regime, but is a general antiauthoritarian ideology against any kind of authority.2 His longing for ← 343 | 344 → film noir and the projection of the aforementioned...
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