The book adopts a predominantly conceptual approach, situating contemporary Greek-Cypriot cinema within a specific cultural and national context. Drawing on the work of the French philosopher Gilles Deleuze, and particularly his theories of time and space, the author explores ways in which Greek-Cypriot directors invent new forms of imagery as a way of dealing with the crisis of history, the burden of memory and the dislocation of the island’s abandoned spaces.
Chapter 1: Reading Greek-Cypriot Cinema: Deleuze and New Cinema
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Reading Greek-Cypriot Cinema: Deleuze and New Cinema
It is foolish to talk about the death of the cinema because cinema is still at the beginning of its investigations: making visible these relationships of time which can only appear in a creation of the image […] Yes, if cinema does not die a violent death, it retains the power of a beginning.1
— GILLES DELEUZE
I find the way you connect Deleuze’s concept of cinema 2 with post-1974 Cypriot cinema/cinema of Cyprus to be valid.2
— ADONIS FLORIDES
In Under the Stars (2001) Christos Georgiou creates an establishing sequence that locates the spectator in a different time and place from that of the narrative unfolding in real time. A boy recollects that he and his mother are swimming in the sea at night. A few days later his world is shattered by war. Yianna Americanou’s Eleni’s Olives (2004) captures a young girl watching her mother in bewilderment as she hastily packs their belongings so they can leave before their village is invaded, whilst in Buffer Zone ← 15 | 16 → (Kypros Tofarides, 1996) a young man suffers from post-war trauma as the sound of sirens haunts him in his sleep. Absent (Simon Farmakas, 2009) depicts a soldier’s last moments on the battlefield. He lights a cigarette before he is shot by the enemy.
The minute hand on the big wall clock in Nicosia International Airport moves one...
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