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Time and Space in Contemporary Greek-Cypriot Cinema


Lisa Socrates

Why does the 1974 war in Cyprus remain so dominant in Greek-Cypriot cinema? How has this event shaped the imagination of contemporary filmmakers, and how might one define the new national cinema that has emerged as a result? This book explores such questions by analysing a range of Greek-Cypriot films that have hitherto received little or no critical discussion.
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.
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Chapter 2: Conceptualizing Greek-Cypriot Cinema


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Conceptualizing Greek-Cypriot Cinema

History is inseparable from the earth [terre], struggle is underground [sous terre], and, if we want to grasp an event, we must not show, we must not pass along the event, but plunge into it, go through all the geological layers that are its internal history.1


This chapter addresses the absence of cinema from Cyprus from Film Studies debates and navigates through various conceptual territory in search of an analytical space. In so doing, it explores film practice within its national context through a Deleuzian lens. The intention is to make it visible by examining the gulf between what has been developing at a creative level for nearly four decades since 1974 and, in marked contrast, its invisibility within analytical frameworks of individual films and directors. As the range of work continues to reflect the transformation of the island’s physical spaces, these responses shape an emerging and distinctive cinema that is complex and contradictory. Deleuze’s two volumes on cinema contain the conceptual tools to engage with the ‘nation’ as a category, as his language draws his reader back to space and time.

In the citation above, from Cinema 2, he adopts metaphors which increasingly define the tenor of Cinema 2. He makes reference to the ‘earth’ and to ‘underground’, suggesting that history can be interpreted in many ways because it is layered. Notably, in Foucault, Deleuze utilizes other spatial metaphors,...

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