Show Less
Restricted access

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.
Show Summary Details
Restricted access

Chapter 3: Contesting the Nation’s Narrative Space and Time: The Akamas Controversy


| 71 →


Contesting the Nation’s Narrative Space and Time: The Akamas Controversy

In Ludwig very little history will be seen […] In Senso, in contrast, history is present with the Italian movement, the famous battle and the abrupt elimination of Garibaldi’s supporters; or in The Damned, with the rise of Hitler […] But, present or out-of-field, history is never scenery.1


In August 2006, Akamas (Panicos Chrysanthou, Cyprus, 2006) was selected by the jury for a screening at the ‘New Horizons’ event of the 63rd Venice Film Festival.2 This was the first time in the festival’s history that a film from Cyprus was nominated. However, the Cyprus Cinema Advisory Committee (CCAC) asked the film’s director not to attend, stating that a particular scene in the film depicting aspects of the ‘nation’s’ history was problematic. The CCAC did not consider Akamas as a suitable representative film from Cyprus to screen before an international audience because it re-created events from Cyprus’s colonial history that contested official versions of this period. The CCAC’s stance highlights the intimate relationship between cinema and national identity as examined in Chapter 2, ← 71 | 72 → expressing its perceived value as a vehicle for nation-building by the state. In their discussion of film festivals, David Archibald and Mitchell Miller identify the importance of film festival spaces for what they describe as ‘identity-building’.3 It would seem that the protest against Akamas’s visibility at the Venice Film Festival expresses the CCAC’s...

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.