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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 5: The Time-Image and Beyond: From Duration to the Crisis-Image


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The Time-Image and Beyond: From Duration to the Crisis-Image

We can now summarize the constitution of this time-image in modern cinema, and the new signs that it implies or initiates. There are many possible transformations, almost imperceptible passages, and also combinations between the movement-image and the time-image […] On one hand, the movement-image constitutes time in its empirical form, the course of time: a successive present in an extrinsic relation of before and after, so that the past is a former present, and the future a present to come.1

— GILLES DELEUZE, Cinema 2, 259.

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