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 6: Constructing Heterotopias in Film: Parallel Spaces and Undesirable Bodies in Kalabush
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Constructing Heterotopias in Film: Parallel Spaces and Undesirable Bodies in Kalabush
From a purely photographical point of view this is a bad quality picture. I took it sometime in the late 1990[s] during a holiday trip to Seville in Spain. The picture shows an old jacket abandoned on an empty bench. Under the coat is a flattened cardboard box. I don’t remember what struck me at that moment, but the subject must have impressed me, enough to take the picture. […] I had singled out this picture of the jacket on the empty bench, and had even placed it on my notice board in my office so that I could look at it all the time […] The chief question however boiled down to one element: Why, amongst so many beautiful images I had of Andalusia, had I become stuck on precisely this bad one?
With the passage of time I realized that what made me return to this picture was that it was precisely so different from the other ones, that it revealed a parallel world of ugliness, a world which differed so much from the wonderful, colourful images of Andalusia. In some way, this picture ruined the ‘ideal’, almost utopian memory which I had from that trip.
The more I thought about it, I realized that what impressed me with this picture was that it depicted a parallel space which contained an undesirable body, a body...
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