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.
From the Green Line in Nicosia, this wall that divides our home country and its people in two, our movies bring together the enemies’. From the wall of Nicosia, this symbol of war, division and violence, we send out messages of peace, humanity and reconciliation. Here, where we have clashed repeatedly amongst us in an effort to take over one another, the art of cinema reveals how wasteful our rivalry has been, how alike humans are despite their nations, color, religion and language [sic].1
In September 2012, the Republic of Cyprus took over the Presidency of the European Union. Sharing an Island was screened as part of the inaugural ceremony.2 Choosing to represent Cyprus at this event with Sharing an Island signifies a new departure for Greek-Cypriot cinema. With notable developments in Cyprus’s cultural and political landscape, there are many indications that what has emerged as Greek-Cypriot cinema in a post-1974 climate as a response to conflict and division is in a state of further transition. In particular, the groundswell of collaborative events and initiatives between Greek- and Turkish-Cypriots, which include film and cinema, suggest news ways of defining identity. How far will these changes contribute to the formation of new Cypriot cinema? This question appears most relevant. ← 257 | 258 →
Trends for bi-communal collaboration have become visible since 2003, highlighting the flexibility and ability of concepts such as nation and identity to take on new meanings in a political climate where dialogue prevails....
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