By Vrasidas Karalis
The historical past of Greek cinema is a slightly vague and unexamined affair. Greek cinema began slowly after which collapsed; for numerous years it struggled to reinvent itself, produced its first mature works, then collapsed thoroughly and virtually vanished. due to this type of complicated old trajectory no complete survey of the improvement of Greek cinema has been written in English. This publication is the 1st to discover its improvement and the contexts that outlined it by way of targeting its major motion pictures, personalities and theoretical discussions.
A background of Greek Cinema specializes in the early a long time and the makes an attempt to set up a "national" cinema important to social solidarity and nationwide id. It additionally analyses the issues and the dilemmas that many Greek administrators confronted in an effort to determine a different Greek cinema language and offers a few of the levels of improvement through the history of the turbulent political historical past of the rustic. The booklet combines historic research and discussions approximately cinematic shape in to build a story background approximately Greek cinematic successes and screw ups.
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Extra info for A History of Greek Cinema
33 Makris based his reviews on the aesthetics of Sergei Eisenstein and Jean Renoir and was one of the first film critics to discuss the dichotomy between European and American cinemas—accepting them both as equivalent and complementary modes of representation. Generally speaking, it was in the 1930s that the urban landscape of Athens was gradually discovered as material for visual representation. Visually, Athens had remained an enigma for the camera; ancient ruins coexisted with contemporary huts and formless buildings in stark and unflattering juxtaposition.
Iris Skarabaiou notes that the actual reels were irrelevant to the story and were there simply because there was no script—which was only partly true. 21 With Gaziadis’ movies, modern urban melodrama was born in Greece, while at the same time the predicament of refugees, of the poor and the dispossessed received its first visual representation. Despite technical difficulties, the Gaziadis brothers established the tradition in Greek cinema of intermingling actual events with fictional ones. After the failure of their artistic projects in 1932, however, the brothers produced only documentaries on current events, and here their camera recorded some of the most critical events of the 1930s.
Its achievement was extraordinary; 19 20 A History of Greek Cinema 80,000 people saw it in the first week after its release. 20 Although Gaziadis introduced the Hollywood practice of emotional empathy with the characters, he avoided introducing the star system that had started to dominate the studio system in the United States and which had to wait until the 1950s to be consolidated. Gaziadis achieved a more artistic effect with The Storm (I Bora, 1930). With occasional stylistic boldness reminiscent of German expressionism, he employed fading shots, intense close-ups, and soft focus to create an atmosphere of psychological tension and collective anxiety.