By Vrasidas Karalis
The heritage of Greek cinema is a slightly vague and unexamined affair. Greek cinema began slowly after which collapsed; for a number of years it struggled to reinvent itself, produced its first mature works, then collapsed thoroughly and nearly vanished. due to this type of advanced historic trajectory no complete survey of the advance of Greek cinema has been written in English. This publication is the 1st to discover its improvement and the contexts that outlined it via concentrating on its major motion pictures, personalities and theoretical discussions.
A heritage of Greek Cinema specializes in the early a long time and the makes an attempt to set up a "national" cinema important to social harmony and nationwide identification. It additionally analyses the issues and the dilemmas that many Greek administrators confronted with a purpose to determine a special Greek cinema language and provides some of the levels of improvement in the course of the history of the turbulent political background of the rustic. The e-book combines old research and discussions approximately cinematic shape in to build a story historical past approximately Greek cinematic successes and screw ups.
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Extra info for A History of Greek Cinema
The Greek-Turkish collaboration was to become untenable, however, due to fierce nationalistic criticism. As a consequence it became necessary to find a new location. The masterpiece of the decade and of the entire period of silent movies in Greece is Orestes Laskos’ (1907–1992) Daphnis and Chloe (1931). This appears to be the first Greek film with a script written for the cinema and successfully adapted from the ancient Greek story by Longos. Also, the actors were all amateurs and consequently theatricality is strikingly absent from their acting.
One of the most prominent public intellectuals of the period Pavlos Nirvanas, who wrote the script for Gaziadis’ The Storm and Astero and who had a persistent interest in cinema, declared in frustration: The characters in [silent] films not only talk but they talk in a special way. First, they don’t say nonsense, as do for example characters in the theater. Further, they never babble on about useless issues, they don’t exhibit stupid 23 24 A History of Greek Cinema wit, don’t make gross jokes, and don’t shout out stupidities under the pretense of philosophizing.
Love and Waves (Eros kai Kymata, 1928) was a huge commercial success with 40,000 tickets sold in Athens alone. It was released in January 1928 and its unprecedented appeal raised hopes that good local productions were possible. Despite the negative response by critics, with this film Gaziadis introduced the visual grammar for popular movies that was to become dominant (especially in melodramas) for many decades. Importantantly for the period, Gaziadis used slow motion for the first time in order to enhance the emotive response of the audience.