By Vrasidas Karalis
The historical past of Greek cinema is a slightly imprecise and unexamined affair. Greek cinema begun 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 kind of complicated ancient trajectory no entire survey of the improvement of Greek cinema has been written in English. This booklet is the 1st to discover its improvement and the contexts that outlined it via concentrating on its major movies, personalities and theoretical discussions.
A heritage of Greek Cinema specializes in the early many years and the makes an attempt to set up a "national" cinema helpful to social harmony and nationwide id. It additionally analyses the issues and the dilemmas that many Greek administrators confronted to be able to identify a special Greek cinema language and provides a few of the phases of improvement in the course of the history of the turbulent political heritage 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
It was the new company Hellas Films who produced the first really synchronized movie, Lagiarni (1930) by Ioannis Loumos, which gained international acclaim. The movie had to be sent to German studios for post production since there was no sound technology in Greece. In the same year, the otherwise unknown Tetos Demetriadis produced at Universal Studios in the United States the first truly talking Greek movie. Unfortunately lost, The Fist of the Cripple (I Grothia tou Sakati, 1930), a movie which addressed social exclusion and marginalization was a discouraging failure at the box office.
Both movies were honest, but essentially inadequate attempts to create continuous narrative cinema. The linear sequence of visual images in the second film was somehow slowed down. This slowness was deliberate, a means of concealing gaps in the script or disguising the extreme theatricality of the actors. The scenes followed the pattern of still photographs; they simply moved in succession since the actors remained still in front of a fixed camera. Furthermore, the actors were crammed together in the very confined space of a small studio, thus restricting their movement and making their performances self-conscious.
Greek Film Archive Collection. Early Greek Cinema: 1905–1945 was screened by itself for two consecutive weeks at the Splendid cinema) that it was soon exported to Greek communities in Egypt and the United States. By then, other cities, such as Patras and Thessaloniki, had set up their own studios and produced movies such as the Revolution of 1821 (I Epanastasis tou 1821, 1926). Other cities followed. Three comedies were made in the city of Drama in Greek Macedonia. In 1927, the strange attempt to acclimatize Charlie Chaplin in Greece continued with Anastasios Kefalas’ Charlie Chaplin, Arch Bandit in Arachova (O Sarlo Arhilistis stin Arahova).