Greek Cinema
First Deliverable
With unrivaled depths of Greek supremacy and woeful gender stereotypes, the film “Never on Sunday” was a powerful controversy across the gene of acting. The film is wonderfully crafted. The incorporation of the ancient Greek fallacy of Medea consequently strengthening the contextual value and in-depth of the entire work. The Greek government was ardently in for imperatively dominant and popular culture. In Dassin’s work, “Never on Sunday” is deeply segmented with the Medea story.
The Medea story is critically significant, and particularly, it illuminates the audacity of the minors in deviating the precarious Greek Culture. Having acted to fool her husband against killing her children, she opened whole new heights of intelligence in fighting the irking and dangerous Greek culture[1]. Medea does the unthinkable and beats all odds. All thanks to the remarkably shrewd brains of navigating the blockades that were fatal to Pygmalion. She knew the good for her family was utter dismay to the conventional Greek culture. From the story, it is clear that real and ethical change is crafted and written by a single brain, as Medea did.
The phrase “and they all went happily to the seashore” is a testimony of how the trickeries of Medea worked and ended up as a mutual benefit and joy for her family despite being in a soured and enraged marriage[2]. The instinct of being free and happy was all that mattered for Medea. The unscrupulous Greek Culture is a touch of utter despair, according to Medea. In that regard, what mattered most was the freedom to embody the culture of guilt-free sexuality and culture[3]. The phrase denounces the ideal Greekness and the war against the supremacy ties enforced against personalized ethical thinking. Doing everything right should be for the wider good for close blood and family.
Second Deliverable
Another manuscript of the Greek history was given my Cacoyannis’ “Zorba the Greek.” The voice of the women as part of the social minority was perilously threatened and even thwarted. The story of a troubled gender balance began with the agreement between Zorbas and Basil. [4]The whole period of their interaction shaped their alienation. The relationship between Basil and a foreign woman sparked a controversy that threatened the synergy of a united Greek culture. Basil and his existential engagement realms are at the very best. The Widow in the film comes in to show the paradigms of a dead end. Accused of “immorality,” she was thrown out of a church congregation. At the courtyard, she is met by a venomous crowd that was rogue and all ready to see the immoral-tagged Widow dead.
She was a strong believer in social and gender justice. For any woman in with a different thought other than submissiveness was regarded as a traitor. The Widow was an influential figure in society, and she was regarded as a deadly threat by the majority male population[5]. Given the fact that she was affluent and no heir at her disposal, everybody fighting her was craving to see her life terminated. She lost the battle despite Zorba’s brave efforts to salvage her.
The event of her death was a critical moment in the history of Greek culture. The film speaks volumes about a corrupt society that gives no significant space to women and the minority members of the society. [6]Women are their own worst enemy. As the Widow was desperately being brutalized to death, no fellow woman or peer was willing, prepared, or attempted to do denounce or speak against the victim’s torture. The whole population was purely lost, and the perpetrators had their way. In so doing, everything for women was thrown in the air, and very little was left to salvage. A society full of intricates and fallacies of social injustice and gender insensitivity was at last in full shape. Women were just a population of no voice in society. But the few like the Widow left a mark despite their short-lived dreams for the fight for change. The killing of the Widow opened a regrettable picture of women. Sprawling like scavengers to destroy and strip everything owned by their peer is utter dismay and unfortunate scenario of a self-oppressor infliction by and for women.
Third Deliverable
The landscape of interruption in the folk play “Golfo” is phenomenally significant. The whole domain of Golfo was predominantly the top dramatic idyll across all the critical moments of the 20th century of Greek history. In his work. He embraced the national paradigm inside and outside the borders of Greece. The film “Golfo” in Angelopoulos Travelling Players?” was an art that was aptly interrupted and given a variant in directional settings. The interruptions were made a deeper sense of significance, impact, and agility. The following is a discussion text about the significance of the set of interruption endured and felt by the play.
The interruptions were made to exhibit the inherent and congruent position of the film’s natural setting. Nature is a subject of incessant interruptions and changes that are autonomously fixed. [7]The interruptions also vetted an unmediated objective planet that lies independently on the outside. Anything falling in the periphery is a subject of interruptions, and Angelopoulos’s life was all and the same. The realism of the actions within the film is structured in the interruptions.
The interruptions are fundamentals of painting the prevalent cinematographic image. The absence and presence landscape are key in shaping this image. The interruption of the play also made the image clear and open with the traces of the material world (Makrygiannakis 2009). The image was designed to show the imprint of the playing subject as well as giving a clear-cut disparity between the fiction world and the constructed world[8]. Angelopoulos is under interruptions to keep the fire of lamentations and celebration on. The space between assembling and disassembling is a powerful realm that shows the presentations of a vacuum. Without potentially intense interruptions, space would never be a realization.
Significance of Theatrical Metaphor in Folk Play “Golfo” in Angelopoulos Travelling Players
Personality presentation has been a critical attribute of the theatrical and film productions in the history of ancient Greece. The various metaphors were employed as resilient forces of human expression as well as opening up and sustaining the performance disruptions. Allusions give early films and the intensity and power to shine above the regime. The Travelling Players echoes the metaphors of “Days of ’36 to illuminate the reality of socio-cultural, economic, and psychological factors shaping the generations of the day[9]. Lost numbers could only give a focus through metaphorical denominations. Each time Golfo attempts to perform a film, he faces the anguish of lost rights and deplorable drama insinuations.
Theatrical Metaphor shows that Angelopoulos understands the intrigues of making observations without necessarily intruding. All intentions of the metaphorical elements were designed to depict the evolution of style under the forces and intricacies of a censorious and repressive regime. The time for showing the interior of Greeks in all sociological and geographical dimensions. Without the metaphorical attributions, the much-needed playfulness could be lost to the forces of regime intricacies (Tyler 2011). Theatrical Metaphors keeps the wandering band of filmmakers strong and with the audacity to act and perform under the worst possible conditions of political and economic depressions
Fourth Deliverable
Historical and Political Background of Costa Gavras, Z
As an epic political commentator, Costa Gavras did Z film at the height of events of political instabilities and democratic backlashes. Z was done in an Algerian-French environment that gave it the most interrogated and adverse condition for a filmmaker. The film landscape is written by aces who were ardent and powerful stars with international recognition. But despite their star billing statures, they fail to influence their screen times and the film in deep heights. In this regard, it showed that Gavras was a figure of autonomous thoughts and imperative steps of going to the minority’s way.
The film’s title is Z that means the popular Greek protest and synergy slogan “he lives.” To show the lost political fathomable, the play starts on a heated political gear. A regrettable slide show culminated in the events and moments of an agricultural policy statement. An impassioned speech from security officials cast the die on a totally divided society with rightism and leftism. The film is designed and shot at a time when the freedom of free thinkers is under serious threat. The military-dominated government is in absolute control of the systems to keep the voices of the minors unheard.
Z’s maiden screening and airing in Oakland is one of the biggest turns of political themes and revolutionary occurrence. As a norm, Costa Gavras films have been vocal in ratified paradigms of culture and participatory infliction in politics and history. Radical community facilities are very clear in everyday fascism. In a direct version, Z tells a very tense story of the agony, disaster, and assassination of Grigoris Lambrakis. In 1963, he was brutally murdered around Thessaloniki. He was a vocal member of the leftwing despite the dominance of the Democratic Right. His death was a huge turning point in the politics of the Greek people. Government secret services and police force were directly but secretly used to execute the plans of terminating his life.
Another political background is the military coup that engulfed Greece immediately after the departure of Costa-Gavras (Sharpe 2018). The hidden meaning of Z is very clear and brought to the test through the coup. It is never easy, but all was a clear message anything is possible if the voice of those who live is oppressed and adversely killed.
By far, Z is regarded as a “Greek Tragedy.” The film saw some of the worst events in the history of the Greek people. Those in power were deeply opposed to the resurgence of the Greek Left. Having supported the movement and spirit of a vocal left-wing, Z lost its share of affection with the political powerhouses in the legislature. It went further to the renaissance of freedom when it was the mix of the historical coup that saw civilian government taken by far-right colonels (Sharpe 2018). The film opened the unthinkable deeds of the military elites who were the top masterminds of the killing of Lambrakis. The film title was regarded as a dangerous and irate graffiti that threatened the secrecy of Lambrakis’ death. Generally, it was a recipe for unearthing the cover-ups that led to the unethical instances that befell Lambrakis.
Fifth Deliverable
Greekness in the Film of Dassin (Never a Sunday)
In his work, Dassin borrows, laterna – the famous and historical symbol of a free spirit, good-heartedness, and social marginality. The history of Greek films was dominated by the rhetoric of laterna and all that makes its sequel. Laterna stands tall in shaping generational domains and social settings in the history of Greece. He adopts it makes it a powerful and vibrant element of Greek popular culture and art. In addition, the special relationship between Greek and music is well demonstrated in the film. The entertainment genre for the Greece population is an excellent tool that is vital in the ideological conceptions of patriotism and character.
Since time immemorial, the Greek culture was parallel attrition to the Western culture. The western extremism on the Greek culture is apparent in the film “Never on Sunday”[10]. Greek antiquity is a serious threat, and the modern generation is challenged to be intricated on forebears. Musical voyeurism and implicated gender-stereotyping is a strong pillar and determinant of Greekness and its representation (Tyler 2011). Dassin employs the Greek bouzouki genre of music with the taverna dancing style to demonstrate the musical cultivation of the movie. In the film, disturbing ambiguities are seen. Gender discrimination was the order of life in the ancient Greek culture.
Generally, the film shows a huge taste in Greek culture. All aspects of Greek sociology and culture are deeply vested in the film. Without the forces of Greekness, the film would fall short of the much-needed intensity and attraction. However, with the fight between the western and Greek cultures, the film was in a for a rough ride and dominance battles.
Greekness in Cacoyannis Zorba the Greek and Iphigenia
Despite being sent to London by his father, Cacoyannis demonstrated what seemed impossible in the realms of protection and intensity of his Greek culture. He started his immense relationship with the Greek language when he started a special Greek program on the BBC. His ultimate decision to shift from the British film sector heightened his connectivity and desires of the indigenous Athens. He was fully determined to bring Greek cinema to the whole world. The Greek culture and art are portrayed suing transported Euripides and the black-white frames and supremacy battles. Across the divide, the film was preeminently directed by the operas and the inherent Greek tragedies (Sykka 2010).
Zorba was directed and produced at a time dominated by the renaissance of the British Actors. The fact that Zorba is not a British film gives the author a great Cacoyannis. The gritty faces were now free to interact with little close-ups with the world and the global agency tasked with what should be attorney general. There is no cause of an alarm when the director spends time on the cinematic theogony (Steven Newsman 2019). Hence, the results of those who were derailed in a country that is under a single hire of the United States, Compelling work is nowhere were all benefits of the bias of opened up distinctively and in a powerful domain.
Greekness in the play and movie transcript.
Greekness in the Angelopoulos’s Travelling Players. The world of the ancient Greeks argued both Angelopoulos and Dassin are seriously affected and left your voice with no masks (Sharpe 2018). Advocating for a common currency is falling within the ranks of Greek destinations and joints of training.
To conclude, the renaissance by the British Actors posed a serious threat to all artifacts of the new language. These actors gave the natives a strong competition and redefining of the figures of the Greek art and song (Steven Newsman 2019). The death of Lila was very severe. Very many people came to witness the burial amid of the eventual that collapsed activities. Lila was a woman of a huge personality, and the foo print she left behind was just a force a reckoning with. In many cases, the people around us abandon us, but for Lila, the case was totally different. She received the best as a top counsel on matters making life, stardom, and excellence in art and film making.
Conclusion
The world is never simple, and the Greek is a true legend over the same. Many people have flooded their eras and established the whole aspect with compromise, intelligence questions, and physical funds should bone accordingly. Greek cinema is a divergent landscape that saw historical adjustments that defined everything the society enjoys today. The people of Greece and beyond have primarily emerged from the teachings and rhetoric of these films. Standout films and art are a special genre, as demonstrated by Evangelos and Julis Dassin.
The historical and political background of Z is a true revelation of the insights and attributes of almost every movie genre in the ancient times of Greece. The representation of the minority and majority in two distinctive approaches. The majority were powerful in society; the minority were the weakest. However, given the brain and art of practice, the minority were made of the most outrageous courses of action. The fight against the superiority of the majority always took a tragic turn as the trapped members were victims of their own actions.
The film industry in the Greek world would never be the same without the mention of the above categories. The discussion context of the various aspects each and every genre is a strong message about the power of the voiceless and less fortunate in society. Always consider the minority a threat and give them all that makes their lives a better contingent as a norm.
References
Makrygiannakis, Evangelos. 2009. “The Films of Theo Angelopoulos: A Voyage in Time .” https://era.ed.ac.uk/bitstream/handle/1842/4018/Makrygiannakis2009.pdf?sequence=1&isAllowed=y.
Sharpe, Kenan. 2018. “Directing the Revolution.” A Journal of Cultural Inquiry. https://www.jacobinmag.com/2018/11/costa-gavras-z-1968-radical-cinema.
The Film Fusi. 2013. “Devoted to the Discussion of Fil Expression.” http://www.filmsufi.com/2013/04/.
Tsitsopoulou, Vassiliki. 2000. “Greekness, Gender Stereotypes, and the Hollywood Musical in Jules Dassin’s Never on Sunday.” Journal of Modern Greek Studies, Volume 18, Number 1 79-93.
Tyler, Kieron. 2011. “DVD: The Theo Angelopoulos Collection Volume 1.” The Artdesk Journal https://theartsdesk.com/film/dvd-theo-angelopoulos-collection-volume-1.
[1], 2Tsitsopoulou, Vassiliki. 2000. “Greekness, Gender Stereotypes, and the Hollywood Musical in Jules Dassin’s Never on Sunday.” Journal of Modern Greek Studies, Volume 18, Number 1 79-93.
[5] The Film Fusi. 2013. “Devoted to the Discussion of Fil Expression.” http://www.filmsufi.com/2013/04/.
[6] The Film Fusi. 2013. “Devoted to the Discussion of Fil Expression.” http://www.filmsufi.com/2013/04/.
[7][7] Makrygiannakis, Evangelos. 2009. “The Films of Theo Angelopoulos: A Voyage in Time .” https://era.ed.ac.uk/bitstream/handle/1842/4018/Makrygiannakis2009.pdf?sequence=1&isAllowed=y.
[9][9] Tyler, Kieron. 2011. “DVD: The Theo Angelopoulos Collection Volume 1.” The Artdesk Journal https://theartsdesk.com/film/dvd-theo-angelopoulos-collection-volume-1.
[10][10] Sharpe, Kenan. 2018. “Directing the Revolution.” A Journal of Cultural Inquiry. https://www.jacobinmag.com/2018/11/costa-gavras-z-1968-radical-cinema.