By Marios Psaras

Cinema will not be in a position to aid heal a damaged kingdom however it can certainly support revisit a nation’s earlier, reframe its current and re-imagine its destiny. this is often the 1st book-length examine on what has turn into an across the world acclaimed strand in modern Greek cinema. Psaras examines how this actual development could be regarded as an essential aesthetic reaction to the notorious Greek concern, illuminating its basic ideological facets through a queer critique of nationwide politics. Drawing on quite a lot of methodological ways from queer idea, movie thought, moral philosophy and psychoanalysis, this quantity sheds mild at the means the Greek bizarre Wave demanding situations, deconstructs and re-imagines conventional notions of Greekness, the Greek kingdom and the Greek patriarchal kinfolk. this is often completed via shut textual research of the subversive thematics and idiosyncratic types of six movies made through many of the best-known and such a lot celebrated modern Greek administrators together with Dogtooth (2009) and Alps (2011) by means of Yorgos Lanthimos, Strella (2009) by way of Panos H. Koutras, and Attenberg (2010) via Athina-Rachel Tsangaris.

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Additional resources for The Queer Greek Weird Wave: Ethics, Politics and the Crisis of Meaning

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Iliades offers some loving close-ups of his actors here, which show them smiling and enjoying the number. But Martha soon loses her smile as she becomes aware of the presence of their boss, Manos, in the fantasy, who is performing his own show at the bottom of the stage, in front of the big letters. The orchestral non-diegetic music is pushed to the background and Martha’s voice-over once again interrupts the flow of the images: ‘Nandia was looking at me strangely. She knew I was jealous of her because of Argyris, that I was generally jealous of her.

Soft piano notes start filling the soundtrack signaling the beginning of Martha’s hallucinatory journey. The camera zooms in to an extreme close-up of her eye and then the film dissolves to another zoom shot of a washing machine drum whose faded coloring helps it masquerade as an eye itself, but a spinning eye that washes together random images from memories, dreams and nightmares. A black-and-white clip shows a father playing with his young daughter; an old blue frame features a barely discernible figure of a young girl sleeping; a close-up of a humongous black dildo in the hands of a naked man; an animated shot foregrounds a red heart growing bigger and bigger; an unsteady shot of a Catholic statue of Mother Mary; a poorly lit long shot of Martha sitting naked on a bed in an empty deserted room; a clip from children’s cartoons; and, finally, another zoom shot of Martha lying among a gang of naked tattooed men.

21). However, the term ‘New Wave’ could be equally problematic as it recalls specific cinematic traditions that flourished around the world in the post-war era (Iranian New Wave, French Nouvelle Vague, Japanese New Wave, to name a few), thus failing to appropriately contextualize the current trend and grasp its synchronic aesthetic value. Contrary to the above reservations, this book would like to embrace the epithet ‘weird’, although not unconditionally. What I am arguing for is rather a re-appropriation of the specific qualifier that draws on its semantic relation to another formerly derogatory, yet now re-appropriated term, namely the ‘queer’.

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The Queer Greek Weird Wave: Ethics, Politics and the Crisis by Marios Psaras
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