lnu.sePublikationer
Ändra sökning
RefereraExporteraLänk till posten
Permanent länk

Direktlänk
Referera
Referensformat
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Intermediality in the Weird Wave in Greek Cinema
Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).ORCID-id: 0000-0002-8554-0385
2014 (Engelska)Konferensbidrag, Muntlig presentation med publicerat abstract (Refereegranskat)
Abstract [en]

Greek cinema has appeared to be very innovative, especially from a formal point of view, these last five years. Directors like Yorgos Lanthimos (Dogtooth, 2009 and Alps, 2011), Athina Rachel Tsangari (Attenberg, 2010), Panos Koutras (Xenia, 2013), Yanis Economides (Knifer, 2010), Thanos Anastopoulos (The Daughter, 2012), Alexander Avranas (Miss Violence, 2014) and Penny Panayotopoulou (September, 2013) have defied the financial crisis in Greece and made a number of films that made critics from around the world talk about a new wave in Greek cinema. In August 2011, in the Guardian, Steve Rose baptized this phenomenon “the Greek Weird Wave”, and even a newspaper as The Economist acknowledged the originality of this generation of Greek filmmakers, who deal with “the link between the banal and the grotesque, and do so with shared trademarks: awkward dialogue, heightened background noise, sudden violence and emotional breakdown” (The Economist, December 6, 2011).

Several critics feel that these movies have an allegorical dimension, but do not always succeed in showing how this dimension appears in these films which have a rather complex cinematic language. I argue that an innovative use of intermediality is one of the ways to allude to the financial and social crisis in an indirect, poetic manner. By representing other media in ambiguous situations, these directors add a different level, which can be interpreted in interesting ways, among which one is allegorical, as we shall see in the examples I choose to analyse: Dogtooth, Alps, Attenberg and Xenia. However, it must be pointed out that the allegorical dimension does not become dominant in these films. The films are not principally documents over the financial crisis that hit Greece in 2008 and still has the country in its grips, but rather interesting and innovative examples of the use of “media representation”, according to the concept used by intermediality theorist Lars Elleström.

Ort, förlag, år, upplaga, sidor
2014.
Nationell ämneskategori
Litteraturvetenskap
Identifikatorer
URN: urn:nbn:se:lnu:diva-37889OAI: oai:DiVA.org:lnu-37889DiVA, id: diva2:758876
Konferens
Figurations of Intermediality in Film. XV International Film and Media Studies in Transylvania. 24-25 oktober 2014, Sapientia Hungarian University of Transilvania, Cluj-Napoca, Rumänien
Anmärkning

Ej belagd, 20141111 Presenterat inom panelen Intermediality in East European cinema: Romania, Poland and Greece som jag även modererade

Tillgänglig från: 2014-10-28 Skapad: 2014-10-28 Senast uppdaterad: 2018-05-17Bibliografiskt granskad

Open Access i DiVA

Fulltext saknas i DiVA

Personposter BETA

Lutas, Liviu

Sök vidare i DiVA

Av författaren/redaktören
Lutas, Liviu
Av organisationen
Institutionen för språk (SPR)
Litteraturvetenskap

Sök vidare utanför DiVA

GoogleGoogle Scholar

urn-nbn

Altmetricpoäng

urn-nbn
Totalt: 1912 träffar
RefereraExporteraLänk till posten
Permanent länk

Direktlänk
Referera
Referensformat
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annat format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annat språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf