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https://dvdcorner.net/2024/01/18/rover-dangerfield-blu-ray-review/
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Rover Dangerfield Blu-ray Review
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2024-01-18T00:00:00
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There’s a reason “Rover Dangerfield” gets no respect. Once upon a time there was a musical animated feature about a talking cartoon dog based on comedian and actor Rodney Dangerfield. If that doesn’t sound like the 80's and 90’s, I don’t know what does. The story of 1991’s “Rover Dangerfield” begins in 1991 where the…
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en
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https://s1.wp.com/i/favicon.ico
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DVD Corner
|
https://dvdcorner.net/2024/01/18/rover-dangerfield-blu-ray-review/
|
There’s a reason “Rover Dangerfield” gets no respect.
Once upon a time there was a musical animated feature about a talking cartoon dog based on comedian and actor Rodney Dangerfield. If that doesn’t sound like the 80’s and 90’s, I don’t know what does.
The story of 1991’s “Rover Dangerfield” begins in 1991 where the titular dog is living it up in Las Vegas with his owner Connie (a showgirl). After Rover accidentally messes up a deal for Connie’s dirtbag boyfriend Rocky, Rocky dumps Rover in the Hoover Dam. Rover manages to survive and winds up on a farm. Despite falling for a fellow dog (Daisy), Rover has trouble fitting in at the farm, but maybe just maybe he can find his place there.
Directed by Bob Seeley and Jim George and written by Rodney Dangerfield, “Rover Dangerfield” is a real oddity. Originally, it was envisioned as an R-Rated movie which would have made sense given that Rodney Dangerfield was a very adult comedian. Instead, ‘Rover’ turned into a G rated fish out of water movie and it suffers for it. There are shades of the edgier movie that could have been, but it turned out to be a forgettable family friendly animated feature filled with lame dog jokes, Dangerfield singing (it’s as bad as it sounds), and a pedestrian and predictable plot and love story.This will always be a case of what could have been. Still, you have to admire the risk and the fact that this movie was made at all. It certainly would not be made in today’s cinematic world.
The lone highlight by far is the colorful animation by Hyperion. The Las Vegas sequences, the character models, and the detailed landscapes are gorgeous and make you yearn for the days of hand drawn animation.
Video/Audio:
Presentation: 1.85:1 1080p. How does it look? Warner Archive gives the film a top notch hi-def transfer.
Audio Track: 2.0 DTS-HD MA. How does it sound? Viewers can expect a nice clean audio track. Now you can hear Dangerfield singing in even better audio quality (make of that as you will).
Extras include the original theatrical trailer, a song selection option, and 2 “Merrie Melodies” cartoons (“Dog Daze” and “Dog Collared”).
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Roku provides the simplest way to stream entertainment to your TV. On your terms. With thousands of available channels to choose from.
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en
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Revisiting Rover Dangerfield – a truly weird Hollywood star vehicle
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2021-12-09T06:00:05+00:00
|
One of Rodney Dangerfield's stranger films was the animated musical comedy Rover Dangerfield - Mark looks back at an odd childhood favourite.
|
en
|
Film Stories
|
https://filmstories.co.uk/features/revisiting-rover-dangerfield-a-truly-weird-hollywood-star-vehicle/
|
Share this Article:
One of Rodney Dangerfield’s stranger film projects was the animated musical comedy Rover Dangerfield – Mark looks back at an obscure childhood favourite.
It’s true what they say – you can never go home, but you can always rewatch the mad straight-to-video “Rodney Dangerfield is a singing, talking dog who wears a tie” movie you loved when you were five years old. I know Film Stories is a broad church, but it feels like I might be out on a limb with this one.
In the 1980s, stand-up comic and actor Rodney Dangerfield was suddenly propelled to the comedy A-list by roles in films like Caddyshack, Easy Money, and Back To School. On stage, Dangerfield was most famous for his one-liners, his red necktie, and his catchphrase “I get no respect”.
His newfound movie fame provided a new avenue for that persona, as the decade went on, Dangerfield had a few ideas about how to diversify in other mediums too. One of them was an R-rated animated musical comedy project in which he’d play a dog called Rover, a big-city hound who survives an attempted whacking by his owner’s heel boyfriend and washes up on a farm.
I reckon I’ve seen Rover Dangerfield more times than most people alive and even I think it would be weird if the dog had a surname. But Rover’s character design, voice, sense of humour, and red necktie are all so obviously Dangerfield that it would be a bit of a hat on a hat, or a necktie on a dog if you will.
The problem is that Rover Dangerfield isn’t an R-rated movie – it got a G rating for general audiences in America and a U certificate from the BBFC when it came straight to video here in the UK in 1992. I firmly believe that “what if Jerry Seinfeld was a bee” is a weirder sell than this, but at least Bee Movie is designed for its target audience, whoever the heck they are.
Beyond my story, (which really is as simple as being so obsessed with the film when I was five years old that my dad eventually bought the VHS from Blockbuster because we’d rented it enough times to pay for the thing already) a lot went on between that original idea and the (sort of) family-friendly Christmas movie that Warner Bros (sort of) released in summer 1991.
Dog days
Interestingly, Dangerfield had enough interest in this project that he funded all of the early stages of development himself. He worked on the story with his friend and collaborator Harold Ramis, who had also co-written Caddyshack and Back To School, and commissioned character and production designs from Hyperion Pictures Animation, a studio that had previously made 1987’s The Brave Little Toaster. He also co-wrote songs with composer Billy Tragesser.
All of this got Warner Bros to back the project, but there was another film that the studio wanted the star for. Caddyshack was a big box-office hit that didn’t cost much to make and armed only with a tagline – “The shack is back!” – Warner executives were eager to put a sequel together.
The problem was that Ramis (who made his directorial debut with the first film) and most of the cast were reluctant to return for a sequel that was intended to have a more commercially friendly PG rating.
However, after negotiating a tidy $7m payday to return, (the entire first film only cost $4.8m to make) Dangerfield boarded the sequel and helped the studio persuade Ramis to write a script centring around his character Al Czervik. With a star attached and Back To School’s Alan Metter signed up to direct, Caddyshack II looked ready to tee off at the end of 1987.
But Ramis had taken on the project against his better judgement, and neither he nor Dangerfield were especially satisfied with the screenplay. Indeed, a month before principal photography was due to start, Dangerfield exited the project, leaving Warner Bros $2 million deep into pre-production on a film with no star.
Warner sacked Metter and cast Jackie Mason in the rewritten Caddyshack II, which bombed in cinemas and is nowadays widely regarded as one of the poorest sequels ever made. The studio sued Dangerfield for $10 million, but when the suit came to court, they were unable to produce a signed contract as evidence and the case was thrown out, forming an oft-cited precedent for such disputes in the process.
The Caddyshack debacle may provide some context for Warner’s subsequent treatment of Rover Dangerfield, which had originally been set to hit cinemas in December 1988. When it didn’t make that release date, the film press started churning out negative stories about the project’s fortunes.
In his autobiography, It’s Not Easy Bein’ Me: A Lifetime Of No Respect But Plenty Of Sex And Drugs, Dangerfield briefly references the studio’s treatment of the film: “I put some of my own money into an animated movie about dogs. It had some songs, which I wrote, and I even sang a few.
“I thought it was a funny movie, but I had some trouble with the studio, and they buried it like a bone.”
Over the next couple of years, the film was extensively reworked to take out the R-rated elements and make it more family-friendly, adding on more post-production time. Unavoidably, the family-unfriendly Las Vegas setting remains early on, with its gambling dogs, violent gangsters, and buxom chorus girls. It also proved difficult to mitigate darker touches, such as the moment where Rover tries to beat the life back into a dead turkey, alternately working it like a puppet or causing its limp head to loll around sickeningly.
Also, during this extended period of production, it emerged that Ramis hadn’t been compensated for his work on the story, resulting in another legal case in 1990. The credits on the finished film say “Story By Rodney Dangerfield And Harold Ramis, Based On An Idea By Rodney Dangerfield”, which doubles down on one side of the credit while conceding the other.
After all of this, the film got a very limited release when it finally landed in US cinemas in August 1991. Around the same time, a re-release of another animated dog movie, Disney’s 101 Dalmatians, was cleaning up at the US box office, but Rover Dangerfield's theatrical run was so fleeting that there are no box office figures available. The film quietly went to a video release domestically and internationally the following year.
No respect
It all adds up to a quite obscure entry in Hollywood’s animated canon. Let’s just say that Rover Dangerfield didn’t turn up among the vast array of Warner’s characters featured in this year’s Space Jam: A New Legacy.
Looking back at the film 30 years on, it’s not difficult to tell it was changed quite late in the day, caught as it is between audiences who are either much too young for Dangerfield’s usual comedy or much too mature for a fish-out-of-water cartoon about a dog learning the value of the simple life. It’s an all-singing, all-joking, no-business-being-pitched-to-kids oddity.
Aside from the inciting incident of world’s worst dogsitter Rocky (design-wise, think Robert Mitchum at his sleaziest and add a 30-day hangover) throwing Rover off the Hoover Dam, the film repeatedly recalls Old Yeller by having farmer Cal continually threaten to put the tubby basset hound to sleep if he doesn’t pull his weight. There’s also a horn-dog romance with demure collie Daisy, one of many other dogs who are in this movie to be foils to Rover.
There’s also a large part of the film set at Christmas, which ranges from to the aforementioned dead turkey bit to one of the film’s catchier musical numbers, “I’d Never Do It On A Christmas Tree”, about Rover’s indignation at the idea that he’d mark his territory on some festive foliage.
It’s probably the most memorable and least bawdy of all the songs (“I’m never lonely, I’ve got girls galore, I just got rid of three and now I’m down to four”, goes the opening number) and it’s nice to have something for the kids in this bowdlerised comedy.
Even though Dangerfield is far from the most natural singer, the entire film is, for better or worse, tailored to him completely. This was a year or so before Robin Williams changed the game for movie stars in voice roles as the Genie in Aladdin, (who at one point does Dangerfield as one of his anachronistic celebrity impressions) and it’s a true star vehicle, with his name all over the credits.
The jokes are hit-and-miss, either because of the film being sanitised or simply being a bit precious about the riffs that Dangerfield spun out in the recording booth. It’s definitely the sort of film where a scene won’t have just one good gag where eight variable ones will do.
There are certainly cheaper and nastier star vehicles than this out there and Dangerfield clearly got his money’s worth on the design and quality of Hyperion’s animation. It’s not ground-breaking and though it was apparently a formative comedy for 5-year-old Mark, it has no loftier goal than nailing the essential assignment of “what if Rodney Dangerfield was a dog” and running with it.
And just in case you’re not convinced this one’s real, it’s about the time of year where we can close on this…
—
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https://tv.apple.com/au/movie/rover-dangerfield/umc.cmc.251u6emiuifgz85uit63zvq08
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Rover Dangerfield
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1991-08-02T07:00:00+00:00
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Life gets tough for a swinging Las Vegas dog with the voice of Rodney Dangerfield.
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A Message To Our Fans
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Find out how to watch Rover Dangerfield. Stream Rover Dangerfield, watch trailers, see the cast, and more at TV Guide
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/movies/rover-dangerfield/2030122060/
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Join or Sign In
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22786
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| 20
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https://dvdcorner.net/2024/01/18/rover-dangerfield-blu-ray-review/
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en
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Rover Dangerfield Blu-ray Review
|
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2024-01-18T00:00:00
|
There’s a reason “Rover Dangerfield” gets no respect. Once upon a time there was a musical animated feature about a talking cartoon dog based on comedian and actor Rodney Dangerfield. If that doesn’t sound like the 80's and 90’s, I don’t know what does. The story of 1991’s “Rover Dangerfield” begins in 1991 where the…
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en
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https://s1.wp.com/i/favicon.ico
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DVD Corner
|
https://dvdcorner.net/2024/01/18/rover-dangerfield-blu-ray-review/
|
There’s a reason “Rover Dangerfield” gets no respect.
Once upon a time there was a musical animated feature about a talking cartoon dog based on comedian and actor Rodney Dangerfield. If that doesn’t sound like the 80’s and 90’s, I don’t know what does.
The story of 1991’s “Rover Dangerfield” begins in 1991 where the titular dog is living it up in Las Vegas with his owner Connie (a showgirl). After Rover accidentally messes up a deal for Connie’s dirtbag boyfriend Rocky, Rocky dumps Rover in the Hoover Dam. Rover manages to survive and winds up on a farm. Despite falling for a fellow dog (Daisy), Rover has trouble fitting in at the farm, but maybe just maybe he can find his place there.
Directed by Bob Seeley and Jim George and written by Rodney Dangerfield, “Rover Dangerfield” is a real oddity. Originally, it was envisioned as an R-Rated movie which would have made sense given that Rodney Dangerfield was a very adult comedian. Instead, ‘Rover’ turned into a G rated fish out of water movie and it suffers for it. There are shades of the edgier movie that could have been, but it turned out to be a forgettable family friendly animated feature filled with lame dog jokes, Dangerfield singing (it’s as bad as it sounds), and a pedestrian and predictable plot and love story.This will always be a case of what could have been. Still, you have to admire the risk and the fact that this movie was made at all. It certainly would not be made in today’s cinematic world.
The lone highlight by far is the colorful animation by Hyperion. The Las Vegas sequences, the character models, and the detailed landscapes are gorgeous and make you yearn for the days of hand drawn animation.
Video/Audio:
Presentation: 1.85:1 1080p. How does it look? Warner Archive gives the film a top notch hi-def transfer.
Audio Track: 2.0 DTS-HD MA. How does it sound? Viewers can expect a nice clean audio track. Now you can hear Dangerfield singing in even better audio quality (make of that as you will).
Extras include the original theatrical trailer, a song selection option, and 2 “Merrie Melodies” cartoons (“Dog Daze” and “Dog Collared”).
|
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22786
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| 39
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https://www.edsullivan.com/artists/rodney-dangerfield/
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en
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Rodney Dangerfield
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http://www.edsullivan.com/files/2020/10/Screen-Shot-2023-02-16-at-12.26.29-PM-885x1024.png
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http://www.edsullivan.com/files/2020/10/Screen-Shot-2023-02-16-at-12.26.29-PM-885x1024.png
|
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2020-10-16T03:51:52+00:00
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The pudgy, bug-eyed comic became known for his nervous, twitchy ‘loser’ persona. As a self-professed ‘abandoned child,’ Dangerfield found that, like life, the road to comedy stardom could be very rocky. Life before becoming Rodney Dangerfield wasn’t easy. Born Jacob Cohen and initially going by the stage name of Jack Roy, the 19-year old comedian […]
|
en
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Ed Sullivan Show
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https://www.edsullivan.com/artists/rodney-dangerfield/
|
The pudgy, bug-eyed comic became known for his nervous, twitchy ‘loser’ persona. As a self-professed ‘abandoned child,’ Dangerfield found that, like life, the road to comedy stardom could be very rocky.
Life before becoming Rodney Dangerfield wasn’t easy. Born Jacob Cohen and initially going by the stage name of Jack Roy, the 19-year old comedian ventured into the world of stand-up only to find disappointment. After nine years of going nowhere, he completely dropped out of showbiz and, to support his family, sold household aluminum siding. Twenty-five years later, at the age of 45, Rodney decided to give comedy another try, appearing in clubs at night while still selling siding during the day. He ultimately found success, due to luck, persistence and his enormous comedic talent.
In his autobiography, “It’s Not Easy Bein’ Me: A Lifetime of No Respect,” Dangerfield remembers the jokes he told at his audition for the Sullivan show:
“I live in a tough neighborhood. When I plan my budget, I allow for holdup money.”
“I tell ‘ya, in my building, nothing but robberies. Every time I close a window,
I hit somebody’s hands.”
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22786
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yago
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|
http://allthedisneymovies.blogspot.com/2015/08/rover-dangerfield-hyperion-animation.html
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en
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My Year Without Walt Disney Animation Studios: Rover Dangerfield (Hyperion Animation, 1991)
|
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"The blogger"
] | null |
First of all, welcome back. I'm glad you all kept your subscriptions active while I was off doing important work as an agent of Her Majesty,...
|
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http://allthedisneymovies.blogspot.com/favicon.ico
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http://allthedisneymovies.blogspot.com/2015/08/rover-dangerfield-hyperion-animation.html
|
From the director who brought you The Pink Panther, Night at the Museum, and Real Steel. Huh. Weird career. Have you not seen it? GO SEE IT. "Don't worry, Uma. Some day we'll be famous enough to say no to crap like this." "So what's Connery's excuse?" Lola looks like a composite clone of every girl I had a crush on in high school. "Yes, Michael Jai White, THAT'S what will become of your career! This isn't the springboard to action movie superstardom you thought!" "NOOOOOO - Well, at least I'm working." "Yeah, you keep busy. Do a lot of voice stuff. It's not bad." One of the only movie superheroes not to wear padding under his suit. That's 100% pure Zane.
|
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18075
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yago
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https://www.britannica.com/event/Kristallnacht
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en
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Kristallnacht | Definition, Date, Facts, & Significance
|
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[] |
[] |
[
"Kristallnacht",
"encyclopedia",
"encyclopeadia",
"britannica",
"article"
] | null |
[
"Michael Berenbaum"
] |
1998-07-20T00:00:00+00:00
|
Kristallnacht, the night of November 9–10, 1938, when German Nazis attacked Jewish persons and property. The name refers ironically to the litter of broken glass left in the streets after these pogroms. After Kristallnacht, the Nazi regime made Jewish survival in Germany impossible.
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/event/Kristallnacht
|
Kristallnacht, the night of November 9–10, 1938, when German Nazis attacked Jewish persons and property. The name Kristallnacht refers ironically to the litter of broken glass left in the streets after these pogroms. The violence continued during the day of November 10, and in some places acts of violence continued for several more days.
The pretext for the pogroms was the shooting in Paris on November 7 of the German diplomat Ernst vom Rath by a Polish-Jewish student, Herschel Grynszpan. News of Rath’s death on November 9 reached Adolf Hitler in Munich, Germany, where he was celebrating the anniversary of the abortive 1923 Beer Hall Putsch. There, Minister of Propaganda Joseph Goebbels, after conferring with Hitler, harangued a gathering of old storm troopers, urging violent reprisals staged to appear as “spontaneous demonstrations.” Telephone orders from Munich triggered pogroms throughout Germany, which then included Austria.
Britannica Quiz
Nazi Germany Quiz
Just before midnight on November 9, Gestapo chief Heinrich Müller sent a telegram to all police units informing them that “in shortest order, actions against Jews and especially their synagogues will take place in all of Germany. These are not to be interfered with.” Rather, the police were to arrest the victims. Fire companies stood by synagogues in flames with explicit instructions to let the buildings burn. They were to intervene only if a fire threatened adjacent “Aryan” properties.
In two days and nights, more than 1,000 synagogues were burned or otherwise damaged. Rioters ransacked and looted about 7,500 Jewish businesses, killed at least 91 Jews, and vandalized Jewish hospitals, homes, schools, and cemeteries. The attackers were often neighbours. Some 30,000 Jewish males aged 16 to 60 were arrested. To accommodate so many new prisoners, the concentration camps at Dachau, Buchenwald, and Sachsenhausen were expanded.
After the pogrom ended, it was given an oddly poetic name: Kristallnacht—meaning “crystal night” or “night of broken glass.” This name symbolized the final shattering of Jewish existence in Germany. After Kristallnacht, the Nazi regime made Jewish survival in Germany impossible.
The cost of the broken window glass alone came to millions of Reichsmarks. The Reich confiscated any compensation claims that insurance companies paid to Jews. The rubble of ruined synagogues had to be cleared by the Jewish community. The Nazi government imposed a collective fine of one billion Reichsmarks (about $400 million in 1938) on the Jewish community. After assessing the fine, Hermann Göring remarked: “The swine won’t commit another murder. Incidentally…I would not like to be a Jew in Germany.”
The Nazi government barred Jews from schools on November 15 and authorized local authorities to impose curfews in late November. By December 1938, Jews were banned from most public places in Germany.
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18075
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yago
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https://www.flickr.com/photos/tags/Claire%2520Perry/
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Claire%20Perry photos on Flickr
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https://combo.staticflickr.com/pw/favicon.ico
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr photos, groups, and tags related to the "Claire%20Perry" Flickr tag.
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr
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18075
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yago
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3
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https://issuu.com/ca4s/docs/corfu
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AthensArt Odysseia
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CORFU, The Island of Feakes
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Friendship through Art can change the World
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/favicon.ico
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Issuu
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https://issuu.com/ca4s/docs/corfu
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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18075
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yago
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0
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https://www.allmovie.com/movie/crystal-nights-am73132
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Music Search, Recommendations, Videos and Reviews
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AllMusic
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https://www.allmusic.com/updated
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18075
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yago
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https://letterboxd.com/film/crystal-nights/
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Crystal Nights (1992)
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In this supernatural-themed romance, a German woman in the between-wars period is being initiated into some kind of esoteric/psychic order and learns at that time that her ideal mate won't even be born for quite a few years. By 1936, she has moved to Greece with her Greek husband, and there she meets Alberto, a very young Greek man, a Jew, who is evidently the man she has been seeking. They are able to read each other's thoughts and do so in the midst of a sexual encounter. Despite the boy's attraction to her, he spurns her due to her age (she is forty). She commits suicide and is born almost immediately as someone able to protect her ideal mate from the Germans. Later, as a young woman, she again has a liaison with Alberto, who again spurns her due to their age differences. Flashbacks indicate that this situation has been part of their lives for many incarnations.
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en
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https://letterboxd.com/film/crystal-nights/
|
In this supernatural-themed romance, a German woman in the between-wars period is being initiated into some kind of esoteric/psychic order and learns at that time that her ideal mate won't even be born for quite a few years. By 1936, she has moved to Greece with her Greek husband, and there she meets Alberto, a very young Greek man, a Jew, who is evidently the man she has been seeking. They are able to read each other's thoughts and do so in the midst of a sexual encounter. Despite the boy's attraction to her, he spurns her due to her age (she is forty). She commits suicide and is born almost immediately as someone able to protect her ideal mate from the Germans. Later, as a young woman, she again has a liaison with Alberto, who again spurns her due to their age differences. Flashbacks indicate that this situation has been part of their lives for many incarnations.
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18075
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yago
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3
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https://epdf.pub/theo-angelopoulos-interviews.html
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en
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Theo Angelopoulos: Interviews
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Counesy of Photofest THEO ANGELOPOULOS INTERVIEWS EDITEDBYDANUNIVERSITY PRESS OFFAINARUM ISS I SS I PP I /...
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epdf.tips
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https://epdf.tips/theo-angelopoulos-interviews.html
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Counesy of Photofest
THEO ANGELOPOULOS INTERVIEWS EDITED
BY
DAN
UNIVERSITY PRESS OF
FAINARU
M ISS I SS I PP I /
JA C KSON
www.upress.state.ms.us
Copyright © 2001 by University Press of Mississippi All rights reserved Manufactured in the United States of America
09
o8
07
o6
05
04
03
02
or
4
3
2
I
Library of Congress Cataloging-in-Publication Data
Angelopoulos, Theodoros, 1935Theo Angelopoulos : interviews p.
I edited by
Dan Fainaru.
cm.-(Conversations with filmmakers series)
Filmography: p. Includes index. ISBN r-578o6-2r5-2 (cloth : alk. paper)-ISBN r-578o6-2r6-o (pbk. : alk. paper) r. Angelopoulos, Thodaros, 1935and directors-Greece-Interviews.
Interviews.
2. Motion picture producers
I. Fainaru, Dan. II. Title. III. Series.
PN1998.3.A53 As 2001 791-43102331092--dC21
British Library Cataloging-in-Publication Data available
00-043515
CONTENTS
Introduction
vii
Chronology
xix
Filmography
xxiii
An Elegy for a Land Rotting Away: Reconstruction F L O RI A N
Unveiling the Patterns of Power: The Days o('36 U LR I C H
3
H O PF
9
G R E G OR
A journey through Greek Landscape and History: The Travelling Players MIC H E L
D EMO P O U L O S
A N D
FRI D A
LIA P P A S
Rhythms of Silence to Better Underline the Scream: The Hunters FR A N C E S C O
CA S E T TI
Animating Dead Space and Dead Time: Megalexandros T O NY
MI T C H E L L
The Growing of Tomatoes GID E O N
33
BACHMA N N
A Withered Apple: Voyage to Cythera MIC H E L
GR O D E N T
Talking about The Beekeeper MIC H E L
CIM E N T
53
39
28
23
16
VI
C O N T E N T S
Landscape in the Mist 6o S ERG E
T O U BI A N A
AND
FRt D tRIC
Angelopoulos's Philosophy of Film G E RA L D
·
S T RA U S S
66'
O ' G RA DY
Silence Is as Meaningful as Any Dialogue: The Suspended Step of the Stork E D NA
FA I NA R U
National Culture and Individual Vision ANDREW
83
H O RT O N
Homer's Where the Heart Is: Ulysses ' Gaze G E O FF
89
ANDREW
The Human Experience in One Gaze: Ulysses ' Gaze D A N F A IN A R U
The Time That Flows By: Eternity and a Day 101 GID E ON
B A C H M A NN
The Time of His Life: Eternity and a Day G E O FF
113
ANDREW
I Shoot the Way I Breathe: Eternity and a Day 117 G A BR I E L L E
SCH U LZ
. . . And about All the Rest D A N FA I N A R U
Index
151
123
93
75
INTRODU CTION
T
H E o
A
N G E L o P o u L o s
MAv
N o T
be a household name, cer
tainly not in America, but there are very few, if any, filmmakers in the history of cinema who qualify better for the classic definition of film auteur. Every shot in every sequence of every film he has made bears his indelible artistic personality. A unique thematic pattern transcends his entire work. A short glance at any of the pictures he directed, at any point-beginning, middle, or end-is sufficient to reveal the identity of the author behind them. You may love his kind of cinema, admire it, and be fascinated by it, as many of us do. You may hate it, be annoyed by it, and find it boring, and there are as many-if not more-who feel that way about him. But whatever your opin ion of his work, you have to concede the presence of a distinct, determined, and precise guiding concept behind it all, both in form and content. While Angelopoulos remains a somewhat solitary figure in the world of film, his is one of the most significant voices in modern cinema. Born in Athens, Greece, in 1935, Theo Angelopoulos was a World War II child, growing up in a country constantly shaken by political turmoil, dicta torships, and civil wars which started before the war and went on long after it was officially finished. Many of these memories would eventually find their way into his films, particularly the disappearance of his father, arrested one day for no obvious reason, deported, and almost given up for dead be fore he returned home as suddenly as he had vanished. To fulfill the expecta tions of his middle class family, Angelopoulos dutifully entered the Athens Law School, but four years later, on the eve of graduation, he packed his suitcase and left for Paris to study cinema. After one rebellious year at the
VIII
INTRODUCTION
famed IDHEC film school, he moved to the Musee de l'Homme to study with film ethnographer Jean Rouch, working at night as an usher at the French Cinematheque to support himself. A product of the idealistic sixties, he ab sorbed much of the insurgent spirit of the Paris student population, pre-1968. At the time, the radical left seemed to carry with it all the promises of a brave and better new world to come, once it defeated the old conservative spirit, and the duty of all good people was to struggle for its victory. The turmoil he found in Greece when he returned home only encouraged him to persist in this belief and to apply it to his own country. For a while, he wrote film reviews for a left-wing magazine, Democratic Change, until it was closed down by the regime. After one failed attempt to complete a first film, Forminx Story, and a short radio show satire, The Broadcast, he finally embarked in 1970 with a group of friends and no money to speak of on his first feature film, Recon
struction. In a booklet published by the Greek Film Center for a 1998 London retro spective of his films, Angelopoulos, who divides his career into three distinct periods, describes the first as a time of "historical, political films which coin cides with a more general ideological turmoil in Western Europe." Talking to the late German film critic Florian Hopf specifically about Reconstruction, he says that for him, "the film . . . is an elegy for a land rotting away, abandoned by its inhabitants. It all started in 1962 when West German subsidies included the permission for Greek citizens to live and work in Germany. This issue was hotly debated at the time by both the right-wing and left-wing papers in Greece. Some claimed emigration is nothing less than a disaster; others be lieved it was rather positive, for if many workers went away, there would be no danger of an organized working class and therefore no resistance to the regime in power. The Colonels prefer, these days, to see all their opponents leave the country. All my friends, for instance, live abroad . . . unless they are in prison. It is for them that I made Reconstruction." Censorship was a major issue at the time; avoiding a direct confrontation with it, a major worry. In 1973, when The Days of '36 was screened by the Berlin Forum, Angelopoulos remarked to Ulrich Gregor, "To tell you the truth, there is quite a bit of difference between the original script and the film, in its final form." He did not go much more into detail, for obvious reasons. However, to clarify the modern context of the film, he pointed out that "our present political situation is not unlike the time when the King intervened in favor of [pre-World War II dictator General] Metaxas, after real-
IX
INTRODUCTION
izing the two leading parties were unable to reach an agreement on their own." He is proud to mention the film was made with the help of a rich acquaintance, who told him after the film: "I don't care if I lose money on your film. The experience was worth it, through this film I learned a lot of things I did not know before." Unveiling historical truths for the eyes of the innocent is the role of political films, as far Angelopoulos is concerned. The culminating point of that first period was The Travelling Players, the perfect symbiosis of cinema art, innovative film language, history, politics, and elliptical statements. After its Cannes screening in a sidebar section, "The Directors' Fortnight, " Angelopoulos's international reputation was firmly established. The next time he visited Cannes, with The Hunters, he was already in the official competition, recognized as one of the new masters of the medium.
. -
All through that period, the Brechtian influence, which has been an inte gral part of his personal vision since his stay in Paris, was pronounced in each of the films he made. Talking with Francesco Casetti about a specific shot in The Hunters, he explains: "The . . . scene you mention is a long se quence shot showing two people making love, a group sitting around the table eating, the American woman walking in and offering to buy every thing, the politician undressing. By moving from one to the other in one sweeping camera movement, we reveal the many facets of one central situa tion and at the same time prevent the viewer from identifying with any of these facets, since he is j olted from one surprise to another. This way, we multiply one aspect while canceling another. This is what Brecht meant by alienation. " A s time passed and the political conditions i n his own country and all over Europe changed, clear-cut notions of good vs. bad, right vs. wrong and particularly right vs. left, were invaded by vast areas of gray. Angelopoulos came to accept the fact that power corrupts not only on the right but on the left too. He made Megalexandros, he tells Sight and Sound in 1980, to show the danger threatening the transformation of any authority or power, regardless of how noble were its initial intentions, into despotism. Since that time, he implies again and again in many of his interviews that politics has become a cynical game and has turned its back on the commitments of the past. "For a very long time we used to dream that politics was not a profession; it was a creed, a faith, an ideal. But in recent years, I have become convinced politics
X
I N T R O D U CT I O N
is nothing more than just another profession, that's all, " he tells Edna Fain aru in 1991, after the screening of The Suspended Step of the Stork. After completing Megalexandros Angelopoulos began to sense that his own role as an artist was about to change as well. Talking in 1985 about Voyage to
Cythera to Belgian critic Michel Grodent, he argues that the film is intended to "offer the Greek audience a possibility to face the future without the trau mas of the past." His disenchantment with politics and its potential of doing any good becomes more pronounced. "There is always a political interpreta tion to everything, but one shouldn't overdo it . . . . Since the normalization [in Greece] set in, we are looking for new approaches, and I have the feeling we are coming back to a kind of existentialism." And, just to show how Brecht is fading away, he adds: "The world is a chessboard on which man is just another pawn and his chance of an impact on the proceedings, negli gible." In Angelopoulos's second period he retreats into personal histories, though always keeping the greater canvas of history in the offing. He notes that during this period "history and politics move into the background . . . and the films focus more on the characters." Discussing The Beekeeper (1986) with Michel Ciment, he says: "We are now living a major historical moment, waiting for the world to change but having no idea how and when this is going to happen." Explaining the transition from the general to the per sonal, he uses a phrase that he repeats often in later interviews: "History is now silent. And we are all trying to find answers by digging into ourselves, for it is terribly difficult to live in silence." No wonder he sees in Voyage to
Cythera, The Beekeeper, and Landscape in the Mist a trilogy of silence-silence of history, silence of love, silence of God (see Gabrielle Schultz's interview for Die Zeit). To find the perfect visualization of this sentiment, one has to go deep into his third period, to a masterful sequence in Ulysses ' Gaze describing the ulti mate downfall of the communist dream in the grand funeral of a huge Lenin statue, tied down on a barge floating down the Danube. Peasants watching it from the shore uncover their heads and cross themselves-a clear indica tion that for them, communism and religion were not that different, what ever the official position of the party on that issue. Recently interviewed at home for this book, Angelopoulos said, "For many years, there was a strong belief the world could and should be changed for the better, and violent means were often used on both sides in the attempt to put down those who
I N T R O D U C T I O N
XI
tried to bring about these changes." The annihilation of this dream is one of the sources for his bitterness. History was a disappointment. Those who be lieved in them, like himself, dearly paid for the ideals that could never come true. "My generation was severely hurt by this violent conflict. We lived in Greece a civil war that left behind a country in ruins, both material and spiritual." The state of things today in Greece and in all the neighboring Balkan countries is the setting for the films of Angelopoulos's third period, which he describes as more existential, more centered on human fate. This period deals with borders, external and internal; exile, external and internal; the quest for a lost center-themes which recur like pieces of a great and painful elegy. In his last three films (The Suspended Step of the Stork, Ulysses' Gaze,
Eternity and a Day), he sees the fate of his protagonists and, through them, of Greece itself as inseparable from the rest of the region in which they live. "Emigration and diaspora, refugees chased away from their own homeland, crossing borders and seeking shelter, these are among the most burning so cial issues of our time, " he says. He may be referring to the catastrophes that have lately befallen this part of the world but which, he feels, are true on a universal basis. The title of the film The Suspended Step of the Stork refers to an officer who lifts one foot over the border and announces that if he puts it down on the other side, he will be shot dead. Borders are the evil to be abol ished. "That was the real meaning of a united Europe, for me. The United States of Europe was our only hope to escape chauvinism and the hostility it breeds. Now it seems Europe is close to becoming one economic entity, but a united political entity seems very far away. And without it, it is very doubt ful that an economic union can survive." Politics, once a major driving force for his creative juices, is further losing its flavor. On the set of his last film,
Eternity and a Day, Angelopoulos tells Gideon Bachmann: "If you were to talk to me about politics . . . I would have to tell you that I understand less all the time and in the end I understand nothing." The films of Angelopoulos are marked distinctively by his use of the se quence shot and by his obsession with cultural, historical, and political the matic matter. While these characteristics distinguish his films from those of his contemporaries, he has not emerged out of the blue. Angelopoulos often cites as inspiration the cinema of Michelangelo Antonioni. And, going fur ther back, he mentions Murnau, Mizoguchi, Welles, and Dreyer, who all fa vored the sequence shot as much as he does. But none of these filmmakers
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has been as consistent in visual and thematic choices, and none could claim, as Angelopoulos rightly does, that all his films are basically episodes in one single piece of work, each one engendering the next. For this reason, he says, not one of his films finishes with the classic closing, "The End." And as long as he will continue to make films, the last word of each will be the first for the next. Angelopoulos's film language is based exclusively on the sequence shot, and he is a strong believer in the "breathing shot," which should start a few seconds before the action it is supposed to depict and go on for a few more seconds after it is over. As he told Michel Demopoulos and Frida Liappas as early as 1974, while discussing Travelling Players: "The basic principle govern ing all the film is the sequence shot, whether the camera is moving (which it is most of the time) or immobile. This way, the scenes gain much in depth and detail, with the editing being done inside the camera." He insists that the sequence shots allow him much more freedom of expression, though, he concedes, it doesn't make life very easy for the audience. Originally, he says, the sequence shot was an instinctive choice, the only way he felt he could make films. Recently, after being asked once again to elaborate, he explained that for him, cutting real time into small time pieces, reaching immediately for the climax of each scene and eliminating the breath at the beginning and the end of each shot, is a bit like raping the audience, forcing one's vision on it. His camera embarks on long, intricate, and elegant movements that go on and on, observing the characters and the landscape in which they live from all possible angles, but always from a respectable distance, and rarely indulg ing in anything even remotely similar to a close-up. "I always fear those frames that practically scream 'Look at me! ' " Another visual aspect of his films is the pervasive barren landscapes of northern Greece, dark skies, rain, cold weather. He has been known to stop shooting when the weather improves, postponing the entire shoot for the next winter if he does not manage to wrap it up before spring. Positifs Michel Ciment, one of his most ardent followers, suggested, when talking to him in 1987 about The Beekeeper, that this tendency reminds him of Antonioni's fas cination with the valley of the Po River in northern Italy. Angelopoulos him self provides many possible reasons for this choice of landscape (some you will find in the interviews selected for this book) but finally concedes: "I have no explanation. I have often tried in the past to find one, but couldn't
I N T R O D U C T I O N
XIII
really. Maybe one has to look far back. A psychoanalyst might unveil the real sources." Angelopoulos always shoots on real locations, never in a studio. In Greece there is not much of a tradition for studio work, and with his obsessive per fectionism, he does not even attempt it. But the actual locations, for him, are just a point of departure. "I feel the need to transform a natural landscape into an internal landscape that I see in my imagination. I have houses re painted, sometimes even relocated; I build bridges that haven't been there before." The cutting in Angelopoulos's films baffles most traditional editors. Edit ing, as he has often pointed out, is done inside the camera, where the pace is established. The purpose of the editing table is just to check whether every thing went on as planned on the set. If not, the scissors won't help. The only solution is to shoot the whole thing all over again. The only real editing in Angelopulos's films is not for the image but for the sound, on which he lavishes enormous time and attention. "The sound effects are never acciden tal; they follow a certain cadence in relation to each other. One could almost count the beats. Do you know, for instance, that the actors were indeed counting silently between one line and another?" Usually one of the roles of the editing process is to put a degree of order in the film's narrative so that it is more accessible to the audience. But for Angelopoulos the things he will not say are as important as the ones he does. "The ellipse is a tremendous option for the spectator to become the film maker's partner in the creative process." And for him, having the spectator as a partner is a condition sine qua non. "It all depends on the spectator and to what extent he is willing to do his share of the work when he watches my film. The film supplies him with a certain amount of information, but it is only by completing it with his own input that he can hope to enjoy the film." As far as he is concerned, no concessions are acceptable. Discussing with the editors of Les Cahiers du Cinema the basic ingredients of Landscape
in the Mist-two children on the road searching for their father-he almost fearfully remarks that "differently shot and putting these qualities in evi dence, it could have been a tremendous commercial hit, " an idea which evi dently does not appeal to him at all. Although the visual style is his most arresting feature, his thematic choices, his "obsessions, " as he has been known to call them himself, are as easily identifiable: the search for a father figure, the importance of his pres-
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ence or his absence, the father as a metaphorical concept and as a point of reference; the overwhelming importance of recent Greek and Balkan history and the way it affects the people who live in that part of the world, the attempt to recreate personal and historical truth out of fragments, little sto ries reflecting major historical events; the journeys all his characters embark on, the borders, the notion of exile, displaced persons searching for a place they can truly call home, and the trauma of the eternal return. The accents of these themes may change as time goes by, as the following interviews clearly show, but they are present throughout his work. "All my obsessions enter and exit my films as the instruments of an orchestra do in a musical performance, they enter and exit, they fall silent only to re-emerge later. We are condemned to function with our obsessions. We make only one film. We write only one book. It's all variations and fugues on the same theme, " he says in an interview made for the American press book of Eternity
and a Day. A recurring element in almost every one of his films is the frequent refer ence to Greek mythology, notably the Odyssey, which has supplied the basic dramatic structure for many of his films. "Greek people have grown up ca ressing dead stones. I've tried to bring mythology down from the heights and directly to the people" he tells Tony Mitchell, discussing Megalexandros (which refers to the Oedipal myth) . Angelopoulos draws often from the Odys sey and from the myth of the Atrides, which was responsible for so much of the classic Greek tragedy. For instance, he has often mentioned that he sees the opening sequence of The Reconstruction as a modern replay of Ulysses coming home from his journeys. Voyage to Cythera is basically the story of Ulysses and Penelope, and of course, Ulysses' Gaze gives the mythological reference away in the title. The myth of the Atrides was used in The Travelling
Players because it "offered the option of a social unit that I could observe all through the period from 1939 and 1952." The analogy is there, but never forced. The only name from the actual myth that he uses in the film is the name of the son, Orestes. As for the rest of the characters, he concedes that their motivations are different and the circumstances are not the same. "His tory affects them, changes and transforms them . . . this [the myth] helps me to define more accurately the historical space in which they are allowed to move." It is interesting to note that up until his fifth film ( Voyage to Cythera 1983), most interviewers focused on the purely intellectual aspects of his films.
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They discussed in detail aesthetic decisions, political opinions, historical background, but rarely entered into the personal life of the director. It was a kind of reticence which might be interpreted as an expression of respect for someone who was revolutionizing the basics of his art-something very few, if any, of his contemporaries could claim to do. From Voyage to Cythera on, as the films themselves became more personal, so were the questions. He often pointed out that the opening sequence of this film, showing the Ger man army marching into Athens, is based on an episode from his own child hood. Referring to the name of the father in the film, he tells Michel Grodent: "Spyros was the name of my father. For me, it represents his entire generation. In the context of the film it does not have any significance, but I am very much attached to it. " No significance, indeed? "It is through the search for the father figure that we seek our way into the future and preserve our emotional balance," he says a bit later, in the course of the same inter view. And as time goes by, it becomes evident that his personal history is intimately intertwined with the films he makes. As already mentioned, one of his most traumatic childhood memories is the deportation of his father after the war. His return is the inspiration for the first scene of his first film,
Reconstruction. His leading characters often bear similarities to himself, as he will freely admit, and he sometimes reflects that "maybe I am simply limited to my own experience, my traumas and my hopes, my own personal growth and evolution." Carrying the flag of the Greek cinema in the course of the last thirty years hasn't always been as pleasant an experience as one might imagine, particu larly for someone as outspoken as Angelopoulos is inclined to be. He has openly criticized various aspects of the Greek cinema (and not only cinema) . Many of his countrymen felt crushed under his personality and claimed he was obstructing their careers, leaving them no room to grow and develop on their own. Though at various times, the names of Cacoyannis, Kondouros, Voulgaris, and a few others gained a certain degree of notoriety, it is true that for the last thirty years, Angelopoulos has been practically the only one to consistently represent Greek cinema on the international scene. Naturally his long tenure at the top, over several generations, "has generated some bitterness, not only among filmmakers but also among film critics, " as he is quick to point out. But he wasn't always as philosophical about it as he is today. He once remarked rather bitterly to Tony Mitchell that the catch phrase of the 1979 Thessaloniki Film Festival was "Death to Angelopoulos."
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And this "love-hate relationship, " as he calls it in the same interview, is not restricted to cinema only, for his criticism is directed at much larger Greek issues with similar results. Sometimes, he is exasperated enough to declare, as he did after The Suspended Step of the Stork: "I'd like to act just like Mastroi anni in the film and announce that I am a political refugee in my home land." And indeed, two films later, in Eternity and a Day, his hero, a poet who bears an uncanny resemblance to Angelopoulos himself, says he has lived all his life in exile. But, on the other hand, Angelopoulos accepts that "one can be critical of his own family without feeling the need to abandon it." From the interviews in this book, one easily sees that in the early stages of his career he considered himself a full member of the Greek film industry. But both he and his interviewers stop relating to him as such the better known he becomes internationally. At home, some of the bitterness toward him was generated by the feeling that he is crowding all the national prizes and state subsidies. Unfair, claimed some of his colleagues, less famous and often having to struggle to find the budget for their next films. However, the budgets for his films-though barely shoestring productions by Hollywood standards-have been, for many years, too expensive for the modest Greek industry, and since Megalexandros, they have all been co-produced by his own company with Western European partners. True, the Greek Film Center is always a major investor, but they could hardly find a better investment. His films, as difficult as they are, still attract specialized audiences abroad, and in Greece, audiences still make quite a fuss about each and every one of them. Most of the interviews for this volume were not originally published in En glish. Angelopoulos's insistence on film as art and resistance to the concept of film as entertainment has resulted in a very limited distribution of his films in Hollywood-controlled environments. In Europe, however, he is not only well known and appreciated; he is considered one of the pillars of mod ern cinema. This may explain why most of the interviews published here originated in countries that are familiar with his work and admire it, such as France, Italy, Germany or Israel, where most of his films since Megalexandros have had a commercial release. Everything you will read in the following pages has been translated at least once, more often twice. Since Angelopoulos himself speaks very little English, all his interviews are done either in Greek or in French, which he speaks perfectly. I realize the danger lurking behind
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the old Italian saying traduttore-traditore (translator-traitor) . However, having known Angelopoulos for many years and having interviewed him quite often, I can say that it seems to me every single one of the interviews in cluded here does represent his thoughts. Two pieces of advice before you proceed to the interviews themselves. First, if you are just discovering Angelopoulos, you should probably start with the two Geoff Andrew contributions. Andrew is the senior film editor of the London TimeOut as well as a programmer of the National Film Theatre. Second piece of advise: these interviews shouldn't be read on their own. See the films, as many of them as possible, and you'll get so much more from the entire experience. Many people have helped this project come true. First and foremost, I thank Theo Angelopoulos and his spouse, Phoebe Economopoulou (also his producer), who opened their archives and allowed me to choose the most interesting material I could find there. Angelopoulos graciously took the time to grant me a very long interview and kept me updated on every subse quent one he made after that. I am no less indebted to the Greek Film Center and Voula Georgakakou, who were always willing to provide information and material; to Elly Petrides, who put together the Center's booklet accom panying the British retrospective of Angelopoulos's films; to Karin Mes slinger of the Berlin Forum, who gave me a hand with the translation of the Florian Hopf and Ulrich Gregor interviews; and to Gabrielle Schulz, who translated her own interview into English for my convenience. I would also like to thank my dear friend Alexis Grivas, who has been a source of informa tion and has lent a helping hand on every occasion, without my having to ask for it. Without their assistance, I doubt if this work would have been ever completed. And, of course, I would like to thank all of the original interviewers and publications that have graciously granted the permission to use their mate rial in the present volume. And I am especially grateful to my wife, Edna, who has covered Theo Angelopoulos and his films as extensively as I have, contributing one of the interviews and all the advice I needed in order to complete this book.
CHRONOLOGY
1935 1940
Born in Athens on April 27, to a family of merchants. First Italian and then German forces enter Greece. Some of these events find their echoes later in his films.
1944
Greece is liberated and enters a long and painful civil war whose wounds will take many years to heal. Father is arrested without warn ing, deported for no evident reason, and returns home nine months later, as suddenly as he has disappeared.
1959
Quits law school on the eve of graduation for compulsory military service.
1961
Having completed his army stint, he leaves for Paris to study literature, filmology, and anthropology at the Sorbonne.
1962
Enters IDHEC (Institut des Hautes Etudes Cinematographiques) and has conflicts there with his teachers; attempts to shoot a medium length film entitled En Blanc et Noir (In Black and White), which was never completed for lack of funds; negative is left at the laboratory.
1963
Moves from IDHEC to Jean Rouch's film courses at Le Musee de l'Homme.
1964
Returns to Athens; writes film criticism for Democratic Change.
1965
Works on a U.S.-Greek production of a fiction film on a pop group, entitled Forminx Story, which was supposed to serve also as promotion
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for the group's American tour. Replaced by the producers before com pleting the film. 196 7
Military takeover of regime in Greece. Democratic Change is closed down; strict censorship enforced on all media.
196 8
After two years and a long interruption in 196 7 due to the political events in Greece, he completes The Broadcast, a b/w short about a radio show looking for "the ideal man." The film is screened and wins the Greek Critics' Award at the Thessaloniki Film Festival.
1970
Reconstruction, his first feature film based on an actual event, the mur der of a Greek worker who comes back home from Germany, reaps most of the awards at the Thessaloniki Film Festival that year (best film, best director, best script, best actress, also critics' prize).
1971
Reconstruction is recognized abroad with the Georges Sadoul Prize in France and a special mention of the International Film Critics (FIPRESCI) at the Berlin Film Festival.
1972
The Days o( '36, based on a real incident which took place in pre-World War II Greece, is best film in Thessaloniki; shown one year later abroad, the film wins the FIPRESCI award in Berlin.
1974
Starts his most ambitious project to date, The Travelling Players, in Jan uary. Because of political events he has to stop in May; he picks up again in November and the film is finished in January 1975. The Travel
ling Players collects even more awards than his previous films, not only in Thessaloniki, but also in Cannes, Berlin, Japan, and Brussels. 1977
The Hunters, the first film to be produced by his own company with French and German co-producers, is invited to the official competition in Cannes. Later that year, it is awarded a Golden Hugo in Chicago.
1980
Megalexandros, combining several Greek myths and fashioned in the form of a Byzantine liturgy, is a full-fledged co-production with other European countries, namely Italy and Germany; it wins Golden Lion and Critics Awards in Venice and later in Thessaloniki.
1981
One Village, One Villager, a documentary on a theme that has troubled him for many years, the fate of Greek villages abandoned by their in habitants, is screened by Greek television.
CHRONOLOGY
1982
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Invited to contribute to a series of documentaries on cultural capitals of Europe, he makes Athens, Return to the Acropolis, a personal vision of the city in which he was born and of its historical significance.
1983
Starts shooting in January Voyage to Cythera; stops for two months be cause of lead actor's poor health. Finished in 1984, the film starts a new cycle far more personal in nature, referring in a much clearer fashion to his own personal history. Shown a year later in Cannes, the film marks the beginning of a still ongoing partnership with Italian poet and scriptwriter Tonino Guerra and composer Eleni Karaindrou.
1986
The Beekeeper is shown at the Venice Film Festival. It is the first time he works with Marcello Mastroianni, who was to become a personal friend.
1988
Landscape in the Mist is unveiled in Venice, where it is awarded a Silver Lion. It is also selected Best European Film of the Year by the European Film Academy and one year later collects a Golden Hugo for best direc tor and a Golden Plaque for best cinematography in Chicago.
1991
The Suspended Step of the Stork, with Mastroianni and jeanne Moreau in the leads, opens in Cannes; starts yet another cycle in his work which he calls existential. His concern for the general state and the fate of the Balkan countries and his disenchantment with politics as such are brought very much into the forefront.
1995
Named Doctor Honoris Causa by the Free University in Brussels, Bel gium.
1995
In Ulysses' Gaze, he directs for the first time an American star, Harvey Keitel. He shoots the film all over the Balkans, incorporating the past and present tragedies raging in this part of the world and the indelible link between them. The Cannes jury awards him its Grand Prix.
1998
Eternity and a Day wins the Golden Palm in Cannes and confirms his position, not only as an art film icon, but also as a major figure in the world of cinema. Following a long and often painful relationship with the Thessaloniki Film Festival, Greece's leading cinema event, which first acclaimed him, then damned him for crowding everybody else out of the picture, he comes full circle. He becomes the festival's presi-
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dent and as such, probably the most influential film person in the country. 1999
Awarded Doctor Honoris Causa at the Paris X University in Nanterre.
zooo Prepares new film, tentatively titled The Third Wing, a chronicle em bracing the entire twentieth century and taking place on three conti nents.
FILMOGRAPHY
1965 FORMINX STORY Director: Angelopoulos Unfinished 1968 THE BROADCAST (I EKPOMBI) Producer/director/screenplay: Angelopoulos Cinematography: Giorgos Arvanitis Editing: Giorgos Triantafillou Sound: Thanassis Arvanitis Cast: Thedoros Katsadramis (Ideal Man), Lina Triantafillou (journalist), Nikos Mastorakis (journalist), Mirka Kaladzopoulou (glamorous star) B&W 23 minutes Thessaloniki Film Festival-Critics' Prize 1970 RECONSTRUCTION (ANAPARASTASI) Director: Angelopoulos Producer: Giorgos Samiotis Screenplay: Angelopoulos with Stratis Karras and Thanassis Valtinos Cinematography: Giorgos Arvanitis Sets: Mikes Karapiperis
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Sound: Thanassis Arvanitis Editing: Takis Davlopoulos Cast: Toula Stathopoulou (Eleni Ghousis), Yannis Totsikas (Christos Grika kas), Michalis Fotopoulos (Costas Ghousis), Thanos Grammenos (Eleni's brother), Alexandros Alexiou (police inspector), Angelopoulos, Christos Pal ighianopoulos, Telis Samantas, Panos Papadopoulos (journalists), Petros Hoi das (judge);Yannis Balaskas (police officer), Mersoula Kapsali (sister-in-law), Nikos Alevras (assistant prosecutor) B&W no minutes Thessaloniki Film Festival (1971)-Best Director, Best Film, Best Cinematogra phy, Best Actress, Critics' Prize Hyeres Film Festival (1971)-Best Foreign Film Berlin Film Festival (1971)-Special Mention FIPRESCI (International Federa tion of Film Critics) Georges Sadoul Award (1971)
1972 DAYS OF '36 (MERES TOU '36) Director: Angelopoulos Producer: Giorgos Papalios Screenplay: Angelopoulos, Petros Markaris, Thanassis Valtinos, Stratis Karras Cinematography: Giorgos Arvanitis Production design: Mikes Karapiperis Music: Giorgos Papastefanou Sound: Thanassis Arvanitis Editing: Vassilis Syropoulos Cast: Giorgos Kiritsis (lawyer), Christoforos Chimaras (government minis ter), Takis Doukakos (chief of police), Kostas Pavlou (Sofianos), Petros Zar kadis (Lukas Petros), Christophoros Nezer (prison warden), Vassilis Tsaglos (guard), Yannis Kandilas (Kriezis), Thanos Grammenos (Sofianos' brother) Color no minutes Berlin Film Festival (1973)-FIPRESCI Award Thessaloniki Film Festival (1973)-Best Director, Best Cinematography
FILMOGRAPHY
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1974/75 THE TRAVELLING PLAYERS (0 THIASSOS) Director/writer: Angelopoulos Producer: Giorgos Papalios Cinematography: Giorgos Arvanitis Production design: Mikes Karapiperis Make-up: Giorgos Patsas Sound: Thanassis Arvanitis Music: Loukianos Kilaidonis Choice of texts and songs: Fotos Lambrinos Songs performed by Nena Mendi, Dimitris Kaberidis, loanna Kiourtsoglou, Costas Messaris Editing: Takis Davlopoulos, Giorgos Triantafillou Cast: Eva Kotamanidou (Electra), Aliki Georgouli (mother), Stratos Pachis (father), Maria Vassiliou (Chrysothemis), Vangelis Kazan (Aegisthus), Petros Zarkadis (Orestes), Kyriakos Katrivanos (Pylades), Yannis Firios (accordion ist), Nina Papazaphiropoulou (old woman), Alekos Boubis (old man), Kostas Stiliaris (militia leader), Grigoris Evangelatos (poet) Color 230 minutes Cannes Film Festival (1975)-Grand Prix FIPRESCI Berlin "Forum" (1975)-Interfilm Award Brussels (1976)-Golden Age Award British Film Institute (1976)-Best Film of the Year Thessaloniki Film Festival-Best Film Japan-Grand Prix of the Arts Italian Film Critics-Best Film of the ' 7os 1977 THE HUNTERS (I KYNIGHI) Theo Angelopoulos Productions with the participation of INA Producers: Angelopoulos, Nikos Angelopoulos Director: Angelopoulos Screenplay: Angelopoulos with the participation of Stratis Karras Cinematography: Giorgos Arvanitis Music: Lukianos Kilaidonis
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FILMOGRAPHY
Editing: Giorgos Triantafillou Sound: Thanassis Arvanitis Production design: Mikes Karapiperis Cast: Vangelis Kazan (Savvas), Betty Valassi (his wife), Giorgos Danis (Yannis Diamantis), Mary Chronopoulou (his wife), Ilias Stamatiou (Antonis Papado poulos), Aliki Georgouli (his wife), Nikos Kouros (colonel), Eva Kotamanidou (his wife), Stratos Pachis (Giorgos Fantakis), Christophoros Nezer (politi cian), Dimitris Kamberidis (communist) Color 165 minutes Chicago Film Festival (1978)-Golden Hugo Award Turkish Film Critics-Best Film of the Year
1980 MEGALEXANDROS RAI, ZDF, Theo Angelopoulos Productions, Greek Film Center Producer: Nikos Angelopoulos Executive producers: Phoebe Economopoulos, Lorenzo Ostuni (RAI) Director: Angelopoulos Screenplay: Angelopoulos, Petros Markaris Cinematography: Giorgos Arvanitis Production Design: Mikes Karapiperis Costumes: Giorgos Ziakas Music: Christodoulos Halaris Editing: Giorgos Triantafillou Cast: Omero Antonutti (Megalexandros), Eva Kotamanidou (his daughter), Grigoris Evangelatos (teacher), Michalis Yannatos (guide), Laura de Marchi, Francesco Ranelutti, Brizio Montinaro, Norman Mozzato, Claudio Betan (Italian anarchists), Toula Stathopoulou, Fotis Papalambrou, Thanos Grammenos (community committee), Christophoros Nezer (Tzepelis), Ilias Zafiropoulos (young Alexander) Color 210 minutes Venice Film Festival (1980)-Golden Lion for Best Film, New Cinema Award, FIPRESCI Award
FILMOGRAPHY
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1981 ONE VILLAGE, ONE VILLAGER (ENA CHORIO, ENAS KATIKOS) (documen tary) Greek Armed Forces Television (YENED) Director: Angelopoulos Cinematography: Giorgos Arvanitis Editing: Giorgos Triantafillou Sound: Thanassis Arvanitis Color 20 minutes 1982 ATHENS, RETURN TO THE ACROPOLIS (ATHENA, EPISTROFI STIN ACRO POLI) (documentary) Trans World Films, ERT TV, Theo Angelopoulos Productions Director/writer: Angelopoulos Texts: Costas Tahtsis Cinematography: Giorgos Arvanitis Music: Manos Hadj idakis, Dionyssis Savopoulos, Lukianos Kilaidonis Poetry: George Seferis, Tassos Livaditis Editing: Giorgos Triantafillou Sound: Thanassis Georgiadis Production design: Mikes Karapiperis Color 43 minutes 1983 VOYAGE TO CYTHERA (TAXIDI STA KYTHIRA) Greek Film Center, ZDF, Channel 4, RAI, Greek Television, Theo Angelo poulos Productions Producer: Giorgos Samiotis Executive producers: Samiotis, P. Xenakis, Phoebe Economopoulos, V. Licur essi Director: Angelopoulos Screenplay: Angelopoulos with Thanassis Valtinos, Tonino Guerra Cinematography: Giorgos Arvanitis
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F I L M O G R A P H Y
Production design: Mikes Karapiperis Costumes: Giorgos Ziakas Music: Eleni Karaindrou Sound: Thanassis Arvanitis, Dinos Kittou, Nikos Achladis Cast: Manos Katrakis (old man Spyros), Giulio Brogi (Alexandros), Mary Ch ronopoulou (Voula), Dionyssis Papayannopoulos (Antonis), Dora Volanaki (Katerina, old Spyros's wife), Athinodoros Proussalis (police captain), Mi chalis Yannatos (coast guard officer), Vassilis Tsaglos (president of the dock workers' union), Despina Geroulanou (Alexandros's wife), Tassos Saridis (German soldier) Color 137 minutes Cannes Film Festival (1984)-Best Screenplay Award, FIPRESCI Award !986 THE BEEKEEPER (0 MELISSOKOMOS) Greek Film Center, Greek Television (ERT-1), Marin Karmitz Productions (France), Basicinematografica (Rome), Theo Angelopoulos Productions Executive producer: Nikos Angelopoulos Director: Angelopoulos Screenplay: Angelopoulos with the participation of Dimitris Nollas, Tonino Guerra Cinematography: Giorgos Arvanitis Music: Eleni Karaindrou Editing: Takis Yannopoulos Sound: Nikos Achladis Production design: Mikes Karapiperis Cast: Marcello Mastroianni (Spyros), Nadia Mourouzi (the girl), Serge Reggi ani (the sick man), Jenny Roussea (Spyros's wife), Dinos Iliopoulos (Spyros's friend) Color 120 minutes 1988 LANDSCAPE IN THE MIST (TOPIO STIN OMICHLI) Greek Film Center, Greek Television (ERT-1), Basicinematografica (Rome), Theo Angelopoulos Productions
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Director: Angelopoulos Screenplay: Angelopoulos with the participation of Tonino Guerra and Tha nassis Valtinos Cinematography: Giorgos Arvanitis Editing: Yannis Tsitsopoulos Music: Eleni Karaindrou Cast: Tania Palaiologou (Voula), Michalis Zeke (Alexandros), Stratos Tzort zoglou (Orestes) Color 126 minutes Venice Film Festival (1988)-Silver Lion for Best Director, FIPRESCI Award,
Art Cinema Association (CICAE) Prize, Pasinetti Award Chicago Film Festival (1988)-Golden Hugo Award, Best Cinematography Award Felix Award for Best European Film of the Year (1989) 1991 THE SUSPENDED STEP OF THE STORK (TO METEORO VIMA TOU PEL ARGOU) Greek Film Center, Thea Angelopoulos Productions, Arena Films (France), Vega Films (Switzerland), Erre Productions (Italy) Producers: Angelopoulos, Bruno Pesery Executive producers: Phoebe Economopoulos, E. Konitsiotis Director: Angelopoulos Screenplay: Angelopoulos, Tonino Guerra, Petros Markaris, in collaboration with Thanassis Valtinos Cinematography: Giorgos Arvanitis, Andreas Sinanos Production design: Mikes Karapiperis Costumes: Giorgos Patsas Edited: Yannis Tsitsopoulos Music: Eleni Karaindrou Sound: Marinos Athanassopoulos Cast: Marcello Mastroianni (politician who disappeared), Jeanne Moreau (his wife), Gregory Karr (Alexander, the journalist), Ilias Logothetis (the colonel), Dora Chrysikou (young bride), Vassilis Vouyouklakis (production director), Dimitris Poulikakos (television cameraman) Color 1.26 minutes
XXX
F I L M O G RAP HY
1995 ULYSSES' GAZE (TO VLEMA TOU ODYSSEA) Theo Angelopoulos Productions, Greek Film Center, MEGA Channel, Paradis Film, La Generale d'Images, La Sept Cinema with Canal+, Basicinemato grafica, Instituto Luce, RAI, Tele-Muenchen, Concorde Films, Herbert Kloider and in association with Channel 4 Producers: Giorgio Silvagni, Eric Heumann, Dragan Ivanovic-Hevi, Ivan Mi lovanovic Executive producers: Phoebe Economopoulos, Marc Soustras (Paris) Director: Angelopoulos Screenplay: Angelopoulos with the participation of To nino Guerra, Petros Markaris, Giorgio Silvagni Cinematography: Giorgos Arvanitis Music: Eleni Karaindrou (violin solo: Kim Kashkashian) Editing: Yannis Tsitsopoulos Sound: Thanassis Arvanitis, Marton] ankov-Tomica, Yannis Haralambidis Production design: Giorgos Patsas, Miodrag Mile Nicolic Cast: Harvey Keitel (A), Mai'a Morgenstern (woman in Florina, Penelope, Kali/Calypso, widow/Circe, Nausica), Erland Josephson (lvo Levy), Thanassis Vengos (taxi driver), Giorgos Michalakopoulos (Nikos), Dora Volanaki (old lady in Albania), Mania Papadimitriou (mother in A's memory) Color 176 minutes Cannes Film Festival (1995)-Grand Prix, FIPRESCI Award Felix for Best European Film of the Year (1995) 1998 ETERNITY AND A DAY (MIA EONIOTITA KE MIA MERA) Theo Angelopoulos Productions, Greek Film Center, Greek Television (ERT-1), Paradis Films SRL, Intermedia SA, La Sept Cinema with Canal+, Classic SRL, lstituto Luce, WDR, ARTE Executive Producer: Phoebe Economopoulos Director: Angelopoulos Screenplay: Angelopoulos in collaboration with Tonino Guerra, Petros Markaris Cinematography: Giorgos Arvanitis, Andreas Sinanos Editing: Yannis Tsitsopoulos
F I L M O G RA P H Y
X X XI
Music: Eleni Karaindrou Sound: Nikos Papadimitriou Production design: Giorgos Ziakas, Costas Dimitriadis Costumes: Giorgos Patsas Cast: Bruno Ganz (Alexander), Fabrizio Bentivoglio (the Poet), Isabelle Re nauld (Anna), Achileas Skevis (the boy), Alexandra Ladikou (Anna's mother), Eleni Gerassimidou (Urania), Iris Hatziantoniou (Alexander's daughter), Nikos Kouros (Anna's uncle), Alekos Oudinotis (Anna's father), Nikos Ko lovos (the doctor) Color 132 minutes Cannes Film Festival (1998)-Golden Palm Award for Best Film, Ecumenical Prize
THEO ANGELOPOULOS INTERVIEWS
An Elegy for a Land Rotting Away: Reconstruction FLORIAN HOPF/1971
a:
Let's start with your premises and intentions.
A:
This case, for it is a real case, intrigued me. I had noticed several stories
of this kind in the Greek papers dealing with women who had murdered their husbands. And in Epirus, the poorest and most backward region of our country, this seemed to be particularly frequent. I decided to go to the village in
which a recent murder took place and investigate the case from the point
of view of a journalist. I spoke with the inhabitants, with the family of the accomplice, with the children, and with the defendant's lawyer, who opened before us the minutes of the trial. This was the basis for my script, which used the murder as an excuse to portray life in a small Epirian village. Since
I was not personally involved in the crime, not even as a witness-! was just a visitor from a big city in search of information-I felt it would be dishonest of me to turn it all into a fictional account. Something like Visconti's Ossessi
one, which deals with a similar story. Reconstruction tries to approach the case on two different levels. The first offers as accurate a version as possible of the events, based on the testimonies I had collected myself and on the minutes of the trial; the second level is the police reconstruction with the participation of the guilty parties. The film functions, therefore, as a confron tation between the official version put together by the authorities and my version, presented in the form of a questioning. The plot moves constantly between these two elements in a manner that is quite different from a logical From the catalogue of the Intemationales Forum des Junges Films, Berlin 1971.
c
1971 by Inter
nationales Forum des Junges Films. Reprinted by permission. Translated by Dan Fainaru.
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narrative. To give you an example, the film concludes with a scene that should have been at the very beginning: the murder itself. But what exactly happens there is still a mystery, because the camera remains outside, never witnessing the deed itself, just hearing the voices. a :
It seems you were not particularly concerned with the legal aspects of the case.
A :
Certainly not. The real issue for me was to watch this doomed region
whose fate threatened to become that of the entire country.
Does this mean you attempt to explore the historical background of this region, its social structures . . .
a :
A :
Certainly not. To begin with, there is no social or economic structure to
speak of in that area. The simple truth is that the only money available there is the money sent home by the people who had emigrated to Germany. This film, for me, is an elegy for a land rotting away, abandoned by its inhabi tants. It all started in 1962 when West German subsidies included the permis sion for Greek citizens to live and work in Germany. This issue was hotly debated at the time by both the right-wing and left-wing papers in Greece. Some claimed emigration is nothing less than a disaster; others believed it was rather positive, for if many workers went away, there would be no danger of an organized working class and therefore no resistance to the regime in power. The Colonels prefer, these days, to see all their opponents leave the country. All my friends, for instance, live abroad . . . unless they are in prison. It is for them that I made Reconstruction. For all those who have already left and those who are about to. And there is something else. Epirus has a rich and very old history and culture, its roots going back to antiquity. It is terri bly sad and upsetting to watch impotently as so many people are leaving this land, for once they go away, a whole civilization ceases to exist. a :
How did they survive there before the wave of emigration.
A :
Of course it wasn't easy, but one way or another, they did it. In any case,
Greeks are a nation of emigrants. At the turn of the century, half of them went to America. There are one and a half million Greeks in the U.S. There are already 30o,ooo in Germany. They are everywhere, and instead of con tributing to Greek economy at home, they are working for others. The Americans are coming into Greece now, claiming they wish to industrialize the country, but of course they will do it only if it is profitable for them. And
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Greece, for many, is now the fifty-first state of the Union. Five months ago, two Americans raped a sixteen-year-old Greek girl. They were acquitted when they came up with the perfect alibi: they were never in Greece, they badn't left the States at all. a:
You are implying Greece is a Third World country.
,. : That is the way things are. The Third World is not limited to Africa and Latin America. If you ask me, it includes Greece and Turkey too. We do not belong to the West, we are not part of Eastern Europe-we live at the cross roads of modern civilization. However, we happen to occupy a strategic point in the Middle East; therefore, we are important to American politics. Had it not been the case, their attitude towards us would have been com pletely different. a
:
A :
How was Reconstruction produced? Like every other independent production in Greece. To begin with, the
producer is not really a producer; he is a film technician. He works for com mercial productions but is a socially conscious person. He worked, for a while, with the professional unions, but not any more. He wants to do some thing else. All we had, when we started Reconstruction, was a small invest ment, contributed by a cousin of his and another friend. Altogether, when we started shooting, the budget was on the order of something like 2,500 German marks, but before we finished, it went up to 46,ooo marks. a
:
A :
Any previous experience as a director? I made a short that was highly praised by the critics, about the alienation
created by radio, television (though we still don't have it in Greece), and publicity. But let's go back to Reconstruction. We started with a crew of five persons: the producer, the cameraman, an assistant cameraman, a produc tion manager who also filled in as script editor, and myself. There were only two actors, neither one of them professionals. One of them was a barman, the other, unemployed. He had been sent to j ail for political reasons and once released, after two years, couldn't find any work. We were the first to offer him a paying j ob. All the other people in the film are peasants we found on the spot. Even the woman who plays the lead is an amateur; in real life she is a seamstress. I chose her because she fit the part, not physically, but psychologically. She was great, but she couldn't either read or write.
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Did you write down the dialogue and have the actors learn them by heart or did you rely on improvisation? a :
A
:
Everything was written beforehand, most of it before we started shoot
ing, and then inserted into the script. There isn't one improvised line in the film. a
: How did you manage on such a small budget?
A :
Well, it was like this. We had 9,ooo meters of raw material, and we had a
soundman who claimed he could manage without an assistant. Once he set up his equipment, he would handle the microphone and trust the tape re corder to work without supervision. We shot for twenty-five days, regardless of the weather. As a matter of fact, it was raining most of the time, so we didn't have much of a choice. We were invited to stay with the peasants in their homes, and we somehow managed to scramble some food. Lights, there were none. Only a handheld lamp, a soo kw transformer, two batteries, and a small, portable power generator rented for the occasion. We also had a small truck we used to move our equipment around and sometimes to sleep in. a : A :
What are the conditions of Greek cinema today? My film has the lowest budget of any film produced in Greece. But it is
not one of a kind. There was a time when cooperatives were making films on very low budgets. In most cases, for this kind of film, the persons involved have to use their own money. There is no State subsidy and no producer who would be interested in a film like mine. And it's a pretty risky business, too. Whoever puts his own money in a film and doesn't get it back-as it is mostly the case-will never do another film. Three or four major companies control the Greek cinema and distribution, and they are not interested in this type of film. a :
How many films are annually produced by these companies?
A :
It varies-from fifteen to a maximum of thirty for each of these compa
nies. These are pretty expensive productions, all of them featuring the Greek stars of the moment. a :
How many cinemas do you have in Greece?
A :
Plenty, because we still do not have television. There are some 200 cine
mas in Athens only, and close to 2,ooo all over the country.
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:
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How was Reconstruction received in Greece? The press screenings were tremendously successful and everybody was
convinced that it would be a box-office success. But the trouble was that I couldn't find a cinema to show it in. The exhibitors had made up their minds to boycott it. a : A :
Who are these exhibitors? All sorts of people, united in their common interests with the distribu
tors. They make a lot of money by keeping their screens available for the people who provide them with films all year long. a : Do you mean you have theater chains controlled by major producers, who are showing only the films made by these producers? A
:
To find a distributor, someone like me would have to hand the film over
to him. But since distributors realize that such a film would compete with their own productions, they prefer to forget it on the shelf. a
:
How many films are made in Greece, altogether?
A
:
Overall, we have an annual production of approximately 120 films. But
many of them are never released in Athens; they go into general release with out a proper first run. You have to keep in mind that Greece still has many analphabetics, people who cannot read subtitles. Also, in Greece the ent�re family goes to the movies, which means that any film restricted to adult audiences is automatically doomed to fail. Therefore, the only option is to make family pictures, where adults can go with their children. a:
What did finally happen to Reconstruction?
A:
Some 6so,ooo people have seen it until now. To put it in perspective,
films featuring our leading stars reach r.s million admissions.
Anyway, your performance is quite remarkable. Do you believe it could have done even better? a:
A :
Let's consider a simple fact. I am showing my film in one cinema, not
very central, while the others are releasing their films on fifteen screens. Even
if it is a flop, there will still be a few hundred people, living next to the dnema, who will come to see it. Doesn't seem to be very much, but it counts, nevertheless.
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a : Do you mean that no distributor will accept the fact that a film he hasn 't produced could generate profits? A : I have screened Reconstruction for the biggest distributor in Greece. After
ten minutes, he stood up and said, "I am not interested." He didn't even stay till the end. But it is quite possible I will find a big distributor for my next film, on one condition: that he believes there is a chance of selling it abroad. a :
How about censorship?
A :
We were not sure that once the film was finished, it would be cleared by
the censors. As a matter of fact, we feared they would ban it. Therefore, I first screened the film for the critics. a :
Before the censors had seen it?
A :
Exactly. The next day, they all wrote that they had seen a masterpiece.
Because of this enthusiasm, the censors had to let it go. They did not feel like running the risk of a public outcry in case they banned the film. a :
A
:
Did they touch it at all? No, but we had quite an argument with the Ministry of Interior, who
wanted to cut it.
Unveiling the Patterns of Power:
The Days of '36 U L R I CH G R EGO R /1 9 7 3
a
:
A :
What is the historical background of your film? It is based, more or less, on real facts. A convict used a gun to take hos
tage a right-wing Member of Parliament who visited him in his cell. Later it turned out the two knew each other for a long time, though the nature of their relations was less than clear. Was there some kind of agreement be tween him and the convict? Nobody knows. The convict writes to his friends: "I am going to kill him and then kill myself; there are no documents proving they have ever arrested me." But since the hostage was a pretty well known personality, the case triggered a very complicated reaction. There was great anguish in the political circles, particularly in the right, since the hos tage was one of them. The government was directly concerned. I should mention that at the time, General Metaxas was ruling the country. He had acceded to power through the support of the right wing and center that had joined forces in his favor. Neither one of the two could rule the country on its own, since they had an equal number of votes, while Metaxas himself had only seven seats in the Parliament and the communists had fifteen. Since the two leading parties wanted to keep the communists out of the game, they agreed to let Metaxas take over. This Metaxas was a great admirer of Musso lini and had all sorts of shady dealings with Goebbels, who made a special trip to Greece just to visit him. From the catalogue of the Internationals Forum des funges Films, Berlin, 1973.
c
1973 by the
Intemationales Forum des Junges Films. Reprinted by permission. Translated by Dan Fainaru.
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o :
Did the murder of the union leader have anything to do with the case?
A :
No. I introduced it into the story. That is, I put together a number of
events. The jail incident is a true one, and so is the murder of the union leader, though it happened a bit later. I put them together to give a better idea of the political climate during that period. The plot, however, is concen trated in the space of a few days only. o
: A few but very significant days, they represent the entire period.
A :
Exactly. It is perfectly clear I am dealing with a time in Greek history
when the actions of the workers parties were beginning to become effective. Strikes and demonstrations were everyday occurrences. Briefly, the kind of climate that would be difficult to describe today, given our political situa tion. Going back to Metaxas, the two parties had enthroned him despite his being a real fascist, following in the tracks of earlier previous dictators. He did not make any effort to dissimulate his positions, and he had no scruples declaring that under his guidance, Greece would never face the risk of an other autocracy. The King (joining forces with Metaxas and the British) wanted stability at any price, even if this meant opening the door to a dic tator. o :
And indeed, you have an Englishman in your film.
A :
Yes, and he talks about dictators and interventionism. "As far as I am
concerned, I am against any strong-arm intervention, " he claims. Theoreti cally, maybe. For he adds: "I have to agree however that there are certain situations . . . in a number of underdeveloped countries . . . , " and he never finishes the sentence. But it is clear from his tone that he is in favor of inter vention.
Do you think the Greek audience identifies the characters in your film? For instance, do they recognize Metaxas?
o :
A
:
No doubt about Metaxas. Also the Member of Parliament. The character
in my film is very close to the real person. He is vaguely homosexual and that is how I portrayed him. He is very elegant, has a certain kind of body language . . . briefly, he is easy to identify. No wonder the real person, who is still very much alive, is furious. o : Given these elements, the audience may very well draw some up to date conclu sions?
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It is true that our present political situation is not unlike the time when
the King intervened in favor of Metaxas, after realizing the two leading par ties were unable to reach an agreement on their own. The kind of political situation that could lead to a takeover by a certain Mr. X, just like it was the case with Metaxas. a : A
:
How did you manage to produce the film? One of my friends used to teach at the Greek Film School. He had a
student whose husband-a rich man-was an admirer of Reconstruction. He said he would like to finance one of my films, and I took him up on the offer, that's it. We became friends and shared the same political opinions. His po litical awareness vastly changed as we were making the film. He told me later: "I don't care if I lose money on your film. The experience was worth it, through this film I learned a lot of things I did not know before. " He wasn't the type of producer who would say, "Your film didn't make a penny. " I used the same crew I had in Reconstruction, slightly larger since there was a bit more money. Some of the actors were professionals, the rest amateurs. a : Do the Greek censors read the script or do they only look at the finished product? A : Scripts are supposed to be checked by the censors, but we managed to
slip it through. To tell you the truth, there is quite a bit of difference between the original script and the film in its final form. The scene of the Englishman was not in script, nor the murder of the union leader. As a matter of fact, there was no mention of a union leader, j ust of some person who had been murdered. a :
Once finished, did the film encounter any censorship problems?
A :
Some. I prefer not to go into details; it would be silly of me, since I have
the intention of continuing to make films in Greece. The main thing is that
The Days of '36 was released. a
: I believe the first screening was at the Thessaloniki Film Festival.
A :
Indeed, and it was enthusiastically received by the audience and the left
wing parties. The ones who were really angry were the center parties. They felt my portrayal of the parliament at the time was embarrassingly suggestive of the present regime of the Colonels.
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a : A :
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Who are these people? Neither the liberals nor the center left. These are the people who lost all
their privileges after the Colonels rose to power, and this includes some of the right-wing people. The parliamentary regime generated a certain number of social changes. People with vast fortunes have seen their profits curtailed and lost their place to others. Government officials are being paid the double of what they made before. The same for the police, whose condition before had seemed hopeless. Since many were forced to retire, there were plenty of possibilities to grab a government office. a :
Are we talking about a class of bureaucrats?
A :
Exactly.
a : I understand the screening of Reconstruction by the German television has been ofgreat help to you. A :
True. And the same goes for the prize I was awarded in France. Also the
screening of the film by BBC in England. Greece is a small country; for them I am now an important person. Someone with an international reputation you can't throw arbitrarily into jail.
Does it mean there is a chance for artistic and cultural activity in Greece today?
a :
A :
In any case, we're trying to work in this sense . . . . Take for instance
Synchronos Kinematographos, a film magazine in which I am not personally involved. It could be easily defined as a para-marxist publication, at least it is evident to me.
Your film 's style is very elliptical. There is always something the audience won 't find on the screen and will have to fill in on its own.
a :
A :
It's one way to go beyond naturalism, as Dreyer used to say. The ellipse
is a tremendous option for the spectator to become the filmmaker's partner in the creative process. It also offers a kind of "Brechtian alienation" that depends not only on the position of the camera, but also on the structure of the film. Every film is made up of a number of individual blocks that-to use Brecht's definition-are autonomous, but they all depend on each other. The point, evidently, is to follow an almost naturalistic course in order to better underline the realism of each sequence. For instance, by striking a certain
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pose, the character about to be murdered breaks through the apparent natu ralism of the moment and becomes realistic. a : This apparent naturalism is evident in the very careful way you draw each one ofyour characters. A : With an intentional pinch of irony. I tried to use satire for the portrait
of this bunch of goons that were ruling the country. Also, I had to keep in mind the formula of political cinema that emerged after the films of Rosi and Costa Gavras. The Days of '36 is the opposite of Z. In Gavras's film there is a clear distinction between heroes and villains. The same goes for the situa tions. Everything is predictable, it fits in with the middle-class ideology. My films are trying to be more hybrid, without a beginning or an end. I attempt to introduce a sort of "anti-suspense" ritual, something of the kind Oshima created in Death by Hanging, recently released in Greece.
: You mentioned earlier Dreyer, even quoted him. Have his films had any influ ence on your work? A : No. The only film of his I know is The Passion ofJeanne d'Arc. Dies Irae is a
being released now in Greece but I haven't seen it yet. I read some of his declarations in the Greek press, and I was referring to them. If you are look ing for an affinity, it is more in the direction of Godard you should look. He had a certain influence on me . . . and on the other filmmakers of my genera tion. At the early stages, there was also a touch of Antonioni, and then Go dard.
: I heard there is a new generation of cinephiles in Greece, and they are inter ested in modem cinema. A : True. We get to see now all the important new films, like Oshima's The Ceremony or Straub's Othon. It doesn't matter whether they like them or not, a
the main thing is that they discuss them. In a few days, we'll have a strike here, caused by the competition between cinema and television. The theaters are empty, and the strike will protest against the exorbitant taxation of the cinemas. These type of demonstrations are familiar in Western Europe, but in Greece they are just beginning.
I'd like to go back to your film. What is the significance ofthe boys distributing leaflets?
a :
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It's another reference to the political climate at the time. Since it was
prohibited to distribute leaflets, they had to be given away like this. In the context of the film, it is supposed to mean that on the one hand there is a law, but on the other hand, there are young people willing to take the risk and challenge it. It's another way of underlining certain aspects of the re gime. o
:
Three government officials are shot in the last scene.
A
:
Executions were by hanging, before the dictatorship. But in practice,
they killed people any old way. Public opinion found this out only after the demise of Metaxas, during WW2. o
:
A
:
What about Pindar's text? Mussolini ransacked Roman classics for his fascist propaganda; in Greece
fascists did the same with Greek classics. During Metaxas's stay in power, they used to refer to the three great civilizations. The antiquity, the Byzan tine era, and the Metaxas civilization. They quoted old texts that no one understood to justify their positions-it was all a mumble-jumble of mean ingless words, nothing more. : The film is often ambiguous. For instance, who is the murderer of the union leader?
o
A
:
No one knows. All we know is that the suspect was one of the persons
who shot at the people marching. The point was not to show who pulled the trigger but to indicate that he has done it together with many others who could be considered equally responsible. o : Your film does not offer a concrete analysis of the political facts, in the current sense of the word. There is a lot you left out, to be completed by the audience, and this adds to its ambiguity. A
:
Indeed, for, as I said before, what I was looking for was a certain climate.
A reign of terror. People claim their innocence by accusing an innocent per son. No one achieves his purpose. The patterns of power are unveiled as they reach their inexorable conclusion-to kill. For me, this is shocking: the state eliminates a person without giving him the benefit of a court of law to prove his innocence. All means are acceptable-poison, for instance-as long as it terrifies the people.
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There is a certain similarity here with the American gangster movies. Some of the characters seem to be lifted out of them. a
:
A
:
True. The murderer is dressed just like the gangsters in the thirties. The
reference is even clearer, because the person is a policeman but at the same time, he is one of the gangsters, known in the underworld as "Valentino" because of his resemblance to the movie star. In the picture, whoever tries to speak up is immediately wiped out. Only the diplomats are free to express themselves. The same goes for the mother of the MP, but then she is one of the rich and powerful. No one would touch her. a
:
Class struggle?
A
:
I prefer to avoid this cliche. The film deals with a certain, specific class
at a certain, specific point in history. The previous generations were freedom fighters, while their sons . . . . " There are many families of this kind in Greece. After WW2, they married into money, bringing for their dowry the reputa tion of their name. Let's face it, the fate of Greece is decided by no more than 200 families. Onassis, for example, intended to put up a temple in the center of Athens in memory of his son, as if the city of Athens belonged to him . . . . a :
A
:
Was The Days of '36 finally released commercially? Yes. Some so,ooo admissions in Athens and altogether I believe we'll
reach Ioo,ooo in the entire country. For Greece, it isn't very much. a :
A
:
Did you get any state subsidies? Not a penny. But they did not forget to collect the taxes, which in Greece
are so% of the ticket price.
A journey through Greek Landscape and History: The Travelling Players MI CHEL DEMOPOULOS FR I DA
AND
LIAPPAS /197 4
When did you decide to shoot The Travelling Players, and what were the political circumstances at the time? a :
A :
We launched the film during the so-called liberalization period of Mar
kensinis, that is on the eve of the Polytechnic events. In any case, since the film deals with the 1939-52 period and refers to all sorts of unmentionable historical episodes, the Papadopoulos censors wouldn't have been very likely to approve it. Nevertheless, we decided to go ahead and shoot the film. Shortly before we started, the Polytechnic incidents erupted in all their vio lence followed by the Ioannides putsch. At this point we wondered whether it was worth making a film that might very well never be shown in Greece. And what would be the sense of such a decision? We discussed the matter with the producer, and he agreed with us that even if the film was to be banned in Greece, it would achieve its purpose through the echoes of its screenings abroad. In january and February 1974, as the terror was reaching its peak, we decided to go ahead with the film. We were prepared to make our film disregarding any censorship threats whatsoever. a : A :
What was the original idea? I first thought about a travelling company touring the smaller towns
around the country. A j ourney through the Greek landscape and history, following a group of actors from one town square to the next. Later, more From Synchronos Kinematographos, no. 1, Sept. 1974.
©
1974 by Synchronos
Kinematographos. Reprinted by permission. Translated by Dan Fainaru.
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elements were added like, for example, using the myth of the Atrides for the relations between the actors. I used an existing formula-father, son, mother, lover, their children . . . power . . . murder-which functions both as a myth and as a basis for the plot. It was a liberating decision, since I had made up my mind from the very beginning this was not supposed to be a lesson in history. The myth of the Atrides offered the option of a social unit that I could observe all through the period from 1939 to 1952. The Days of '36 revealed the portrait of a dictatorship. The Travelling Players is a kind of se quel, giving names and specifications to this portrait. It goes up only until
1952, because I believe that year's massacres put an end to the civil war and consecrated the triumph of the right wing and the victory of Papagos. That is, the story covers the period between the overt dictatorship of a general to the veiled dictatorship of a field marshal, who was viewed by many Greeks, exhausted by all the catastrophies they had experienced before, as a liberator. There were a number of obstacles I had to overcome in order to achieve my purpose. First, to combine all these elements into one structure, but also to avoid conventional scenes of the kind you encounter so often in these cir cumstances: hunger, death, persecutions, etc. For this reason, the film begins in 1952 with Pagagos's election campaign. I wanted to portray the generation of the Resistance, the people who were against the Metaxas dictatorship, who fought in WW2, who joined the National Front of Liberation and retreated later into the mountains. All those who were forced by the events to take a stand and, finally, were considered the " Resistance generation" from the left ist point of view, naturally. Three persons represent this generation in the film : the older 1939 militant and two younger persons suspected of sympa thizing with this man and his opinions. All three of them j oin the Resistance and are arrested. One of them is deported and released in 1950 after signing an anti-communist declaration. The second is executed in 1951 for refusing to give up the armed struggle. The third falls ill in prison, is released for "health reasons, " and will carry with him the "revolution trauma" for the rest of his life. Time has stopped for him in 1944; he constantly projects the events of that year into the future. The entire picture bears the stamp of this trauma. All the characters suffer from it. Some have signed the declaration, others have died in prison or lost their minds.
You claim you used the myth of the Atrides to avoid the artificiality of a con ventional arbitrary form. Aren't you worried that such a myth, so deeply entrenched
a :
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in the cultural traditions of our civilization, would create an opposite effect, by imposing on the film an inexorable fatality? You obviously wish to use the myth as an historical model, but it could lead to the wrong conclusions. Some people might take the film as another interpretation of the myth. A :
To begin with, the presence of the myth is not that evident in the film.
We do not use names, there is no Agammemnon, no Electra, no Pylade, not even a Nikos or Pavlos. The onlr name in it is Orestes, who for me is a con cept more than a character: the concept of the revolution so many dream of. The affection many of the characters lavish on him represents their yearning for the ideal notion of the revolution. Orestes is the only one who remains faithful to himself and his goals, and is willing to die for them.
Isn't there a risk in identifying your protagonists with the heroes of the myth (Electra, Orestes, Egistus, Agammemnon, Clitemnestra) and then placing them in a different historical context? a :
A :
The motivations are different, the circumstances are not the same. His
tory affects them, changes and transforms them. All I did is sketch them, and this helps me to define more accurately the historical space in which they are allowed to move. In the film, Egistus is a militant for the August 4 party and finds himself involved in pseudo-collaboration with the Germans. The concept of power is revealed in him by his attitude to the other actors, after the death of Agammemnon. Attempting to analyze his personal motivation would lead to a psychological drama about the primal reasons that made Egistus what he is. And that does not interest me at all. What I was trying to achieve is a kind of Brechtian epic, where no psychological interpretation is necessary. a :
How did you put the script together? How did you use the myth in it?
A :
First of all, I tried to use the 1952 events as a point of departure. From
that point, I looked back, but not in the classical flashback tradition, because these are not personal recollections of one definite character, but collective memories, giving me the freedom to plant inside the 1952 sequence certain historical episodes from the past. The first scene takes place in 1952, the last in 1939. As you can see, I am progressing in the opposite direction. In the final scene we see all the characters who participate in the film. Some of them, we know, have been already killed in action; others are in j ail. The survivors are old by now; they have broken up, have been barely released
M I C H E L
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from prison. They walk towards each other, they stop in front of the camera, and we hear the text of the beginning: "In the summer of 1939 we reached Aigion. We were exhausted, we hadn't slept for two nights. " The only differ ence is the year-instead of 1952 in the opening scene it is now 1939. The characters here are still full of hope for the future, but we know what is in store for them. It's like an old family picture we look at, knowing only too well what is going to happen to each of the persons in it. a
:
A :
How did you select the historical events you wanted to show on screen? The choice of some dates and events is evident at first glance. The first
"historical fact" we run into, in 1939, is the declaration of WW2. This "fact" affects everybody and is therefore introduced at a popular festivity, the actors and many other people being there at the same time. The German victory is represented by the capitulation of a small Greek garrison. The Liberation is seen through a popular revolt. Later, in December 1944, we have the mea sures against possession of weapons, the civil war, and the elections of 1952. Also, when selecting the events, I preferred those I found to be most repre sentative of Greek characteristics. For the 1944 events, it was the people in the street and the dimensions of their reaction I was concerned with, not the governmental decisions as such. The people consider December 1944 as their revolution, a revolution that was cut off in the middle, before it reached its natural conclusion. Why? My film does not offer a straightforward answer to the question, but there is plenty of evidence in it to find the answer. For instance, why didn't the ELAS [The Greek Popular Army of Liberation] reach Athens? And there are more events we all know are part of the historical background of that period. Everything is shown through the perspective of simple people-the same people who have to bear the effects of these events. The film is a popular epic much more than an analysis of recent Greek his tory. a
:
Unlike your first two films, the erotic element is of major importance in The
Travelling Players. What is its significance in relation to the political elements in
the picture? A :
The sexual element is integrated in the characters. Clitemnestra's affair
with Egistus and Electra's reaction are all based on their respective personali ties. There is however a point when these relations stop being only personal, for Egistus is more than just the lover of the mother. He is also a traitor. He
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is killed not only because of his affair with Clitemnestra or because he has successfully ridded himself of Agammemnon, but for betraying Agammem non and his son to the Germans. Electra's rape is a political act as well. I believe that at the origins of every act of violence there is some kind of sexual impulse. Since Electra is raped in interrogation, the act becomes automati cally political. The film also introduces the concept of prostitution. Chryso temis is a prostitute who later marries an American soldier. This kind of marriage may solve a certain problem, but at the same time it represents the bankruptcy of moral values. The sexual element is therefore transferred to a political-ideological level.
a : What does the stage play Golfo the Shepherdess, produced by the players in your film all over Greece, mean to you?
A
:
The play functions on several levels. First, it is the means for these play
ers to make a living. But it is also art, since they perform it on stage. Then there is the text they use and the myth of the Atrides. The text is always interrupted at some stage and never completed on screen. And finally, add ing the historical background, the play itself gains another dimension. Let's take, for example, one line from the play: "Are we being watched?" This doesn't have anything to do with the popular drama anymore; it refers to the fate of the actors themselves, the characters of the film.
It seems as ifGolfo is the only play they ever perform. And you have to agree that both thematically and dramatically this is a very conventional play. Politically speaking, it rather mystifies instead of clarifying the true antagonism between so cial classes. Don't you feel there is a contradiction between the distinct political position of the actors themselves and the reactionary ideology of the play they keep producing? A : Golfo in nothing more than a convention, a Greek version of Romeo and Juliet. The actors are not really conscious of the conflict between their per a :
sonal politics and the ideology of the play. All they want is to make a living by offering their audience the kind of fare they like to see.
What about the relations between theater and cinema? The stage sequences raise the question of realism, in the sense that an actor plays an actor who plays a role in a play, so what is real in all this? a :
M I C H E L
A
:
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I have given a lot of thought to this matter. The actors play actors.
Masks, costumes, sets, they are all extremely important elements. The change of costumes, for example. When the Englishman puts an actor's beret on his head and gives the actor another hat in exchange, he becomes an actor in the play as well. When the British perform on the improvised set or sing "Tipperary, " the actors are the audience. When Golfo is supposed to fall down, dead, a British soldier falls too, killed by a bullet, as if he, at this spe cific moment, was playing the part of Golfo. Certain acts and events are re peated all through the film and given more than one sense, and the performance of the play is never concluded because it is always interrupted by the political events taking place at the same time. a :
Does your film adhere to a clear esthetic concept established beforehand?
A :
Despite rumors that I have a definite esthetic concept with which I will
stick through hell and high water, I would like to insist on the fact that I do improvise a lot. In the film there are a certain number of very dynamic scenes featuring a large variety of actions, and also static scenes, the three mono logues. Since I wanted to have one distinct esthetic approach, I tried to com pensate through camera movements in every possible instance, except for the theater production and the three tales. For these scenes, the camera stood still, facing the actors. The basic principle governing all the film is the se quence shot, whether the camera is moving (which it is most of the time) or immobile. This way, the scenes gain much in depth and detail, with the edit ing being done inside the camera. We never shot two scenes, if we had the option of doing it in one.
You feel much more comfortable with the sequence shot and prefer it to the traditional editing process.
a :
A
:
It is my own notion, possibly a very personal one. The sequence shot
offers, as far as I am concerned, much more freedom, but it is true that the spectator needs to be more involved in it. There is another advantage I like
in the sequence shot that you cannot have in traditional editing: the empty screen, when the action is implied, taking place elsewhere. a : We could say the sequence shot adopts the concept of montage but instead of using traditional editing, it combines together various elements in one scene, which, through the movement of the camera, stimulate the imagination ofyour spectators.
2 2
A :
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It is equally important to mention that through the sequence shot it is
possible to preserve both unity of space and unity of time. The film does not acquire an artificial pace at the editing table. Also, once you change the frame, it is as if you're telling your audience to look elsewhere. By refusing to cut in the middle, I invite the spectator to better analyze the image I show him, and to focus, time and again, on the elements that he feels are the most significant in it. a :
Did you encounter any difficulties during the production of the film?
A :
First of all, the weather. I was persecuted by beautiful weather. I needed
a clouded sky-I couldn't imagine the occupation under sunny skies. But Greece is well known for its magnificent weather and sunny sky, summer and winter alike. You can't imagine how much trouble this was! When you have scenes where the first part is shot in Athens and the second in Amfissa, you need to have similar meteorological conditions; the mood, the atmo sphere have to be as close as possible. And that is rarely evident in a film. On top of that, we went over budget, and worst of all, we were afraid of shooting this kind of film under the present conditions you are only too familiar with.
Rhythms of Silence to Better Underline the Scream: The Hunters FRAN CES CO
CAS ETTI/1977
a :
How did you prepare for this film?
A :
To begin with, we had a script that was barely more than a sketch, a kind
of extended synopsis. Then I started searching for the right locations-I al ways choose them myself, even if this means travelling extensively all through Greece. In The Travelling Players it was somehow easier because the story itself kept moving from one location to another. In The Hunters every thing takes place in one spot, a hotel, which makes the choice much more difficult. Once I found it, I went ahead and wrote the shooting script, always leaving a margin for improvisation. Though there isn't much room for im provisation here. Once I started working on the set, we rehearsed every single scene for three full days and only then went ahead and shot it. We had some sequence shots of seven to eleven minutes each; consequently there was no room for errors or improvisations. The slightest mistake meant we had to start the shot all over again. And that takes a lot of time. The rehearsals were pretty systematic: first the actors, then the camera, then the sound . . . . a :
The camera set-ups were finalized beforehand or did you make up your mind were working on the scene?
as you A :
For the camera movements, I usually followed the indications of the
shooting script. But whenever I felt it was necessary, because of a conflict between them and the position of the actors, I did not hesitate to make the From Cinema e Cinema, no. 13, Oct.-Dec. 1977. permission. Translated by Dan Fainaru.
e>
1977 by Francesco Casetti. Reprinted by
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necessary changes. To make it clearer: in early rehearsals, the actors were pretty free to choose the way they moved and then I corrected the things I was not comfortable with and condensed the action. My intention, from the very beginning, was to avoid at any cost a realist effect, to reach some kind of pure geography. That is, to stress the evidence of the film direction, its artificial side-the opposite of an opinion I heard, claiming the film is realis tic. Like the American musicals with their breaks between musical numbers and the plot, creating on purpose an artificial cinema by the way they were directed. Working with the actors, in this respect, was of maj or importance. Having to keep their distance from their roles, in the Brechtian tradition, doesn't make their job any easier. On the contrary. We had to insist on their penetrating under the skin of their characters, without showing it. We were trying to achieve a kind of minimalist effect in the spirit of the Japanese theatre which uses the rhythms of silence to better underline the scream. a
:
A :
Does it mean the performances had to be purged of any trace ofpathos? Yes, j ust like I did in certain passages of The Travelling Players. The three
monologues delivered directly into the camera, were "dried out" of emotions in order to achieve a kind of alienation that would have been ruined by realistic performances. In The Hunters I went one step further: this film is cold-at no point can the audience identify with the characters or does it wish to. The actors are not supposed to reflect a distinct personality; they should be like masks. Just like classic theatre that, next to the immobile masks, used the voice to express the emotions. I would like to add that I was also trying to achieve a kind of musicality-to give the script the form of a musical score. The sound effects are never accidental; they follow a certain cadence in relation to each other. One could almost count the beats. Do you know, for instance, that the actors were indeed counting silently between one line and another? The point of departure was realistic but from there on I let the rhythm dictate the procedure. The film acquired a musical structure.
That means the film is not really as "cold" as you suggested, it has its "hot" aspects.
a :
A :
It all depends on the spectator and to what extent he is willing to do his
share of the work when he watches the film. The film supplies him with a certain amount of information, but it is only by completing it with his own input that he can hope to enjoy the film. The pleasure derived will not be
FRAN C E S C O
CAS E T T I / 1 9 7 7
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the result of its "beauty" only, but also of the feeling that what it shows is really "intolerable. " In this sense, the film is "cold" on the first level, but very hot on the second. This is a terribly sad film, an unpleasant film that rejects all relief stemming from easy hopes. It is a film about the present we live in, about how things seem to stay the same as if nothing had happened despite all the political changes taking place around us. My earlier films worked on several levels, too, but here I believe it is much clearer. The scene in which the girl makes love with the imaginary king, the father-king, the God-king, is drawn out to such length that it becomes unbearable and fasci nating at one and the same time. What I am trying to say is that fascination enters the picture here only on a second level, once the viewer has done his share. This film is not supposed to deliver all its secrets on first sight, it is only through your own dialogue with the screen that the picture is com pleted. a : In this sense, The Travelling Players could be defined a "hot" film on the first, immediate level. Also, it had a compact style throughout. In The Hunters, it seems as if every single moment has its own "tone. " A :
For instance?
For instance, you never before used a device like the clapboard preceding the scene of the actress-singer. Or the love scene that leads into a completely different direction. a
:
A
:
True, I used them to break into the rhythm and also into the thematics
of the film. The second scene you mention is a long sequence shot showing two people making love, a group sitting around the table eating, the Ameri can woman walking in and offering to buy everything, the politician un dressing. By moving from one to the other in one sweeping camera movement, we reveal the many facets of one central situation and at the same time prevent the viewer from identifying with any of these facets, since he is jolted from one surprise to another. This way, we multiply one aspect while canceling another. This is what Brecht meant by alienation. I would also like to point out the way I matched shots-systematically using every possible variant from the classic visual matching through sound matches and interior/exterior matching of shots. The point was to deny these matches their natural function and to bring into the open all the artificial aspects of film direction. This is clearly a show put on for the benefit of the
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audience, there is no realistic excuse to explain it, like the theatre in The
Travelling Players . . . . " a
:
A
:
Which unified the various levels of the picture. . . .
"
Here the matching is far more violent to prevent any type of identifica
tion. In this respect, The Hunters is a much more materialistic film than The
Travelling Players. The direction is far more evident. I would also like to draw the attention to the aggressive structure of the film which should j erk the audience out of its complacency.
Another thing. The empty screen, as it was used in The Travelling Players, was, for me, a moment of reflection, waiting for the character to complete his ac tion. a :
A
:
In a certain sense, you are right. But if we use once more the musical
score as a model, these dead moments are the equivalent of musical pauses. After the last note, there is a moment of silence, allowing the viewer to grasp the sense of the entire sequence. Normally, shots are cut when the action is over, or the last sound is heard. Emptiness, the dead moment, is the impres sion you have when there is nothing more to show or to hear. a : It's like pauses used in certain types of modem jazz. Not just a moment of suspense, but a device whose purpose is to underline the rules of the game. A :
True.
a : Recently, I had the occasion to see again The Days of '36 and found there a similar approach. A : Some of my films are "hot, " others are "cold. " The hot ones are Recon struction and The Travelling Players. The cold ones are The Days of '36 and The Hunters.
Two final questions about your narrative approach. First, I was amazed by the lack of chronological references in The Hunters. A : In The Travelling Players, the chronology of the film relies on important a
:
historical events, familiar to most people. Here, however, the various periods are introduced through aspects of internal Greek politics that non-Greeks will find difficult to identity. But in any case, it is true that I do not pay much atte
|
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18075
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yago
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https://www.crystallakedentalassociates.com/oral-health/night-guards/
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[
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] |
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[
"night guards\nteeth clenching"
] | null |
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A night guard is a thin, transparent device that is worn over the biting surface of your teeth while you sleep.
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https://www.crystallakedentalassociates.com/oral-health/night-guards/
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What is a Night Guard?
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yago
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https://www.ranker.com/list/famous-female-film-directors/reference%3Fpage%3D29
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en
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Famous Female Film Directors
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https://imgix.ranker.com/list_img_v2/5764/645764/original/famous-female-film-directors-u3
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2013-01-22T00:00:00
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List of famous female film directors, listed by their level of prominence with photos when available. This greatest female film directors list contains the ...
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/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-female-film-directors/reference
|
Jennifer Aniston, an American actress, producer, and businesswoman is renowned for her work in Hollywood. Born on February 11, 1969 as Jennifer Joanna Aniston in Sherman Oaks, California to actors John Aniston and Nancy Dow. From a young age she was introduced to the world of acting due to her family's involvement in the film industry. Aniston gained worldwide recognition from her role as Rachel Green on the television sitcom Friends, which aired from 1994 to 2004. This role earned her several awards including an Emmy Award, a Golden Globe Award and a Screen Actors Guild award. Post Friends, she continued making waves in Hollywood with roles in films such as Marley & Me (2008), The Break-Up (2006), Horrible Bosses (2011) and We're The Millers (2013). Her performance in Cake (2014) garnered critical acclaim leading to nominations at the Golden Globes and SAG Awards. Beyond acting, Aniston has made significant strides as a producer having co-founded production company Echo Films with producing partner Kristin Hahn. She is also known for executive producing multiple films under this banner that have received considerable attention both commercially and critically. As a successful businesswoman, she has been part of various brand endorsements throughout her career adding another dimension to her professional portfolio.
Jennifer Love Hewitt, an American actress, singer, songwriter, and producer, has graced the entertainment industry with her versatile talent since her childhood. Born on February 21, 1979, in Waco, Texas, Hewitt's career began when she was scouted at the tender age of 10. She moved to Los Angeles with her mother, where she commenced her journey into stardom. Her early years saw her in television commercials and Disney Channel series, paving the way for her later success in the entertainment world. Hewitt's breakthrough role came in the mid-1990s when she starred in the popular Fox television drama Party of Five as Sarah Reeves. This role not only proved her acting prowess but also catapulted her into worldwide fame. Her performance in the horror film I Know What You Did Last Summer and its sequel further solidified her status as a notable figure in Hollywood. Hewitt continued to showcase her versatility by venturing into romantic comedy films, including The Tuxedo alongside Jackie Chan and Heartbreakers with Sigourney Weaver. Beyond acting, Hewitt showcased her musical talents by releasing four studio albums. Her second album, Let's Go Bang, released in 1995, was followed by her self-titled album which was primarily pop and R&B. This album, released in 1996, spawned the hit single No Ordinary Love. In addition to singing and acting, Hewitt tried her hand at production, serving as an executive producer on several of her television series including The Client List. Jennifer Love Hewitt's influential career, marked by her varied talents and persistent drive, undeniably secures her place among Hollywood's most notable figures.
Salma Hayek, a Mexican-American actress and producer, has made substantial contributions to both the Hollywood film industry and philanthropic causes. Born in Coatzacoalcos, Veracruz, Mexico in 1966, her passion for performing arts led her to abandon university studies for a career in acting. Rising through the ranks of telenovelas and films in Mexico, she moved to Los Angeles in 1991 where she eventually achieved international fame. Hayek's breakthrough came with the movie Desperado (1995), but it was her portrayal of Frida Kahlo in Frida (2002) that cemented her status as an A-list star. The film earned Hayek critical acclaim and an Academy Award nomination for Best Actress - a first for any Mexican actress. Her other notable roles include parts in From Dusk Till Dawn (1996), Wild Wild West (1999), and Puss In Boots (2011). Furthermore, as a producer, Hayek has been instrumental behind-the-scenes on projects like ABC's award-winning series Ugly Betty. Beyond entertainment circles, Salma Hayek is renowned globally as an advocate for women's rights and education issues. She co-founded Chime For Change with Beyoncé Knowles-Carter and Gucci's Creative Director Frida Giannini – an organization dedicated to improving health services for women worldwide while promoting gender equality. Equally noteworthy is her work with UNICEF where she contributes towards ending maternal mortality rates around the globe.
Madonna Louise Ciccone, known universally as Madonna, revolutionized the global pop culture landscape through her music, fashion, and boldness. Born on August 16, 1958, in Bay City, Michigan, she moved to New York City in 1978 to pursue a career in modern dance. However, destiny had other plans, and Madonna soon found herself drawn towards the vibrant music scene of the city. Her debut album, Madonna, released in 1983, marked the beginning of an illustrious career that would span several decades. Her journey has not been without controversy, but Madonna's ability to reinvent herself time and again kept her at the pinnacle of the entertainment industry. She is best known for her iconic hits such as "Like a Virgin," "Material Girl," "Papa Don't Preach," and "Vogue," among many others. These songs not only topped charts worldwide but also redefined pop music, influencing generations of artists. Beyond music, Madonna made significant contributions to various social causes. She founded the charity Raising Malawi in 2006, designed to combat extreme poverty and hardship endured by Malawi's one million orphans, primarily due to HIV/AIDS. A hallmark of Madonna's career is her unflinching commitment to pushing boundaries and challenging societal norms, which, along with her immense talent, solidifies her place as a pop culture icon.
Gwyneth Paltrow, an American actress, singer, and businesswoman, is one of the most recognized faces in Hollywood. Born in 1972 to actress Blythe Danner and film producer-director Bruce Paltrow, her entry into the world of entertainment was almost predestined. She made her acting debut in 1991 with the film High, but it wasn't until her performance in Se7en in 1995 that she began to turn heads in the industry. Paltrow's career took a decisive turn when she won the Academy Award for Best Actress for her role in Shakespeare in Love in 1998. Her portrayal of Viola De Lesseps not only won her critical acclaim but also established her as a leading lady in Hollywood. Over the years, she has demonstrated her versatility by taking on varied roles in films such as The Royal Tenenbaums, Iron Man, and Contagion. Beyond her acting prowess, she also showcased her singing talent in the musical-drama film Country Strong. However, Paltrow's ambition didn't stop at acting and singing. In 2008, she launched Goop, a lifestyle brand that started as a weekly newsletter. Despite initial skepticism, Goop expanded into e-commerce, fashion, and even a print magazine, solidifying Paltrow's status as a successful entrepreneur. The multitalented Paltrow deftly balances her work in the entertainment industry with her business ventures, proving that she is not just a star on screen, but also a force to be reckoned with in the world of business.
|
||
18075
|
yago
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2
| 21
|
https://www.pbs.org/wnet/americanmasters/crystal-labeija-the-queen-who-reinvented-ball-culture/18664/
|
en
|
Crystal Labeija: The Queen Who Reinvented Ball Culture
|
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[
"Joe Skinner"
] |
2021-09-27T15:13:43+00:00
|
A proud Black trans woman, a drag mother and, a pageant girl, Crystal LaBeija was the cause of an iconic moment in drag history that paved the way for
|
en
|
American Masters
|
https://www.pbs.org/wnet/americanmasters/crystal-labeija-the-queen-who-reinvented-ball-culture/18664/
|
TRANSCRIPT
- Crystal LaBeija, the myth, the legend and the founder of the House of LaBeija.
She was a proud black trans woman, a drag mother, a pageant girl, and a force to be reckoned with.
LaBeija could read someone like a description for a set of steak knives, honey.
She was sharp, could cut to the chase and she rebelled against the drag pageant system in an iconic moment in drag herstory that paved the way for House culture.
Hi, all, I'm Peppermint, New York City's delightful diva and welcome to Masters of Drag where we're telling you stories of American drag pioneers.
Just look at this infamous moment from the documentary 'The Queen'. The year is 1967.
We're at the Miss All-America Camp Beauty Contest.
- [Announcer] Our third runner-up in the 1967 nationals, from Manhattan.
Ms. Crystal.
Ladies and gentlemen, let's hear it for the third runner-up in the 1967 nationals.
(record scratches) - Hold up.
Third?
Oh no, no, no, no, no.
Ms. Crystal wasn't having any of that.
And yep, there she is sashaying right off stage before the winner is announced.
Spoiler, Ms. LaBeija did not come back.
And that, folks, is the moment that paved the way for a little thing called House Culture in New York City.
You may have seen examples of this from the iconic documentary 'Paris is Burning' or the TV show 'Pose'. How did she pave the way you ask?
Well, we'll come back to exactly what happened a bit later.
But first, let me give you a little bit of context on what happened before that night and a short herstory on Ballroom.
What is now known as Ball Culture has been around a long, long time.
It started with just a few courageous spectators, but over the years grew to thousands of participants and observers from all around the country.
There were feathered head dresses and long, slinky evening gowns.
And at the end of the night, prizes were given for the most beautiful gown or most feminine impersonator.
While Ball Culture was created and led by black and latino queens, it, like everything else, was affected by class and racial barriers.
Now, at these events, white performers could afford the best costumes and black performers were expected to lighten their faces just to be able to compete.
This is the backdrop for LaBeija's rise in the Ball scene in the early '60s.
Not much is known about her early days, but we do know that she originally began performing and competing using the name Crystal LaAsia.
Her name evolved after she heard latin queens calling her La Belleza, Spanish for beauty, and took on that mantle with great pride.
During this time, LaBeija was one of only a few black queens awarded Queen of the Ball title at a white-organized Drag Ball.
She knew her own worth.
And when she walked off that stage on that fateful evening in 1967, she was protesting what she believed to be a rigged contest in favor of a white, blonde queen.
Now, let's see what happened backstage moments after LaBeija's exit.
- Fixed for Harlow.
She said, Crystal, darling, don't go, because you're not going to get it.
And that's why all the true beauties didn't come.
- It's in bad taste and you're showing your colors- - [LaBeija] I am, I am doing it, babe.
But I got, I have a right to show my color, darling.
I am beautiful and I know I'm beautiful.
- LaBeija wasn't the type of queen who went quietly into the night.
In fact, this experience led her to organize her own Ball for black queens in 1972.
It was Crystal's friend Lottie, a fellow Harlem drag queen, who first suggested that they promote the event by starting a group and naming it the 'House of LaBeija'. The event was called 'Crystal and Lottie Presents the First Annual House of LaBeija Ball'. And Crystal would become known as Mother of the House.
This move changed everything.
And other black and latino Queens were soon inspired to form their own Houses and throw their own events.
And House culture was officially born.
Each Drag House consisted of either a Mother or Father, or sometimes both.
They were the bosses of the House and looked after their drag children, teaching them dance, fashion, and makeup techniques to help prepare them for the Balls.
In the 1970s and '80s, dozens of Houses sprung up, including the House of Xtravaganza, House of Dupree, the House of Corey, the House of Dior, and the House of Wong, and so on and so on.
They weren't all just about fashion and style either.
They were also safe havens for displaced youth who had either been discarded by their biological families or were living on the streets for any number of reasons.
The Houses provided a bed, a support system, and a sense of belonging.
One of the most famous alumni of the House of LaBeija was Pepper LaBeija.
♪ Pepper LaBeija, Pepper LaBeija, Pepper LaBeija, ♪ Who took over as Mother of the House of LaBeija after Crystal's death from liver failure in 1982, and reigned over the house for 30 years.
Crystal LaBeija's influence on the development of Ballroom and drag culture was monumental and the tradition of Houses has transcended beyond drag into modern LGBTQ culture today.
And now, it comes full circle into the mainstream.
Just look at Rupaul.
Generations of drag families have competed on the show.
Drag herstory is longer than most of us think, and we are only just beginning.
(upbeat electronic music)
|
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18075
|
yago
|
1
| 23
|
https://www.imdb.com/list/ls540795863/
|
en
|
Hellas
|
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[] |
[] |
[
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] | null |
[] | null |
en
|
IMDb
|
https://www.imdb.com/list/ls540795863/
|
A son and his stepmother, without noticing their father/husband peeping at them, make love on a horse. The father, while being a painter, gets inspired and begins a new painting that creates tension between them.
A satire of life in modern Greece, presented through a series of different stories about sex. We see several couples and their relation with sex in parallel stories that come together in a hilarious way as the film progresses.
Two young Greek filmmakers seeking financing for their film "The End of the Passion" and end up with "Panourgias" a former porn-king of the 70s. He agrees to shoot the film but he also has another secret plan.
A criminal is given a two-day leave from prison to attend a funeral. He ends up meeting a prostitute. Having nowhere to go, they sleep in various hideouts and try to make money working odd jobs.
Under the Athenian night sky, before the silent threat of an imminent socio-economic crisis, a young man goes for a stroll and meets the love of his life. Does fate govern one's existence? What would have happened if he stayed in, instead?
A wealthy seductress enlists the help of two friends in a simple job that will set them all up for life. But everyone knows there's no such thing as a foolproof plan.
On a hot Athenian July, a reclusive Astronomy student spots a disillusioned woman with his telescope, and his dull existence takes on a new meaning. They coexist in time and space; but, they are so far apart. Will they ever become one?
|
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18075
|
yago
|
0
| 18
|
https://events.umich.edu/event/27612
|
en
|
(Expired) History and Culture in Chinese and Greek Film
|
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[] |
[] |
[
""
] | null |
[] |
2016-03-31T17:00:00
|
en
|
/favicon.ico
|
https://events.umich.edu/event/27612
|
5 - 5:50 PM
"Lost Child or Lost Fatherhood?: Confucian Structure of Feeling Reinterpreted in Contemporary Chinese Language Cinema"
Jing Zhang, New College of Florida
Abstract: Filial piety and the father-son relationship constitute the core of the “Confucian structure of feeling” in traditional China. While the last two decades saw a rapid economic growth and cultural globalization in China, they also witnessed a revival of traditional values, promoted through state propaganda and education, elite discourse, popular culture, and even legalization. It is in this context that I will discuss the theme of parental love in recent Chinese language films, examining it as an inversion or reinterpretation of filial sentiment pervasive in early modern Chinese literature. I will focus on two recent films of China and Hong Kong collaboration, Dearest (2014) and Lost and Love (2015), one made by the Hong Kong director Peter Chan and the other by novelist and television screenwriter Peng Sanyuan as her directorial debut. Both films base their stories in news reports of child abduction, focus on the parents’ relentless search for their lost kids, and dramatize the multilayered tension between parental relationship, morality, and law. I will also trace the motif of “looking for a lost child/father” back to the early Modern Chinese narratives and its reincarnations in several films made at critical historical moments.
6 - 6:50 PM
"In Her Own Voice: History, Memory and Female Subjectivity in Greek Cinema"
Vassiliki Rapti, Harvard University
Abstract: Within the male-dominated Greek cinema, several pioneering women directors made their appearance in the 1980s and distinguished themselves to the point that we can talk about a feminine Greek cinematic vision. This talk will focus on the distinct features of this powerful yet little known cinematic vision, and tackle female subjectivity as caught up in between History and memory. By analyzing several path-breaking films such as The Price of Love (1984) and Crystal Nights (1992) by Tonia Marketaki, Love Wanders in the Night (1981) and The Years of the Big Heat (1991) by Frieda Liappa, and Hold Me (2006) and the documentary The Aegean in the Words of Poets (2003) by Loukia Rikaki, where the personal drama is conditioned by the larger circumstances, it will show how female subjectivity is shaped by desire nurtured by memory and agency against History.
6:50 – 7:20 pm: Q and A and Discussion
April 1, 2016 Film Screenings at Angell Hall Auditorium B, 435 State Street
6 pm : Dearest (2014). 130 min. Directed by Peter Chan
8:10 pm : The Aegean in the Words of the Poets (2003). 61 min. Directed by Loukia Rikaki
Biographies
Jing Zhang is Associate Professor of Chinese Language and Culture at New College of Florida. She holds a B. A. from Fudan University, a M.A. from Peking University, and a doctorate in Chinese and Comparative Literature from Washington University in St. Louis in 2007. She has taught Chinese language, classical literature, and Chinese language cinema at New College of Florida. Her research focuses on print culture, the rise of the xiaoshuo genre, ritual in literature, and literati communities in the Ming and Qing China.
Professor Vassiliki Rapti teaches Greek cinema, theatre, language and literature at Harvard University, where she is Preceptor in Modern Greek and directs the Advanced Training in Greek Poetry Translation and Performance Workshop and is the Chair of the Ludics Seminar at the Mahindra Humanities Center. She is the author of Ludics in Surrealist Theatre and Beyond (Ashgate, 2013) and of five poetry collections. Her research interests center upon cultural studies, ludic theory, literary criticism, Surrealism, 20th-century and contemporary theatre and performance, comparative literature and gender studies.
Co-hosted with the Confucius Institute at the University of Michigan
|
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18075
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yago
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2
| 56
|
https://www.pinterest.com/pin/cara-hogan-on-instagram-crystal-night-collection-kashbeauty-created-by-keilidhmua-crystal-nights-palette-haze-crystal-dusk-jade--637822365986161983/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2021-12-08T18:06:55+00:00
|
35 Likes, 2 Comments - CARA HOGAN (@carahogan_mua) on Instagram: “Crystal Night collection @kashbeauty created by @keilidhmua Crystal Nights Palette ‘haze, crystal,…”
|
en
|
Pinterest
|
https://no.pinterest.com/pin/cara-hogan-on-instagram-crystal-night-collection-kashbeauty-created-by-keilidhmua-crystal-nights-palette-haze-crystal-dusk-jade--637822365986161983/
| |||||||
18075
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yago
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1
| 0
|
https://ifi.ie/film/crystal-nights/
|
en
|
Irish Film Institute
|
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[
""
] | null |
[] |
2011-10-06T15:29:01+00:00
|
Irish Film Institute
|
en
|
Irish Film Institute
|
https://ifi.ie/film/crystal-nights/
|
The late Tonia Marketaki was one of Greek cinema’s most acclaimed women directors. Her work combines elements of eroticism and mysticism in its explorations of Greek history. Crystal Nights is a heady brew of sorcery, sex and reincarnation set before, during and after World War Two. A mystic tells a young German girl, Isabella, that her ideal lover will be born the day she marries. Years later, in 1938, the now 40-year-old woman is married to a Greek officer but falls madly in love with a young Jew, Albert. When Albert marries a younger woman, Isabelle commits suicide. Reborn as the girl Anna, she comes to rescue an older Albert when he faces death at the hands of the Nazis. The film gets its title from the name given to the first systematic attacks by the Nazis on Jewish shop windows in 1938. Although Marketaki’s highly stylised and poetic movie examines anti-Semitism in Greece and the terrible fate of the country during World War Two, its core concern is with the notion of a mythical, idealised love that transcends barriers of time and politics. With its time-shifting narrative and constant switches from colour to sepia-toned images, Crystal Nights is a heavily symbolic and sometimes obscure film, but there’s no denying the passion and skill behind its making.
(1992. English subtitles. Colour. Dolby stereo SR. 138 mins.)
|
|||||
18075
|
yago
|
2
| 40
|
https://www.mjtrim.com/preciosa-flatback-rhinestones-crystal-night-fall
|
en
|
Crystal Preciosa Hotfix Rhinestones
|
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Founded in the Crystal Valley of Bohemia, Preciosa is known for their precision cut crystals made from local sand that is uniquely rich in silicon-oxide, making it ideal for glassmaking, and their synthetic gems are almost indistinguishable from their natural counterparts.
|
en
|
https://www.mjtrim.com/skin/frontend/enterprise/rhinestones/favicon.ico
|
https://www.mjtrim.com/preciosa-flatback-rhinestones-crystal-night-fall
|
Founded in the Crystal Valley of Bohemia, Preciosa is known for their precision cut crystals made from local sand that is uniquely rich in silicon-oxide, making it ideal for glassmaking, and their synthetic gems are almost indistinguishable from their natural counterparts. The Crystal color is a customer favorite that reflects the colors of its surroundings. The clear tone reflects hues of colors making it a perfect accent for any glue-on surface. The stones have a highly resistant multilayer satin foiling that protects against damage and intensifies their brilliance. The Preciosa Chaton Rosa MAXIMA crystals are lead free.
To attach these rhinestones onto the desired area, try using our Hotfixer setter.
|
|||||
18075
|
yago
|
2
| 17
|
https://kutv.com/news/local/knights-of-the-crystal-blade-cultists-used-social-media-to-spread-doomsday-revelations
|
en
|
Knights of the Crystal Blade: Cultists used social media to spread doomsday revelations
|
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"Knights of the Crystal Blade",
"Social media",
"Mormon fundamentalism",
"Shaffer",
"Coltharp",
"Revelations",
"Child abuse",
"Apocalypse"
] | null |
[
"www.facebook.com"
] |
2019-01-27T16:55:10+00:00
|
The following was written and researched by The Utah Investigative Journalism Project in partnership with The Spectrum & Daily News, and republished by KUTV with permission. Eugene Richardson is a Mormon fundamentalist who lives on a very lonely patch of desert about 45 minutes west of Cedar City. He lives in a small trailer on 80 acres of sand and sagebrush surrounded by miles more of the same.
|
en
|
/resources/assets/kutv/images/logos/favicon-32x32.png
|
KUTV
|
https://kutv.com/news/local/knights-of-the-crystal-blade-cultists-used-social-media-to-spread-doomsday-revelations
|
, and republished by KUTV with permission.
Eugene Richardson is a Mormon fundamentalist who lives on a very lonely patch of desert about 45 minutes west of Cedar City. He lives in a small trailer on 80 acres of sand and sagebrush surrounded by miles more of the same. It’s a quiet and beautiful stretch of solitude, bordered on the north by the Wah Wah Mountains, with flat vistas to the west where one is likely to see more dust devils than cars moving along the horizon.
Although the location is remote and isolated, he finds camaraderie online with other fundamentalists with whom he can chat about scriptures and revelations. Two such men visited him in November 2017.
Samuel Shaffer and John Alvin Coltharp, founders of a religious group called the Knights of the Crystal Blade, would make international news when they were accused of “marrying” each other’s daughters — ages 7 and 8 — to start a new society in the desert to wait out the apocalypse. Coltharp , and Shaffer . Both are currently
Richardson met the men a week before their arrests in early December, and they told him they were camping in the mountains. Richardson told them that if they were in need, they could come onto his property to get water from his well.
for Millennials. I’m a Millennial and that’s how people my age communicate, it’s through social media.”
Sanpete County Prosecutor Kevin Daniels
Shaffer and Coltharp tried to persuade Richardson to join them, but he scoffed at the men. Not because he doesn’t believe in the end of the world or prophesy — he does and says he’s seen visions of the end himself. He just says these men couldn’t match their visions against scripture.
“But the problem is they were lying to me on the face of it because they were doing that end of the world compound crap and tried to convince me of it, but I said ‘no go’ — it doesn’t fit scripture,” Richardson says.
Thanks to the power of social media, however, the men did win converts to their extreme following. Prosecutors say Shaffer and Coltharp’s efforts helped recruit half a dozen members who were officially baptized. Members included a follower from Idaho, who acquired the land for the Knights’ compound in Southern Utah. Another was Robert Roe, who left California after he was promised a child bride in return for joining. He is currently facing charges in the 6th District Court in Manti for sodomy of a child. His preliminary hearing is Jan. 25.
“This really is a fundamentalist movement for Millennials,” says Sanpete County Prosecutor Kevin Daniels. “I’m a Millennial and that’s how people my age communicate, it’s through social media. That’s how this whole thing started and without it I don’t think you have these guys meeting.”
Daniels said the group recruited members from a Facebook page focusing on the Church of Jesus Christ of Latter-day Saints’ doctrinal change of 1890 that banned polygamy. From there they made inroads with likeminded individuals and recruited them into the sect.
In exploring how these men were radicalized online and through their bond with each other, The Utah Investigative Journalism Project combed through dozens of archived pages of revelations from sites now taken down from the internet, spoke with fundamentalist friends of theirs and corresponded with Shaffer and Coltharp from behind bars.
lived in a digital world where extreme — even apocalyptic — views are common, so there was almost no warning they would actually live out their beliefs in the real world.
Shaffer, for example, proclaimed to have a number of divine and supernatural visions and to have received prophecies throughout the years. But in an Oct. 28, 2016, revelation posted to his website, Councilofseers.webs.com, he proclaimed that his past prophecies were tainted and it was only since he met Coltharp that fall that his new revelations were to be trusted.
“A fire hath been kindled in my bones, and a word hath come unto my lips, and I cannot restrain it, for the Lord hath spoken unto me as by fire and by the Holy Ghost,” the posted revelation said. “All the words that ye did reveal after ye were an Aaronic Priest, save those words that ye have delivered unto John Alvin Coltharp, and a precious few words otherwise, are polluted.
“Bow thyself down and repent,” the revelation continues, “that ye may be a tool in My hand, and not a servant of darkness that must needs be destroyed.”
Barely a year later, Shaffer would be arrested and hauled out of the cold and dark desert of Southern Utah and taken to jail.
Coltharp was arrested at his home by Spring City police on Dec. 1, 2017, after they said he failed to turn over four children to his ex-wife, who had been awarded full custody of their two daughters and two sons in November. He told investigators the children were in the care of Shaffer but refused to reveal where they were.
An Amber Alert was issued Dec. 4 after the Iron County Sheriff’s Office raided a compound belonging to Coltharp about a mile west of Lund. His sons and their grandparents were found living there in a makeshift residence composed of storage containers. The grandparents told authorities the girls, along with Shaffer’s two young daughters, had spent the night with Shaffer in a tent on the property.
After a search, Shaffer was spotted walking alone on a dirt road several miles west of the compound. He was taken into custody and told authorities where to find the children.
Shaffer had hidden two of the girls in a cramped trailer on Richardson’s property and two others inside 50-gallon water barrels. Though the girls faced exposure to freezing cold hiding in the drums that December night, Shaffer seemed to have no qualms about hiding them there.
‘Custody of the state is worse than death’
Shaffer and Coltharp have remained adamant since their sentencing that their actions were divinely sanctioned. At Shaffer’s sentencing in May 2018, he was contrite when apologizing about the trauma the sexual assault had caused Coltharp’s daughter, whom he said he had “wed.” But he was also by turns defiant about fleeing from police at the compound.
“Part of the reason why I ran is because I did not want (the girls) to go into the custody of the state,” Shaffer told the 5th District Court Judge Matthew Bell. “In our religious belief, custody of the state is worse than death. It was taught to us that way by John Coltharp.”
Writing from the Utah State Prison in Draper last fall, Shaffer still insists he truly was in love with his victim and she was in love with him.
“My only regrets are for what [she] and her mother are going through,” Shaffer wrote. “That consequence is too terrible to bear. But it is caused by our civilization.”
Coltharp echoed the point, writing from the Central Utah Correctional Facility in Gunnison that, thanks to “personal communication with heaven” and by reference to scripture, history and his knowledge of “human reproductive development and psychology, and the power of reason, that it was the right thing to do, notwithstanding the baseless consensus of present-day public opinion to the contrary.”
Coltharp stresses that he is “an enemy of the state,” but not because he victimized an innocent person. “But because I am a servant of Christ, and because the State and its supporters are waging war against Christ,” he wrote.
During Shaffer’s sentencing in May 2018, Iron County Attorney Gary Edwards called Shaffer out for inflicting lifelong trauma on his victims to slake “his deviant sexual appetites under the guise of religious fanaticism and doomsday paranoia.”
Shaffer and Coltharp were not only welded to a belief that shocked even other fundamentalists, but to each other as well. For Shaffer, it was the culmination of a lifetime spent following leaders of fringe groups in a strange and quixotic quest for meaning.
Leaders and Followers
In response to written questions, Shaffer provided The Utah Investigative Journalism Project with a handwritten autobiography detailing being a sickly child with central core myopathy, a debilitating muscle disease. It describes how he turned to reading and imagination for fulfillment and grew up with an outsider’s group of friends, delving into fantasy role-playing games as an adolescent.
He had a rapacious curiosity and from an early age devoured books on religion from yogi mystics, and Hindu and Zoroastrian texts, along with the Bible and Book of Mormon. He also chronicles a litany of strange visions. In the 10th grade, he stared into the green flame of a candle and was pulled into a vision of stars and “planets without number,” he writes.
He shared his vision with his cadre of role-playing game friends, who all shared similar strange experiences and made a special club out of trying to reach new transcendent levels of consciousness. One of the leaders of their group, Shaffer says, attained such a level of consciousness that he asked for the group to gather all the dice in the house and using them he cast all sixes, repeatedly, to the amazement of the rest.
“The odds were in the trillions to one,” Shaffer writes.
With his chums, Shaffer had shared strange experiences, he says. The autobiography details how they teleported from school to the street where one of their friends lived, and how they used magical artifacts to destroy a machine (disguised as a cell tower) spreading a mist over their Provo neighborhood that was stupefying everyone into zombie-like states of dullness.
These capers have a “Stranger Things” sense of childish adventure to them, but they also presaged a pattern Shaffer would continue into adulthood—more visions and more attachments to cult-like leaders.
Shaffer went on an LDS mission, returned home and was drawn into fundamentalism, taking part in a succession of groups. He met his wife through an LDS dating website, and the two of them had a child. During this tumultuous time, Shaffer wrote that he was providing revelation for a fundamentalist in Southern Utah and was beginning to believe in Mormon fundamentalism and Norse gods. He wrote that he felt he “was tossed on every wind of doctrine.”
Around this time, Shaffer writes in the autobiography, he was greeted by a goat-headed hermaphrodite that told him he needed to make a “blood sacrifice” spell. He told the beast he had to think about it, only to later say he was abducted by hit men in a van who threw a bag over his head. They told him: “Say the spell, and they will die! Say the spell and you will get glory!” Shaffer writes that he escaped the van by telling the hit men he was a Hindu, which confused them and then they let him go.
Dumped from the van, he walked home. Cradling his newborn daughter in his arms, he said: “I am done being a false prophet; I just want to be a dad.”
He would move through other trials — alcoholism and addiction to pornography and “screen time,” or being online too much — before finally meeting Coltharp, the figure above all others in his life he felt was the true leader.
Revelation by Facebook
The men met in the fall of 2016, when Coltharp reached out to Shaffer on Facebook. Shaffer had revelations for both of them, and the two agreed to marry each other’s daughters.
Shaffer describes the ceremony in the autobiography:
“On December 3rd, 2016, John Coltharp and I stood on either side of a camp fire in his parent’s back yard in Spring City, Utah. As John promised to his daughter’s hand in marriage to me, and betrothed her to me, the campfire began turning green before my very eyes. Just as had happened in my green candle vision. John asked me what I was looking at, and then said, ‘do you see green fire?’ — with a smile. I said ‘do you see it too?’ He shook his head and said the green candle had come to mind. I assure the reader that no pyrotechnics were employed by John, as I am very familiar with such things.”
Shaffer writes that he then gave his daughter to Coltharp and the green flames subsided.
Shaffer noted Coltharp asked him to get revelation about the two men’s divine mission after the underage marriages, indicating they didn’t at that time have a grand plan for rebuilding society after the apocalypse.
The autobiography says that after the marriages, Coltharp told Shaffer: “Now we have to know who we are, we have to have some type of calling or this wouldn’t be happening.”
For being so significant to Shaffer’s life, the men’s plans in the moments leading up to their arrest get little mention in his manuscript. He describes how Coltharp pressured him into receiving revelation about what to do about Coltharp’s ex-wife, which led them to hide out in the “wilderness” outside of Lund.
Shaffer recalls the desert “tabernacle” fondly in his writings. They hiked the rugged terrain with their daughters — whom the men considered to be their spiritual “wives” — and read scriptures at night. Shaffer told them stories about “underground civilizations.” Once, to the fascination of the children, he showed off by catching a rattlesnake. After the girls had gotten a close study of it, he released the serpent and they stood on the banks of a river and watched it swim away. Other times, Coltharp would drive them into town, the van jostling across potholed dirt roads into civilization while cranking techno music, or other times Shaffer would sing the theme song to the movie “Zorro” to his young “wife.”
“It was the best time of my life,” Shaffer writes.
This idyll was interrupted in a section of Shaffer’s autobiography that makes only an oblique reference to Coltharp telling him that they needed to go on a “mission.” Shaffer doesn’t say what the mission was, but he felt it necessary to bring his 9 millimeter pistol with him — though he stresses that Coltharp did not bring his Glock pistol with him. Whatever the mission was, it was pre-empted by police searching for the men and Shaffer fleeing with the children and hiding out on Richardson’s property.
Dungeons and Dragons of Mormon Fundamentalism
Mark Lichtenwalter knew Shaffer and Coltharp before the two met and bonded. Lichtenwalter first met Shaffer at a cottage meeting of independent Mormon fundamentalists in Utah County in 2014. The two became friends and later Lichtenwalter called Shaffer to be a patriarch of his church, The Church of the Living Messiah. Lichtenwalter calls it a radio or teaching ministry; it’s mostly taught through Facebook and podcasts.
Lichtenwalter is a stout figure, sporting long brown hair, a beard and thick silver rings on his hands. He might look like an extra from the FX biker drama “Sons of Anarchy,” but the gruff exterior belies his warm and friendly demeanor. Lichtenwalter pays his bills as a truck driver but his passion is preaching Mormon fundamentalism. Like other fundamentalists, Lichtenwalter believes the mainstream LDS Church has become too worldly and lost its way after it rejected foundational doctrines like its belief in polygamy and the Adam-God doctrine, referencing a belief once held by Brigham Young that Adam from the Garden of Eden is also God. But just because Lichtenwalter believes in polygamy, for example, he doesn’t believe it’s for everyone.
Lichtenwalter’s faith journey took him from a troubled youth plagued by drugs and alcohol to spiritual revelation in 1995. Lichtenwalter joined the Church of Jesus Christ of Latter-day Saints, but eventually he was excommunicated for his fundamentalist beliefs and for the visions he had throughout his life, including one where he was told he would be the last prophet before Jesus returned to earth.
He’s a strong believer in the power of the internet to reach receptive audiences around the world. His current podcast, Fundamentally Mormon, has downloads from Canada, the United Kingdom and Africa, and he says his previous podcast notched over 100,000 downloads.
“So I live in Emery County but I can talk to people all around the world,” Lichtenwalter said.
Being a minister on social media has other perks, he says.
“The other thing that’s really nice about being able to speak online is that you don’t have mobs of people who can get to you, because they don’t know where I live.”
Lichtenwalter for a time had Shaffer serve as his church’s patriarch, receiving revelation from God, and gave him space on Lichtenwalter’s website at the time, The Kingdom of God or Nothing. Lichtenwalter said he was never involved with the Knights or knew of their horrendous plans. The Shaffer he knew back then was eccentric, smart and harmless, he said, pointing out for example that Shaffer’s muscle disease made it hard for him to climb stairs, let alone do normal work. He mostly just read scriptures and dabbled in painting and music, according to the minister.
Lichtenwalter met Coltharp after having scriptural debates with him online. Lichtenwalter used to hang out with Shaffer and Coltharp. When Lichtenwalter drove from Emery County to Provo to deliver mail, he would meet with the other men and they often would go to the special collections library at Brigham Young University and pore over old scriptural tracts and discuss theology. But Lichtenwalter says things started to change once Shaffer and Coltharp became closer.
Lichtenwalter said Shaffer had “seeing stones” that he would use to translate secret texts. One such document, he said, included the revelations about Nazore, the Eternal Bird God.
“John and Sam were people who were like in the Dungeons and Dragons of Mormon fundamentalism,” Lichtenwalter says.
Their beliefs began to not just focus on fundamentalism but seemed to trawl the depths of the internet, picking everything up in their net and not putting anything back, according to Lichtenwalter. Shaffer and Coltharp began to believe in Norse and Roman gods; they ascribed to flat earth theory and then alternatively hollow-earth conspiracy theories. They believed Hitler was a prophet, and Shaffer even believed adamantly that mountains were actually enormous petrified trees from a bygone era that had fallen over to create ranges. Besides the Eternal Bird God Nazore, Shaffer also once believed in gods that lived in the sun and navigated its fiery surface aboard ships made of crystal, Lichtenwalter said.
Lichtenwalter said that during this time, Shaffer and Coltharp went off and formed the Knights of the Crystal Blade.
As for the name “Knights of the Crystal Blade,” Shaffer explains in his letters, the crystal blade is “the word of God” and references Revelations 1:16 from the Bible: “In his right hand he held seven stars, and coming out of his mouth was a sharp, double-edged sword.”
Lichtenwalter describes the group more as a fraternal order than a church, but he acknowledges he does not know what really went on in those meetings.
Revelations from Shaffer’s website dated March 14, 2017, provide a disturbing glimpse into the direction the Knights were headed. The revelation Shaffer says he received from God focuses on pure marriages, stating that priests and patriarchs in the order could not marry women who had been “defiled.”
The “divine” revelation states: “The marriage of a maiden is the most pleasing unto Me (for I delight in chastity), and it will become the only form of marriage in the Millennium when My people are redeemed.”
Women who had previously been unpure could join the order, but if they again committed “adultery or whoredom,” they would be put to death. Other parts of the revelation reference stoning as capital punishment.
Another revelation of Shaffer’s says masturbation can be allowed when done in a virtuous way, apparently only when the individual lusts after his wife.
“Wherefore, only lust after her who is given unto thee; and if ye do not have one who is given unto thee, then seek for that condition,” it says. “And behold, the time is at hand, even now, when the hearts of the fathers shall begin turning unto the children, and the hearts of the children shall begin turning unto the fathers.”
Coltharp and Shaffer at one point attempted to recruit Lichtenwalter. According to the minister, they even told him Coltharp had revelations Lichtenwalter was an exalted god and that he had to join them — and if he didn’t, a curse would befall him and his family.
Lichtenwalter had had enough. He excommunicated the men from his church in August 2017 and cut all ties with them.
Coltharp denies threatening a curse against Lichtenwalter.
“I love him and his family, and have no ill feelings for them whatsoever,” Coltharp wrote from prison.
Lichtenwalter says Shaffer and Coltharp got what they deserved, though he takes pity on Shaffer. Shaffer struggled to hold a job and live on his own independently. Lichtenwalter said at one point he tried to set up a bookstore in southern Utah that Shaffer could live at and run as a way to be self-reliant, but instead he settled with Coltharp. Although court documents have described Shaffer as a leader because he had revelations for the group, Lichtenwalter says Coltharp was the one manipulating Shaffer, describing Coltharp as a “Judas goat.”
“A Judas goat is a goat that they put up with the sheep, and they train it to go up into the chute toward the slaughter house,” Lichtenwalter says. “They pull the goat out and all of the sheep go into the slaughter house to be killed.”
Lichtenwalter says he still believes Shaffer at one time had prophetic abilities but that Shaffer did not check his visions against scripture and was led astray.
“The thing with being a prophet is you can either go towards the light or towards the darkness, because you can receive revelation from evil sources,” Lichtenwalter says.
It’s a point echoed by Richardson.
“If you listen to the revelation and if you know scripture and it doesn’t match, [then] something is wrong,” Richardson says. “There’s a snake in the woodpile and the snake is literally Satan.”
The Digital Fringe
Both Coltharp and Shaffer say Richardson and Lichtenwalter did not have the knowledge that they did. Coltharp in a letter explained that his faith in God and in himself guided him along his destiny.
“I know who I am, and thus have no fear of leading myself astray,” Coltharp writes. “One’s liability to being deceived is proportional to the impurity of his or her heart.”
Joan Donovan is a researcher and project lead on media manipulation at Data & Society, a New York City-based research institute. She says online radicalization starts with questions people are afraid to ask in person but rather ask from behind the digital veil of the anonymous internet search.
“As they search for answers, what they find aren’t necessarily answers but communities of people willing to have discussions,” Donovan says.
But finding a community, perhaps a fringe one, can go from being a liberating experience to one that shuts off contrary viewpoints, says Donovan, as people settle into online echo chambers.
“In gaining trust and staying the course, you do see these filter bubbles consolidate because people who do have disagreeing opinions eventually go to other groups, or remove themselves from the conversation or they’re forcibly removed,” Donovan says.
Coltharp does credit digital outreach as one of various divine means wielded by God’s “almighty hand” that helped him recruit followers.
“Social media is only one of an endless number of tools that are at his disposal,” Coltharp writes.
Donovan says it’s not easy fighting online radicalization but a red flag to look out for is when people feel that real life is some kind of charade and their online echo-chamber existence is where they are truly being real.
“To me that’s when things become really potentially dangerous because they are unable to espouse what they believe in front of people that would contradict them and persuade them to think differently,” Donovan says.
It’s a problem that can become dangerous, but to a degree it’s one shared by many.
Social media has contributed to the polarization in the U.S.; newsfeeds cater to people’s particular political, religious or ideological worldviews. When these echo chambers affect individuals who are desperate or who have normalized extremist mindsets, the results can be disastrous. In the case of Shaffer and Coltharp, they believed their actions and thoughts were divinely sanctioned.
From Shaffer’s website, there was an undated revelation presented more like a journal entry. The story tells of Shaffer attempting to hike up a snowy canyon. As a test of faith, Shaffer endeavors to walk on top of the snow, which he says he is successful until he begins to doubt himself, at which point his steps sink in. From Shaffer’s revelation:
“The moment I doubted I again fell into the snow and could not make my way forward. The voice of the Spirit again came to me saying: ‘A man who is truly sanctified does not doubt his own worthiness, as he never doubts the worthiness of God; for he has perfect faith in the Atonement and to doubt his ability to carry out the will of the Lord is a lack of faith, and a perfected man has this perfect faith. To doubt is to sin.’ ”
The Spectrum & Daily News contributed to this article.
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2014-08-18T14:11:06+00:00
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Posts about Uncategorized written by ComradeSkitty
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en
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https://s1.wp.com/i/favicon.ico
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https://skittygara.wordpress.com/category/uncategorized/
|
Rating: 7.5/10
Runtime: 90
Language: Spanish
Subtitles: None
Country: Spain
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0040942
Director: Lorenzo Llobet Gracia
Cast:
Fernando Fernán Gómez … Carlos
María Dolores Pradera … Ana
Isabel de Pomés … Clara
Fernando Sancho … Productor
Alfonso Estela … Luis
Graciela Crespo … Sra. Durán
Félix de Pomés … Señor Durán
Mary Santpere … Doncella
Marta Flores … Esposa
Miquel Graneri … Marido
Jesús Puche … Fotógrafo
Valero … Carlos, niño
Juan López … Luis, niño (as Juanito López)
Antonia Llobet … Ana, niña
Antonio Leal … Comandante
Tomás Gutiérrez Larraya … Vendedor de Films Selectos (as Tomás G. Larraya)
Hernández … Otor vendedor
Joaquín Soler Serrano … (voice)
Enrique Tusquets … Hombre del puro
Arturo Cámara … Comandante (uncredited)
Camino Garrigó … Madre de Ana (uncredited)
María Severini … Dueña de la pensión (uncredited)
Description: This brilliant film was the only fiction feature made by Lorenzo Llobet Gracia who was associated with a club of cinephiles in Barcelona known as the Telúricos (the “underground”). The film is full of subtle and often not-so-subtle cues evoking the desire to escape Franco’s Spain. I’ve read, though I don’t know if it is true, that the censorship difficulties that the film faced were connected to its use of Catalan dialogue. If this is true, the version that survives today (in a reconstruction made in the early 1980s from two incomplete 16mm positive prints), is missing that important element. The reconstruction appears to me to have taken some liberties with the film in terms of editing technique. Unfortunately, in the state we have it, it is difficult to see all of the time Llobet Gracia’s sophisticated use of depth of field.
‘Vida en sombras’ [Life in shadows] is a film by Llobet Gràcia, a Catalan filmmaker coming from amateur cinema, who, during the post-war period, with modest means and far from the official sanction of the Fascist government, delved into the power of cinema to heal personal and collective wounds.
Llorenç Llobet Gracia (Barcelona, 1911-Sabadell, 1976) had bonded intimately with the world of cinema from the time his his father gave him a Pathé-Baby camera in his youth. This childhood experience is re-enacted at the beginning of ‘Vida en sombras’, the only commercial film he made in 1948, after having developed an intense activity in amateur cinema circles. Produced by himself, under the name Castilla Films, the film, which went through serious financial and censorship obstacles, has a free almost experimental style, outside the established codes of industrial cinema.
Technical specs:
File name : Life in Shadows.avi
Format : AVI at 1 609 Kbps
Length : 855 MiB for 1h 14mn 16s 800ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 656 x 496 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!jAt1yZAT!y0kCyK5NDWBe3BaPcJZo4cI1uE16M1KYyIbOABlKlZE
Rating: 8.2/10
Runtime: 74
Language: Serbo-Croatian
Subtitles: English
Country: Yugoslavia
Color: Color | Black & White
IMDb Link: http://www.imdb.com/title/tt0173015
Director: Vatroslav Mimica
Cast:
Slobodan Dimitrijevic … Marko Pozgaj
Pavle Vuisic … Markov otac (as Pavle Vujisic)
Gizela Huml … Markova baka
Fabijan Sovagovic … Golubar boltek
Sergio Mimica-Gezzan … mali Marko (as Srdjan Mimica)
Rudolf Kukic … gospon Haller
Zoran Konstantinovic
Jagoda Kaloper … Rajka
Renata Freiskorn … Bivsa supruga Milada
Olivera Katarina … Markova ljubavnica (as Olivera Vuco)
Lada Milic … Barbara, nova ljubav
Ivo Kadic … Fotograf
Marcel Cukli
Andro Lusicic … Kolega novinar
Nedim Omerbegovic … Inzenjer u pogonu
Branko Spoljar … Muz Markove ljubavnice
Mirko Vojkovic … Covjek iz kafica
Radojko Jezic … Kolega sa sastanka
Fahro Konjhodzic … Vodja pogrebnog orkestra
Adam Vedernjak … Bozo, kolega sa sastanka
Branko Bonacci … Kolega sa sastanka
Dusan Radmanovic
Velimir Chytil … Automehanicar (as Velimir Hitil)
Zdenka Hersak … Majka
Kruno Valentic … Vozac konjske zaprege
Mladen Hanzlovsky … Novinar na sahrani s novinama u rukama
Ljubo Kapor … mornar Janko
Branko Koivanic
Branko Majer … Sudac
Dragan Jankovic
Dragutin Kolman
Drago Bahun … Poznanik
Zeljko Mazur
Biserka Alibegovic … Markova kolegica koja ga poziva na telefon
Ivo Skrabalo … Kolega sa sastanka
Nikola Otrzan … Luka, Markov kolega
Ivo Baltic
Finka Pavicic-Budak
Leo Butorac
Arsen Dedic … Pjevac (uncredited)
Description: The film follows a day in the life of a divorced Zagreb journalist Marko Požgaj (played by Dimitrijević), an average modern intellectual who goes about his daily business. Mundane scenes of Požgaj’s day are shown interspersed with flashbacks and fantastic imagery reflecting his inner life. These include his recollections of childhood, his feelings about the present and past, including memories of his first marriage, his current girlfriend Rajka (Jagoda Kaloper) and his father killed in World War II (Pavle Vuisić), as well as his fantasies and hopes about the future.
The film is today regarded as a logical continuation in Mimica’s body of work as it replicates the stream of consciousness concept previously seen in his critically acclaimed 1964 film Prometheus of the Island. The film’s visual structure (based on a collage of scenes set in the past and present mixed with fantastic imagery, which are indicated by changes in picture quality and colour) and the theme of contemporary social alienation (in part resulting from the trauma of War World II) have urged critics to draw comparisons to his animated film The Inspector Is Back! (Inspektor se vratio kući, 1957) and have been called “trademarks of Mimica’s entire body of work”. Andrew James Horton, writing for the film journal Kinoeye wrote in 2001: “Some of the devices now seem a little dated. Changes in image quality and colour are probably less exciting now than they were then, and the intercutting of documentary footage of the concentration camps particularly now has a somewhat heavy-handed and “obvious” feel to it. But the film still exudes the appeal of what the New Wave must have looked like when it first emerged as a trend, with its concentration on ordinary people and charmingly observed street scenes. And its this that makes the film endearing. There’s none of the removed coldness that formal experimentation can bring to a film as an unfortunate by-product.”
Technical specs:
File name : Monday or Tuesday.avi
Format : AVI at 1 314 Kbps
Length : 700 MiB for 1h 14mn 25s 920ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 524 (1.374 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!fdxiWa4L!SKurPQt6VcsWIPFCkAZARwBnU-Ebw5wJb5LorufZWHs
Rating: Awaiting 5 votes
Runtime: 260
Language: Mandarin
Subtitles: None
Country: North Korea
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt2226515
Director: Ik Kyu-choe, Kim Jong-il
Cast:
N/A
Description: Are you ready for something completely out of left field? Today, I present to you the infamous North Korean war epic, Sea of Blood. Based on a revolutionary play supposedly written by the Eternal President of the Democratic People’s Republic, Kim Il-sung, and rumored to have been co-directed by the late, great Kim Jong-il (The North Korean film museum claims it was during the shooting of this film that his Kimness invented multi-camera shooting). Clocking in at a whopping 260 minutes, there is more propaganda here than you can shake a bust of Kim Il-sung at. Within North Korea, the operatic version of Sea of Blood is the only show at Pyongyang’s main theater, and is staged three to four times a week. This revolutionary work is also popular among the Chinese, especially those who lived through the Cultural Revolution, and have fond memories of revolutionary antics. Enjoy!
Technical specs:
File name : Sea of Blood (1).avi
Format : AVI at 1 563 Kbps
Length : 1.4 GiB for 2h 5mn 14s 280ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
___________________
File name : Sea of Blood (2).avi
Format : AVI at 1 545 Kbps
Length : 1.4 GiB for 2h 6mn 40s 680ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!doUDyCSb!NsN2VRIjAauyndGg4K8JnVRXuEoY5_lc6ZnxgdRQRQY
https://mega.co.nz/#!B4NwRAYC!Y-rAvQBVJyaBmBTk0Ahvokgvmzwqp2VXrSwQ0ffwrAk
Rating: 7.4
Runtime: 138
Language: Greek | German
Subtitles: English | Greek (Hardcoded for German portions)
Country: France | Greece | Switzerland
Color: Black and White | Color
IMDb Link: http://www.imdb.com/title/tt0104641/
Director: Tonia Marketaki
Cast:
François Delaive, Michele Valley, Tania Tripi, Ovidiu Iuliu Moldovan, Kelly Karmiri, Kelly Ioakeimidou, Frosso Litra, Melina Vamvaka, Tassos Palatzidis, Alexandros Koliopoulos, Manos Vakousis
Description: CRYSTAL NIGHTS (the film gets its title from the notorious “crystal nights”, the first systematic, mass attack by bands of Nazis on Jewish shop windows in the Vienna of 1938). In the film symbolism and realism become one. But above all, CRYSTAL NIGHTS is a film about absolute love, about the love that overcomes the barriers of time, that swings magically between “always” and “never”, that remains haughtily aloof when everything else bows down (in the Song of Songs it borders on religious worship). And it contains one of the most beautiful love scenes ever shot in the Greek cinema something like a mystical rite, like a flower of devotion to life.
Download Links:
https://mega.co.nz/#!gNsyVKDI!IazSoA-dqR_9wouHOIcTg9j3AK3XC8LtEKTvx51b7js
Technical specs:
File name : Crystal Nights.mkv
Format : Matroska at 1 330 Kbps
Length : 1.3 GiB for 2h 14mn 32s 127ms
Video #0 : AVC
Aspect : 656 x 368 (16:9 display AR) at
Audio #0 : AAC
Infos : 2 channels, 48.0 KHz
Language : el
Text #0 : UTF-8
Language : en
Rating: 8.7/10
Runtime: 106
Language: Croatian
Subtitles: None
Country: Yugoslavia
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0171246
Director: Fadil Hadzic
Cast:
Judita Hahn … Eva Ruzic (as Judita Han)
Rade Markovic … Ognjen Ruzic
Franjo Kumer … Ludvig Farkas
Toma Jovanovic … Policijski inspektor Hribar (as Tomo Jovanovic)
Voja Miric … Zavodnik (as Vojo Miric)
Sonja Hlebs … Prostitutka Silvija
Karlo Bulic … Advokat Bruno
Vanja Drach … Ognjenov prijatelj
Fabijan Sovagovic … Ustaski policajac zvani ‘Beba’
Veljko Maricic … Sudac
Hermina Pipinic … Vera, zavodnikova zenska
Mirko Boman … Stranac na granici
Milan Bosiljcic … Pijani mornar
Maria Braico … Leonina, Brunova domacica
Rajko Dukcevic … Vlado, policijski inspektor
Djurdja Ivezic … Ruza, Ruziceva ljubavnica
Miodrag Loncar
Danilo Maricic … Carinik
Gordana Petrovic … Talijanka s naocalima
Semka Sokolovic-Bertok … Prostitutka Andja (as Semka Sokolovic)
Zdenka Trach … Farkaseva susjeda
Franek Trefalt … Dezurni policajac na Sezani (as Franc Trefalt)
Djuro Turinski
Dusan Dobrosavljevic … Policajac (uncredited)
Vladimir Susic … Kartas (uncredited)
Description: An inspector looks for motives that made a woman he doesn’t consider a criminal perform a fraud. It is soon discovered that she has been a victim of a blackmail, which has to do with some horrible traumas she had suffered in the past. Although the investigation goes in the right direction, re-opening the old scars could cause a new breakdown of the long-suffering woman. A very interesting and tense drama/thriller from the specialist of the genre, Fadil Hadžić.
Technical specs:
File name : Back of the Medal.avi
Format : AVI at 1 017 Kbps
Length : 699 MiB for 1h 36mn 5s 760ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 640 x 480 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!GJFBiYSA!FQJDy16nrMF_Qlvqpa4br-FT50CkWzdHKNrs4r2ADsU
|
|||||
18075
|
yago
|
3
| 20
|
https://fullwatch.com.tr/people/801747/tonia-marketaki
|
en
|
Tonia Marketaki
|
[] |
[] |
[] |
[
"biography",
"facts",
"photos",
"credits"
] | null |
[] | null |
Tonia Marketaki (Greek: Τώνια Μαρκετάκη; 28 July 1942 – 26 July 1994) was a Greek film director and screenwriter. She was born in Pireas and spent many of her childhood years in the Zografou district of Athens. Her maternal origins are from Kardamyla, in the island of Chios.
She received her formal training at IDHEC in Paris and upon her return to Greece she worked as a film critic in various new...
|
en
|
favicon/icon-144x144.png
|
Full Watch
|
https://fullwatch.com.tr/people/801747/tonia-marketaki
| |||||
18075
|
yago
|
1
| 39
|
https://www.imdb.com/list/ls564001387/
|
en
|
Young East
|
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] |
[] |
[] |
[
""
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[] | null |
Greece
|
en
|
IMDb
|
https://www.imdb.com/list/ls564001387/
|
Two women and two men drive back in their Fiat from the west to Poland. The car is full of clothing, drugs and items for daily use that are hardly available in Poland.
The adventures of a small town Croatian family during the 1960s. The decade will left eternal marks on all of their members, but the most of the story focuses on the youngest one, a boy Frula who discovers the love and fashion of the time.
On New Years Day, two innocent 12-year-old boys in a small town buys vodka for a young female teacher, Katerina's (Natálie Rehorová) and two other men (David (Martin Pechlát), her boyfriend, and his friend Stepanand (Jirí Cerný). They are invited to the house. Here they experience their first encounter with sexuality. The children lose track of time. They were expected home long ago. They drink, throw up and are intoxicated by love and "the shameless, unbridled and licentious" world in which David, Katerina and Stepán live.
With the sweet taste of love's first kiss in his mouth, an engineer takes a trip down memory lane after receiving an invitation from an old friend. Thirty years after that innocent peck on the lips, fate reunites two estranged soulmates.
Zegreb, Yugoslavia in 1890. A group of high-school students run away on an adventure that ends in scandal. The ringleader, Gusta, is expelled from school and sent to stay with his uncle in rural Turopolje. Here, a totally new world opens up to him, where the internal tragedies of the people are played out against the castle of Brezovica and a small town of wooden-framed houses. People end up in this idyllic exile because of some previous "sin" and try then to make the best of their lives there. But memories of the outside world impinge on their happiness.
Three young friends have all they need for a sterling life besides money. The pursuit of them leads guys to Natella Antonovna. She'll show them luxury life. Unless, one surprise is going to turn up...
Set in 1936 in Poland. Zygfryd, a handsome, orphaned young circus acrobat with an introspective temperament, is under the protection of circus owner, Waldo, and his wife. A rich intellectual recluse, patron of the arts (and of young artists) stumbles into Zygfryd's heart- stopping act and offers him his friendship. He also opens up his cultural horizons and teaches him to consciously reflect on life. It all ends in tragedy, when the boy finds that the circus life is no longer enough and falls during his act.
|
|||||
18075
|
yago
|
3
| 77
|
https://www.dailykos.com/stories/2019/7/27/1874580/-WOW2-Late-July-s-Women-Trailblazers-and-Events-in-Our-History-2019
|
en
|
WOW2: Late July's Women Trailblazers and Events in Our History - 2019
|
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2019-07-27T00:00:00
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Welcome to WOW2 — Late-July!
WOW2 is a sister blog to This Week in the War on Women. This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2...
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en
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Daily Kos
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https://www.dailykos.com/stories/2019/7/27/1874580/-WOW2-Late-July-s-Women-Trailblazers-and-Events-in-Our-History-2019
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Welcome to WOW2 — Late-July!
WOW2 is asister blog toThis Week in the War on Women.This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2 into three posts this month.
This is an on-going, evolving project. So many women have been added to the lists over the past three years that even changing the posts from monthly to twice a month, the pages kept getting longer and more unwieldy – an astonishing and wonderful problem to have!
The purpose of WOW2 is to learn about and honor women of achievement, including many who’ve been ignored or marginalized in most of the history books, and to mark moments in women’s history. It also serves as a reference archive of women’s history.There are so many morephenomenal women than I ever dreamed of finding, and all too often their stories are almost unknown, even to feminists and scholars.
_________________________________
Many thanksto WOW2’s Assistant Editorlibera nos — not only for volunteering to be the proofreader for WOW2, but for also contributing to the research. Any remaining mistakes are either mine, or uncaught computer glitches in transferring the data from his emails to DK5.
_________________________________
For theentire previous LATE JULY lists as of 2018,
click HERE: www.dailykos.com/...
Otherwise, what you’re seeing on this LATE-JULY2019 pageare the newpeopleand events, or additional information and visuals,
found since last year.
These trailblazers have a lot to teach us about persistence in the face of overwhelming odds. I hope you will find reclaiming our past as much of an inspiration as I do.
This Week in the War on Women
has posted, so be sure to go there next to catch
up on the latest dispatches from the frontlines:
www.dailykos.com/...
Late-July’s Women Trailblazersand Events in Our History
Note: All images and audios are belowthe person or event to which they refer
_________________________________
July 23, 1721 – Anna Dorothea Therbusch born in Germany, Polish Rococo painter; elected to the Stuttgart Academy of the Arts, the Bologna Academy, the Académie Royale in Paris, and the Academy of Fine Arts in Vienna.
July 23, 1844 – Harriet Williams Russell Strong born, American agriculturist, inventor, and conservation activist; pioneer of innovations in water storage and flood control; music composer; a leader of the West Coast woman suffrage movement; first woman member of the Los Angeles Chamber of Commerce.
July 23, 1889 – Anna Akhmatova born, Ukrainian-Russian poet and author.
July 23, 1892 – Icie Macy Hoobler born, biochemist and physiologist, first woman to head a local section of American Chemical Society and to serve as its national president; Director of the Research Laboratory funded by the Children’s Fund of Michigan. After receiving her Ph.D. from Yale, she started working at Western Pennsylvania Hospital in Pittsburgh as an assistant chemist. Hoobler was not allowed to eat in the dining hall for doctors, as all the other doctors were male, and she was not allowed to eat in the nurses' dining hall for bureaucratic reasons, so she ate with the hospital employees.The hospital only had restrooms for men, and Hoobler had to use a restroom in a public building a half-block down the street. Due to this, she limited her trips to the restroom, and after a few months she developed acute nephritis (kidney inflammation), and was urged to take a year's leave of absence. Upon expressing her dissatisfaction to the chief of the laboratory, she was told that she would soon get used to the conditions. Hoobler resigned. A day after her resignation, the board of trustees president asked her why she decided to resign and why she didn't attend the annual staff banquet, which the chief of the laboratory had not invited her to because he didn't think she would want to be with "all those men." After the president chastised the chief of the laboratory, Hoobler's treatment at the hospital improved. In 1923, during her year’s leave to recuperate from nephritis, Hoobler taught at the University of California at Berkeley. She was offered the position of Director of the Nutrition Research Project of the Merril-Palmer School for Motherhood and Child Development, where she spent the next 31 years directing the laboratory and then served as a research consultant from 1954 to 1974. Under her direction, the laboratory published 300 journal articles and several books on subjects ranging from the metabolism of women during the reproductive cycle to the chemistry of the red blood cell.
July 23, 1900 – Julia Davis Adams born, American author, social worker, journalist and playwright, known for historical and biographical novels, young adult books, and dramas; used the pen name F. Draco for Murray Hill mystery novels.
July 23, 1900 – Inger Margrethe Boberg born, Danish folklore researcher and author; first woman in Denmark to earn a Doctor of Philosophy, in folkloristics; worked as an archivist at Dansk Folkemindesamling (Danish Folklore Archive) from 1932-1957, but it didn’t become a full-time position until 1952, so she also took on temporary work as a school teacher. Recipient in 1945 of the Tagea Brandt Rejselegat, awarded to Danish women who make significant contributions in the sciences or arts, which enabled her to travel and further her studies; co-editor with Stith Thompson of the Motif-Index of Folk-Literature.
July 23, 1907 – Elspeth Grant Huxley born, British writer, journalist, broadcaster, magistrate and environmentalist; author of 30 books, the best known are based on her childhood on a Kenyan coffee farm; The Flame Trees of Thika.
July 23, 1916 – Laurel Martyn born, Australian ballerina and choreographer; in 1935, she was the first Australian woman to be accepted into the Vic-Wells (later Sadler’s Wells) Ballet, and became a soloist in 1938. After returning to Australia, she performed with the Borovansky Ballet, taught dance, and created her own dance works inspired by Australian themes. She was a co-founder of the Young Dancers’ Theatre, and Classical Dance Teachers Australia.
July 23, 1917 – Barbara Deming born, influential nonviolent activist, writer and poet; she marched and wrote for peace, civil rights, women’s rights, and lesbian and gay rights.
July 23, 1928 – Vera Rubin born, American astronomer; studied with Maria Mitchell at Vassar; she was the only graduate in astronomy from Vassar in 1948, then was barred from enrolling in the graduate program at Princeton, which didn’t allow women until 1975. Rubin got her Master’s at Cornell, and her PhD at Georgetown, in spite of having to battle sexism at almost every step. When the men at the Palomar Observatory told her, ‘It’s a real problem because we don’t have a ladies room,’ she cut a piece of paper into a skirt and stuck it on the male figure on the door to one of the men’s restrooms. She said, ‘Look, now you have a ladies room.’ Rubin did the pioneering work on galaxy rotation rates, uncovering the discrepancy between the predicted angular motion of galaxies and the observed motion, by studying galactic rotation curves, which became known as the galaxy rotation problem, work that was compelling evidence of the existence of dark matter. Rubin’s results were met with great skepticism, but over subsequent decades, they were confirmed. She was a strong advocate and mentor of women in science; honored with numerous awards, including the Bruce Medal, the Gold Medal of the Royal Astronomical Society, and the National Medal of Science, but was never honored with a Nobel Prize.
July 23, 1928 – Ruth Whitney born, pioneering editor of Glamour magazine for 31 years (1967 – 1998), among the first editors to introduce relevant social topics to a woman’s magazine, and the first to feature an African American, Katiti Kironde (then an undergraduate at Harvard), on the cover of the magazine’s August 1968 issue.
July 23, 1931 – Te Arikinui (Paramount Chief) Dame Te Atairangikaahu born, Māori queen for 40 years, the longest reign of any Māori monarch; Te Atairangikaahu means ‘hawk of the morning sky’; in 1979, first Māori appointed a Dame Commander of the Order of the British Empire; she was a strong supporter of Māori cultural events, and a spokesperson on indigenous issues.
July 23, 1940 – Danielle Collobert born, French author, poet and journalist; she worked at the Galerie Hautefeuille, a major art photography gallery, in Paris in the early 1960s while writing what would become her novel, Meurtre (Murder), and her first published book, Chants des Guerres (War Songs). She became involved in 1962 with the Front de libération nationale (FLN), Algeria’s nationalist movement, and wrote for the Algerian magazine Révolution Africaine until it stopped being published in 1964; joined the Writers’ Union in 1968, and traveled in Czechoslovakia, writing about the Prague Spring and its aftermath; committed suicide on her 38th birthday; Collobert’s last work, Survie (Survival), was published just three months before her death.
July 23, 1942 – Sallyanne Atkinson born, Australian Liberal Party politician and journalist; Lord Mayor of Brisbane (1985-1991), the first woman to be elected to the position; worked for the Brisbane Telegraph (1960-1962) and the Courier Mail (1963-1964); Alderman on the Brisbane City Council (1979-1985); since 2017, she has been the Chair of the Museum of Brisbane, and Council President of the Women’s College at the University of Queensland.
July 23, 1957 – Jo Brand born, English comedian, writer and presenter, former psychiatric nurse, who began her comedy career doing stand-up at alternative comedy clubs in the mid-1980s billed as ‘Sea Monster.’ In 1993, she became a resident panelist on the BBC show, The Brain Drain. In 2010, she was one of the performers in Channel 4’s Comedy Gala, a benefit for the Great Ormond Street Children’s Hospital. She has written several books, including the novel The More You Ignore Me, which she adapted as a feature-film script. She was the presenter of The Great British Bake Off: An Extra Slice (2014-2017).
July 23, 1959 – Nancy Savoca born, American film director, producer and screenwriter; noted for True Love (which won the Sundance Film Festival 1989 Grand Jury Prize), If These Walls Could Talk, and The 24-Hour Woman.
July 23, 1970 – Thea Dorn born, German novelist and playwright; since 2004, also the TV host of Literatur im Foyer, a show featuring interviews with authors and book reviews.
July 23, 1976 – Judit Polgár born, Hungarian Grandmaster in chess, considered the strongest woman player of all time; achieved the Grandmaster title at 15 years, 4 months, breaking the Youngest Grandmaster record previously held by World Champion Bobby Fischer; she was also the youngest player to break into the FIDE Top 100 players rating list, ranking #55 in the world at the age of 12; in 2005, she became the first, and to date, only woman to qualify for a World Championship Tournament, to surpass a 2700 Elo, reaching a career peak of 2735, and to reach a world ranking of #8; she held the title of #1 ranked woman in the world from 1989 to 2014, when she was briefly overtaken by Chinese player Hou Yifan, but regained her #1 ranking in 2015, shortly after announcing her retirement from competitive chess; she is the only woman to win a game against a reigning World Champion. Polgár has also defeated eleven current or former World Champions in at least one game.
July 23, 1978 – Lauren Groff born, American novelist and short story writer; known for The Monsters of Templeton, Delicate Edible Birds, and Arcadia.
July 23, 1999 – Colonel Eileen Collins becomes first woman to command a US spacecraft, Space Shuttle mission STS-93. In 1995, she was the first female shuttle pilot.
July 23, 2001 – Megawati Sukarnoputri becomes first female president of Indonesia after the President Abdurrahman Wahid is removed from office. She is given day-to-day control of the government beginning in August 2000 and serves as President from July 2001 to October 2004, but loses in the 2004 election.
Every July 23 — National Women in Engineering Day.
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July 24, 1868 — Marie Goegg-Pouchoulin founds the Association Internationale des Femmes, the first women’s organization in Switzerland, advocating for women’s rights and peace; she later leads a successful campaign for women’s admission to the University of Geneva in 1872.
July 24, 1889 – Agnes Meyer Driscoll born, American cryptanalyst, mathematician and physicist, who was fluent in French, German, Latin, Japanese and English; she enlisted in the U.S. Navy during WWI as a chief yeoman (highest rank available to women then) in the Postal Cable and Censorship Office, then was reassigned to the Code and Signal section of the Director of Naval Communications, where she became a leading cryptanalyst, and stayed on as a civilian, except for a two year stint working for the Hebern Electric Code Company on developing an early cipher machine. She returned to the Navy in 1924, where she was an early supporter of machine support to code cracking. Driscoll was a major player in breaking the Japanese Navy manual codes – the Red Book Code in 1926, and the Blue Book Code in 1930; early in 1935, she was a leading member of the team cracking the Japanese M-1 cipher machine used by the Japanese Navy for encrypting messages to their naval attachés in embassies around the world. In 1940, she was doing critical preliminary work on JN-25, the Japanese fleet’s operational code, before she was transferred to a U.S. team working on the German Enigma cipher, but their approach proved fruitless. She was reassigned in 1943 to a team already working on the Japanese Coral cipher; however, the code was broken by others shortly after her arrival. Driscoll was in the U.S. Navy contingent which joined the Armed Forces Security Agency in 1949, and then the National Security Agency in 1952. She retired in 1959.
July 24, 1897 – Amelia Earhart born, American aviator; first woman pilot to fly solo across the American continent (1928) and across the Atlantic (1932); in 1931, became an official of the National Aeronautic Association, promoted the establishment of separate women’s records; member of the Ninety-Nines (named for the number of charter members), a women pilots organization which promoted women in aviation; her plane went missing in the Pacific en route to Howland Island during an attempt to fly around the world in 1937; there have been numerous searches and theories about what happened, but no trace of the plane, Earhart or her navigator Fred Noonan has been found.
July 24, 1900 – Zelda Fitzgerald born, American author, poet and socialite; she and her husband F. Scott Fitzgerald became symbols of the Jazz Age in the 1920s. Her only published novel, the semi-autobiographical Save Me the Waltz (1932), was poorly received, but F. Scott Fitzgerald had insisted she make major alternations prior to publication, as much of what she had written overlapped events he was using in his as-yet unfinished novel Tender is the Night. It has since been reevaluated somewhat more favorably. She spent much of her life from the mid-1930s until her death in and out of sanitoriums. In 1948, she was locked in a room awaiting electroshock therapy when a fire engulfed the Highland Hospital’s main building in Asheville NC, killing her and eight other women.
July 24, 1914 – Frances Oldham Kelsey born in Canada, Canadian-American pharmacologist and physician. She was hired in 1960 by the U.S. Food and Drug Administration, one of only seven full-time and four part-time physicians reviewing drugs for the FDA. One of her first assignments was to review an application by Richardson Merrell for the drug thalidomide (under the tradename Kevadon) as a tranquilizer and painkiller with specific indications to prescribe the drug to pregnant women for morning sickness. Even though it had already been approved in Canada and over 20 European and African countries, she refused to authorize thalidomide for market, and requested further studies. She resisted pressure from the drug manufacturer to approve the drug because of an unexplained nervous system side effect in an English study, and she insisted on a full testing of thalidomide. Her concerns proved justified when thalidomide began to be linked to serious birth defects in Europe. Kelsey’s insistence on full testing, backed by her FDA superiors, made headlines and helped to pass the 1962 Kefauver Harris Amendment to strengthen drug regulation, the same year she was honored with the President’s Award for Distinguished Federal Civilian Service by President John F. Kennedy. She was appointed by the FDA as deputy for scientific and medical affairs in 1995. In 2000, Kelsey was inducted into the National Women’s Hall of Fame. She retired from the FDA in 2005, at the age of 90, after 45 years of service. In 2010, Dr. Kelsey was presented by the FDA with the inaugural ‘Dr. Frances O. Kelsey Drug Safety Excellence Award.’
July 24, 1920 – Bella Abzug born, politician, lawyer, and outspoken feminist; Congresswoman (Democrat -New York, 1971-1977); co-founder in 1971 of the National Women’s Political Caucus, and in 1991, co-founder with Mimi Kleber of the Women’s Environment & Development Organization (WEDO). She was also a notable wearer of hats.
July 24, 1922 – Madeleine Ferron born, French Canadian author and radio show host; noted for her novels Le chemin des dames (The Way of the Ladies) and Le Grand théâtre (The Grand Theatre).
July 24, 1927 – Zara Mints born, Russian-Estonian literary scientist, Slavic philologist and lecturer at the University of Tartu in Estonia. She specialized in the works of Russian lyrical poet Alexander Blok, and Russian literature of the 19th and early 20th centuries.
July 24, 1936 – Ruth Buzzi born, American comedian, voice actress and actress, best known as a member of the cast of the comedy-variety show Rowan & Martin’s Laugh-In (1968-1973), for which she won a Golden Globe, and her voice work as Frou-Frou in the animated feature film The Aristocats. Buzzi supports numerous children’s charities including Make a Wish Foundation, the Special Olympics and a children’s art summer camp. She is also a supporter and fundraiser for the Utopia Animal Rescue Ranch.
July 24, 1953 – Claire McCaskill born, American Democratic politician; regarded as a “moderate,” she has frequently voted against her party’s positions, but has received a 100% favorable rating from Planned Parenthood on healthcare and abortion rights, and an “F” rating from the National Rifle Association; U.S. Senator from Missouri since 2007, and ranking member of the Senate Homeland Security Committee since 2017; served as Auditor of Missouri (1999-2007), Prosecutor of Jackson County (1993-1998), and in the Missouri House of Representatives (1983-1988).
July 24, 1960 – Catherine Destivelle born, French mountaineer; first woman to complete a solo ascent of the Eiger’s north face (1992).
July 24, 1966 – Aminatou Haidar born, Sahrawi (nomadic tribe of Berber-Arab heritage) human rights activist and advocate for the independence of Western Sahara, noted for non-violent protests; president of the Collective of Sahrawi Human Rights Defenders (CODESA); imprisoned by Moroccan authorities in 1987-1991 and 2005-2006. In 2009, she was returning from a trip to the U.S. when her passport was confiscated, and she was expelled by Morocco for refusing to state her nationality as “Moroccan” which a Moroccan official called an “act of treason.” She staged a hunger strike after being forced back to her previous stop, the airport in the Canary Islands. The UN, Human Rights Watch, and Amnesty International all called on Morocco to allow her to return to her home, resulting in global headlines. After over four weeks, she was near death, and Moroccan authorities finally allowed her return, but she was placed under house arrest, and blocked from speaking to journalists. A month later, she returned to Spain for medical treatment, and was found to still be in poor health. Amnesty International reported that Haidar and her family were under constant surveillance by Moroccan security forces and were being harassed and intimidated. She has continued her non-violent struggle for the rights of the Sharawi people in spite of death threats and even physical attacks on herself and members of her family.
July 24, 1968 – Coleen Doran born, American author, illustrator and cartoonist; noted for her artwork used along with work by others in Neil Gaiman’s The Sandman comic book series, and for her illustrations of his short story “Troll Bridge,” as well as her own space opera series, A Distant Soil.
July 24, 1969 – Jennifer Lopez born, American singer, actress and producer; the first Latina actress to earn over $1 million USD for a film. She is involved in political activism and philanthropy, including Amnesty International, the #MeToo and #TimesUp movements, Boys and Girls Clubs, the Children’s Hospital of Los Angeles, and the American Red Cross. She endorsed and made appearances for both Barack Obama and Hilary Clinton during their presidential campaigns. In 2017, she donated $1 million for humanitarian aid for Puerto Rico, and launched with her husband Somos Una Voz (We Are One Voice) to continue to raise funds for disaster relief to areas affected by Hurricane Maria. She is also a supporter of LGBT rights, and has raised millions of dollars for HIV/AIDS research.
July 24, 1971 – Patty Jenkins born, American film and television director and screenwriter; noted for directing Monster, for which Charlize Theron won an Oscar for Best Actress, and Wonder Woman (2017). In 2011, she won the Directors Guild of America award for Outstanding Directing in a Dramatic Series for the pilot episode of the television crime drama The Killing. Variety reported in late 2017 that Patty Jenkins closed a deal to direct Wonder Woman 2, and her paycheck is rumored to be in the $8 million dollar range, which would make her the highest-paid woman director in history. It is still less than half what A-list male directors make. She would also receive a substantial portion of box office grosses as part of her contract. The sequel is due to be released in 2020.
July 24, 1973 – Amanda Stretton born, English racing driver, and broadcast journalist; the first woman driver to compete in the ASCAR Mintex Cup, which she finished in 6th place, and was on the first women’s team in the British GT championships, as well as the first woman to race in the FIA Championships. She was the first British woman to win an international long-distance event at Spa-Francorchamps, and competed in the 24 Hours of Les Mans in 2006. She became a presenter on Channel 4’s Motorsport on 4, and went to work for Sky Sports, EuroSport and Silverstone TV.
July 24, 1987 – Hulda Crooks, 91-years-old, becomes the oldest person to climb Japan’s Mount Fuji.
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July 25, 1291 – Hawys Gadarn born, “the Hardy” Lady of Powys; Welsh noblewoman whose father had the forethought to insure she was a subject of the crown of England in his will. When her father died in 1293, her brother was the heir, but when he too died in 1309, he designated Hawys as his heir, but she was still 17, so her four uncles became her guardians. They disputed her claim on the grounds that women could not inherit under Welsh law, and sought take the land for themselves, and force Hawys into a nunnery. She went to the Parliament of Shrewsbury to petition King Edward II of England in person, as an English subject loyal to the Crown. He asked her to nominate a champion of her rights, and she named John Charleton, who was one of Edward’s knights. Charleton led a company of English knights escorting her back to Powis Castle. The knights ably defended the lady’s claim, capturing three of her uncles. Hawys and John Charleton were married shortly thereafter, and she became known for her support of monasteries, including the building of the Franciscan monastery in Shrewsbury.
July 25, 1806 – Maria Weston Chapman born, America abolitionist and editor of the anti-slavery journal Non-Resistant and The Liberty Bell, an annual gift book featuring works donated by notable writers and used as a fundraiser for the cause; served on the executive committee of the American Anti-Slavery Society (1839-1865).
July 25, 1840 – Flora Adams Darling born, American author, historian, organizer, instrumental in the founding of the Daughters of the American Revolution (DAR).
July 25, 1871 – Margaret Floy Washburn born, American psychologist, known for her work in animal behavior and motor theory, first woman granted a PhD in psychology in the US, second woman to serve as American Psychological Association President.
July 25, 1873 – Anne Tracy Morgan born, American philanthropist and author, spearheaded and supplied funds for relief efforts to aid France during and after WWI and WWII; first American woman appointed a commander of Ordre national de la Légion d’honneur (French Legion of Honor).
July 25, 1874 – Rose O’Neill born, American cartoonist, illustrator, writer and feminist; the first published American woman cartoonist (True magazine, 1896); creator of the popular comic strip Kewpies (debut 1909); she was the highest-paid woman illustrator of her day. Kewpies also became dolls, in several versions, first manufactured in 1912.
July 25, 1881 – Crystal Eastman born, American lawyer, suffragist, socialist and writer. Co-founder and co-editor with her brother Max of the radical arts and politics magazine, The Liberator. She was a founding member of the Women’s International League for Peace and Freedom, and of the American Civil Liberties Union. She managed the unsuccessful 1912 Wisconsin suffrage campaign, then joined with Alice Paul, Lucy Burns and others in founding the militant Congressional Union, which became the National Women’s Party. She was one of the few socialists to endorse the E.R.A., warning that protective legislation for women would mean only discrimination against women. Eastman said you could judge the importance of the E.R.A. by the intensity of the opposition to it.
July 25, 1896 – Josephine Tey born, Scottish author of mystery novels; wrote historical plays under the name Gordon Daviot like Richard of Bordeaux; noted for The Daughter of Time, and other books in her Alan Grant detective series.
July 25, 1898 – Kay Sage born, American Surrealist artist and poet.
July 25, 1900 – Zinaïda Aksentieva born, Ukrainian-Soviet astronomer, worked on mapping gravity and tidal deformation of the earth; Director of the Poltava Observatory (1951-1969).
July 25, 1901 – Ruth Krauss born, American author, known for children’s books such as The Carrot Seed and poems for adults.
July 25, 1901 – Welfare campaigner Emily Hobhouse begins addressing public meetings across Britain to raise money to improve the appalling conditions which are causing thousands of deaths in the segregated concentration camps during the second Anglo-Boer War, where the British held Boer women and children, and black African non-combatants. South Africa made her an honorary citizen for her humanitarian work there. When she died in Kensington in 1926, her death went unreported in the local press, but her ashes were ensconced in a niche in the National Women’s Memorial Monument at Bloemfontein, South Africa.
July 25, 1918 – Jane Frank born, American painter and sculptor, also known for work in mixed media and textile art.
July 25, 1920 – Rosalind Franklin born, British scientist, made contributions to understanding of the molecular structure of DNA which was foundational for work of Watson and Crick.
July 25, 1923 – Maria Gripe, Swedish author children’s and young adult books, recipient of the Hans Christian Andersen Medal.
July 25, 1925 – Jutta Zilliacus born in Finland, Swedish-language Estonian author, journalist and politician. Member of the Finnish Parliament for the Swedish People’s Party (1975-1986) and member of the Helsinki City Council (1968-1984). Among her books are Vägskäl (Crossroads), and Gå över gränser (Across Borders).
July 25, 1930 – Alice Parizeau born in Poland to Jewish parents who died in the Holocaust; French Canadian author, journalist, essayist and criminologist, associated with the sovereignty movement in Quebec.
July 25, 1944 – Sally Beauman born, English journalist and novelist; worked for New York magazine, and was an editor at Queen magazine and The Sunday Telegraph magazine; also worked as an investigative journalist for several leading British publications; author of eight best-selling novels, including The Visitors.
July 25, 1954 – Sheena McDonald born, Scottish journalist and broadcaster; producer and presenter for BBC Radio Scotland (1978-1981), then worked for STV (a Scottish television channel – 1981-1986), then worked on several different programmes until she was struck by a police van responding to an emergency, and seriously injured in 1999, and was out of broadcasting for almost five years; currently presents a news programme for the cable channel Teachers’ TV.
July 25, 1955 – Iman born as Zara Abdulmajid, Somali fashion model, founder of an ethnic cosmetics company, and philanthropist; Super model active from 1976 to 1990, she went on to start her own cosmetics firm in 1994, specializing in difficult-to-find foundation shades for women, and expanding into the home shopping fashion market in 2007. She is actively involved with several children’s charities, including Keep a Child Alive, Children’s Defense Fund, and Save the Children’s East African programs. She played a key part in the Enough Project’s campaign against blood diamonds, including terminating her contract with the De Beers diamond conglomerate over ethics conflicts.
July 25, 1964 –Anne Applebaum born, American-Polish journalist and author; 2004 Pulitzer Prize (General Nonfiction) for Gulag: A History; 2012 National Book Award Nonfiction finalist for Iron Curtain: The Crushing of Eastern Europe 1944-1956.
July 25, 1965 – Illeana Douglas born, American actress, producer, director and screenwriter; noted for writing and directing the comedy short The Perfect Woman, the documentary Everybody Just Stay Calm—Stories in Independent Filmmaking, and Boy Crazy, Girl Crazier. She also produced several projects for the Sundance Channel, including Illeanarama, for which she also has writing and acting credits.
July 25, 1966 – Diana Johnson born, British Labour politician; Member of Parliament for Kingston Upon Hull North since 2005, Hull’s first woman MP; Parliamentary Under-Secretary of State for Schools (2009-2010); Member of the London Assembly for the Labour Party (2003-2004); in 2014, she proposed a Bill that would require sex and relationships education, including discussions around issues such as consent, to be made a compulsory part of the National Curriculum.
July 25, 1967 – Ruth Peetoom born, Dutch Christian Democractic Appeal (CDA) politician, CDA Party Chair since 2011.
July 25, 1969 – Annastacia Palaszczuk born, Australian Labor politician; Premier of Queensland since 2015; Labor member of the Legislative Assembly of Queensland since 2006; as Leader of the Opposition of Queensland (2012-2015), the first woman Premier of a state from an Opposition party; first Australian premier to have a majority of women ministers (8 out of 14); served as Minister for Disabilities (2009-2011), and for Multicultural Affairs (2009-2012).
July 25, 1970 – Ariel Gore born, American author, editor-publisher of Hip Mama, alternative press publication covering the culture and politics of motherhood.
July 25, 1974 – Lauren Faust born, American animator, director, producer and screenwriter; known for creating the animated series My Little Pony: Friendship Is Magic.
July 25, 1974 – Nisha Ganatra born in Canada of Indian subcontinent ancestry, film director, producer, screenwriter and actress, best known for her films Chutney Popcorn and Cosmopolitan.
July 25, 1984 – Svetlana Savitskaya becomes first woman to perform a spacewalk as a cosmonaut aboard Salyut 7.
July 25, 2007 – Pratibha Patil sworn in as India’s first woman president (Indira Gandhi was India’s first woman Prime Minister).
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July 26, 1745 – First recorded women’s cricket match takes place near Guildford, England. It was a match “between eleven maids of Bramley and eleven maids of Hambledon, all dressed in white,” according to The Reading Mercury.
July 26, 1869 – Donaldina Cameron born, social justice advocate in San Francisco. At age 25, she became head of the Presbyterian Mission Home for Girls, and began her battle to end the illegal smuggling of Chinese girls and young women by the Tongs to be used as prostitutes or slave labor. She rescued over 3,000 Chinese women held by the traffickers, developing a network of informers to discover the brothels and opium dens where they were held, then leading police to raid them, sometimes carrying an axe and chopping down doors or panels hiding the victims herself. The traffickers called her Fahn Gwai, “white devil.” Enlisting support from church and civil groups, as well as working with lawyers and legislators, she is credited with breaking the back of the early 20th century Chinese slave trade in the city.
July 26, 1895 – Gracie Allen born, American comedian and vaudevillian, best known as part of the comic duo Burns and Allen, with her husband George Burns, on stage, radio, film and television. She always wore sleeves long enough to cover scars from a severe scalding accident in her childhood. Burns downplayed his own comic brilliance, crediting Allen with their success, “All I had to do was say, 'Gracie, how's your brother?' and she talked for 38 years.”
July 26, 1900 – Sarah Kafrit born in the Russian Empire, Israeli teacher and politician; member for Mapai of the Knesset (Israeli legislature) between 1951 and 1959; a founding member in 1927 of the moshav (farmers’ collective) Kfar Yehoshua; member of the secretariat of Women’s Councils.
July 26, 1906 – Irena Morzycka-Iłłakowicz born in Berlin, Polish 2nd Lieutenant of the National Armed forces, and an intelligence agent working with the Polish resistance movement during WWII. She lived separately from her husband under assumed names to make it more difficult for the Gestapo to find either one of them. She was fluent in seven languages: Polish, French, English, Persian, Finnish, German and Russian. Between 1941 and 1942, her section was systematically destroyed by the Nazis, and numerous other underground activists were arrested. Her husband arranged for a guard to be bribed to put her in a group of non-political prisoners being transported to the Majdanek concentration camp. A group of fighters dressed in Gestapo uniforms presented a falsified document claiming her for further interrogation in Warsaw. She moved from Lublin to Klarysek-Janówek, then returned to Warsaw to work with the Soviet intelligence network in Poland, while her husband was sent to London in 1943 as a representative of the National Armed Forces. He wanted her to come with him, but command decided she should go separately later. Nine days before she was to leave, she was summoned to a meeting, but was murdered in unknown circumstances. Her husband eventually found her body, and she was buried under an alias, as Barbara Zawisza. To prevent the Gestapo from capturing them, her husband was at the funeral disguised as a gravedigger, and her mother posed as a cemetery helper. She was posthumously decorated with the Krzyż Narodowego Czynu Zbrojnego, one of Poland’s highest honors.
July 26, 1918 – Emmy Noether's paper, which became known as Noether's theorem, is presented by a colleague at a meeting the Royal Society of Sciences (because she was not a member of the society), at Göttingen, Germany. Her theorem, from which conservation laws are deduced for symmetries of angular momentum, linear momentum, and energy, is regarded by many physicists as one of the most important mathematical theorems ever proved, which guided the development of modern physics. Even though the importance of her paper was recognized, Noether was not appointed to a paid position, as a lecturer, until 1923. Before that, her family was supporting her while she worked as an untenured professor without being paid.
July 26, 1923 – Jan Berenstain born, author and illustrator, co-author with her husband Stan of children’s book series The Berenstain Bears, and cartoons for magazines.
July 26, 1923 – Bernice Rubens born, Welsh novelist; noted for Madame Sousatzka, and The Elected Member, which won the 1970 Booker Prize for Fiction.
July 26, 1925 – Ana María Matute born, Spanish author and member of the Real Academia Española; honored with the prestigious Miguel de Cervantes Prize for lifetime achievement Spanish letters in 2010; Fiesta al noroeste (Celebration in the Northwest) won the 1952 Café Gijón Prize.
July 26, 1939 – Jun Henmi born as Mayumi Shimizu, Japanese author and poet; known for her fiction and nonfiction works about people affected by WWII. She won the Nitta Jirō Culture Prize in 1984 for her book Otoko-tachi no Yamato (published in English as Yamato: The Last Battle).
July 26, 1945 – Dame Helen Mirren born, notable English actress, began her career with the Royal Shakespeare Company in 1967; one of the few actors to achieve acting’s ‘Triple Crown’ – a 2007 Oscar and an Olivier Award for Best Actress as Queen Elizabeth II in The Queen; and a Tony Award for Best Actress in a Play, for the same role in the play The Audience, which inspired the film. In 2017, Mirren narrated Cries from Syria, a documentary film about the Syrian Civil War, directed by Evgeny Afineevsky. She has publicly stated that she is an atheist, and a naturalist, at her “happiest on a nude beach with people of all ages and races.”
July 26, 1950 – Anne Rafferty born, Lady Justice Rafferty, British justice; Lady Justice of Appeal of England and Wales since 2011, member of the Privy Council and the first woman Chair of the Criminal Bar Association of England and Wales; also Chancellor of the University of Sheffield since 2015. Her career began as Queen’s Counsel (1990-1991), then Recorder (1991-1999), Deputy High Court Justice (1999-2000), and High Court Justice (2000-2011) before being appointed to the Court of Appeal of England and Wales.
July 26, 1952 – Dame Glynis Breakwell, British social psychologist and an active public policy adviser and researcher specialising in leadership, risk management and identity process. She has been a Fellow of the British Psychological Society since 1987 and an Honorary Fellow since 2006. Appointed Dame Commander of the Order of the British Empire in 2012, and is also a Deputy Lieutenant of the County of Somerset.
July 26, 1964 – Anne Provoost born in Belgium, Flemish author of novels for young adults, and essays; noted for her novels My Aunt is a Pilot Whale, which deals with sexual abuse, and Falling, which examines the allure of Neo-Nazi rhetoric, and won Belgian, Dutch and French literary awards.
July 26, 1964 – Sandra Bullock born, American actress, producer and philanthropist; she was twice nominated for an Academy Award for Best Actress for The Blind Side and Gravity, and won the Oscar for The Blind Side. She is the founder of Fortis Films, and was an executive producer on the sitcom George Lopez (2002-2007). Fortis Films produced the movie All About Steve in 2009. Bullock is a supporter of the American Red Cross, donating $1 million USD each for least five different disasters, including the 2004 Indian Ocean earthquakes and tsunamis, the Haiti earthquake, and Hurricane Harvey in Texas. She did a public service announcement urging people to sign a petition for clean-up efforts after the Deepwater Horizon oil spill in the Gulf of Mexico. Bullock made a large donation to Warren Easton High School in New Orleans, which was heavily damaged by Hurricane Katrina. She is also a supporter of the Texas non-profit The Kindred Life Foundation, which assists struggling teen parents and their children.
July 26, 1969 – Tanni Grey-Thompson born, Baroness Grey-Thompson of Eaglescliff, British politician, and academic; born with spina bifida, she was a successful wheelchair racer (1984-2007), winning many gold and silver medals in the Paralympic Games and World Championships; after a stint as a BBC television presenter, she became Chancellor of Northumbria University (2015 to present); created a Life Peer in 2010, she took her oath of office for the House of Lords in English and Welsh.
July 26, 1980 – Jacinda Ardern born, New Zealand politician; Prime Minister of New Zealand, Member of the New Zealand Parliament for Mount Albert, and Leader of the Labour Party since 2017; Member of Parliament for the Labour Party List (2008-2017).
July 26, 2016 – Hillary Clinton becomes the first woman nominee for U.S. President by a major political party at the Democratic National Convention in Philadelphia.
July 26, 2017 – An investigation by USA Today reveals that the U.S. is the most dangerous developed county in which to give birth. Every year, over 50,000 American women are severely injured giving birth, and about 700 women die. An estimated 50% of these injuries and deaths can be presented if hospitals would provide better care. There is no tracking system for doctors to record childbirth issues, and doctors and hospitals alike regularly miss or ignore obvious signs of pre- and post- natal complications. The negligence has resulted in a sharp increase in maternal mortality rates, up from 17 deaths in 100,000 births in 1990 to 26.4 deaths per 100,000 in 2015. The rest of the developed world saw steady or improved death rates, with many below 10 deaths per 100,000 births, according to statistics kept by the World Health Organization (WHO). The average cost of delivering a baby without complications in the U.S. is also much higher than many other countries – almost $11,000, compared to about $3,200 in Canada, or just over $2,500 in Germany or France.
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July 27, 1202 – Battle of Basiani: during the Georgian-Seljuk Wars, the army of Tamar, Queen regnant (1184-1213) of the Kingdom of Georgia wins a decisive victory over the army of Süleymanshah II, Sultan of Rum (Selijuqid [Seljuk] ruler of Anatolia), north of Erzurum in what is now Turkey.
July 27, 1768 – Charlotte Corday born, Girondin assassin of Jacobin leader Jean-Paul Marat; Marat was a key figure in the mass execution of the Girondins, who tried to stem the Reign of Terror.
July 27, 1841 – Linda Richards born, American nurse and educator, one of the first nurses professionally trained in the U.S., at the New England Hospital for Women and Children in Boston, the first American nurse’s training school. Richards establishes training programs in the U.S. and Japan, and creates a system for hospital medical records.
July 27, 1853 – Elizabeth Plankinton born, American philanthropist who inherited a fortune and a tradition of giving from her father, businessman John Plankinton; she never married because her engagement was broken when her fiancé ran off with a dancer whom he married instead; she gave $100,000 (equivalent to over $2.5 million USD today) for the building of the first YWCA hotel in Milwaukee Wisconsin, to provide affordable housing to unmarried working women.
July 27, 1853 – Lucy Maynard Salmon born, American historian and educator; pioneered the use of artifacts from everyday life – laundry lists, advertisements, bulletin-board notices, architectural plans, ledgers, packing slips – in historical research and in the teaching of history; first woman member of the executive committee of the American Historical Association; professor and founder of the history department at Vassar College. She was active in the National College Equal Suffrage League and on the Executive Advisory Council of the Congressional Union for Woman Suffrage. She led the suffrage movement at Vassar, despite disapproval of the trustees and the college’s male president, James Monroe Taylor (1886-1914). His goals for Vassar’s graduates were characterized by his successor, Henry Noble MacCracken, as: “to be cultured . . . not leaders but good wives and mothers, truly liberal in things intellectual but conservative in matters social.” MacCracken continued, “Throughout Taylor’s term Vassar was a college for women developed by men.” Vassar students were finally given permission to form an on-campus suffrage club in 1914.
July 27, 1875 – Mary Olszewski Kryszak born, American educator and politician, Polish newspaper editor, librarian, and bookkeeper; served seven times as a member of the Wisconsin State Assembly; in spite of her impressive list of accomplishments, when running for office, the national press stated that “Mrs. Kryszak ‘takes in’ hemstitching work at home when not engaged in lawmaking.”
July 27, 1889 – Vera Karalli born, Russian ballerina, choreographer and silent film performer.
July 27, 1891 – Myrtle Lawrence born, sharecropper and labor organizer, worked within biracial Southern Tenant Farmers’ Union from 1936 to 1943, honored on the 1976 Bicentennial Freedom Train Exhibition.
July 27, 1904 – Lyudmila Rudenko born in the Russian Empire, Soviet chess player, second Women’s World Chess Champion (1950-1953), the first woman awarded a FIDE International Master title, and Woman Grandmaster (1976). During WWII, she organized a train to evacuate children from the siege of Leningrad.
July 27, 1906 – Helen Wolff born, editor and publisher, published many acclaimed translations under the imprint “A Helen and Kurt Wolff Book” at Harcourt Brace Jovanovich, founded Pantheon Books with husband in 1942.
July 27, 1907 – Irene Fischer born in Austria, American mathematician and geodesist; she and her family fled Nazi Austria in 1939; she worked on stereoscopic projective geometry trajectories for John Rule at MIT; she then began her career (1951-1976) in the Geodesy Branch of the Army Map Service working on what became the World Geodetic System, rising through the ranks to branch chief; her contributions to geodetic science gave scientists a more accurate picture of the size and shape of the earth, and helped determine the parallax of the moon, crucial information for NASA’s Mercury and Apollo moon missions; National Academy of Engineering Member; Fellow of the International Geophysical Union, Inductee of the National Imagery and Mapping Agency Hall of Fame, and the third woman to be honored with the 1967 Distinguished Civilian Service Award, given by the U.S. Army to civilians for outstanding public service which aids accomplishment of the Army’s mission.
July 27, 1916 – Elizabeth Hardwick born, American author and literary critic, co-founder of The New York Review of Books; Fellow of the American Academy of Arts and Sciences; noted for her novel The Simple Truth, and four collections of her criticism.
July 27, 1930 – Shirley Williams, Baroness Williams of Crosby born, British politician and scholar, one of the “Gang of Four” founders of the Social Democratic Party in 1981, served as Leader of the Liberal Democrats in the House of Lords from 2001 to 2004, still active in the House of Lords and Professor Emerita at Harvard University.
July 27, 1930 – Joy Whitby born, English radio and television producer, director and writer of innovative children’s programmes for the BBC (1956-1967), including Play School and Jackanory; produced dramas for London Weekend Television (1967-1969); founded her own company, Grasshopper Productions (1970-1975); Head of Children’s Programmes for Yorkshire Television (1975-1985); since 1985, has produced animated films based on quality picture books; first TV producer to win the Eleanor Farjeon Award for contributions to children’s literature.
July 27, 1940 – Pina Bausch born, German dancer and choreographer, leading influence in modern dance, creator of the company Tanztheater Wuppertal Pina Bausch.
July 27, 1948 – Betty Thomas born, American actress, director and producer of television and motion pictures. Known for her work on the television series Hill Street Blues (1981-1987), for which she won a Best Supporting Actress Emmy for the 1984-1985 season. She directed several episodes of TV series like Hooperman, Doogie Howser MD, and Arresting Behavior, then won a Best Director Emmy for her work on the series Dream On. Her feature film debut as a director was 1992’s Only You. Her second feature The Brady Bunch Movie, was a domestic box office hit, grossing almost $47 million USD, one of the highest grossing movies directed by a woman up to that time. She followed that with other successes, including Dr. Dolittle (starring Eddie Murphy), 28 Days, and 2009's Alvin and the Chipmunks: The Squeakquel.
July 27, 1951 – Roseanna Cunningham born, Scottish National Party politician, Cabinet Secretary for Environment, Climate Change and Land Reform since 2016; Minister for Community Safety and Legal Affairs (2011-2014); Depute (deputy) Leader of the Scottish National Party (2000-2004); Member of the Scottish Parliament for Perthshire South and Kinrossshire Perth (1999-2011).
July 27, 1955 – Cat Bauer born, American novelist; known for Harley, Like a Person (2002), which won an American Library Association Best Books for Young Adults award.
July 27, 1960 – Emily Thornberry born, British Labour politician and barrister who specialized in human rights law (1985-2005); Member of Parliament for Islington South and Finsbury since 2005; vice-chair of the All-Party Parliamentary Pro-Choice and Sexual Health Group; advocate for affordable housing, the environment and gender equality, and an opponent of detention of terrorist subjects without charge for 90 days, and renewal of the Trident nuclear weapons programme.
July 27, 1968 – Sabina Jeschke born in Sweden, German academic and mechanical engineer; professor at the RWTH Aachen University; member of the management board of Deutschen Bahn, a railway company, for digitalization and technology since 2017, and involved with building the think tank “Strong Artificial Intelligence” at the Volvo Car Corporation in Göteborg.
July 27, 1979 – Marielle Franco born, Brazilian PSOL (socialist party) politician, feminist, human rights activist, and an outspoken critic of police brutality and extrajudicial killings. She ran in 2016 as a black bisexual woman and single mother from the favelas (slums), and won a seat on the city council of Rio de Janeiro (2017-2018), where she fought against gender violence, for reproductive rights, and for the rights of favela residents. Franco chaired the Women's Defense Commission, and worked with the Rio de Janeiro Lesbian Front. She and her driver were shot to death in March 2018. Franco was 38 years old. In 2019, two former police officers were charged with her murder.
July 27, 2006 – Peruvian president-elect Alan Garcia makes good on his campaign pledge to draw talent from across the political spectrum by appointing six women to his cabinet, including Peru's first woman justice and first women interior ministers.
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July 28, 1347 – Margaret of Durazzo born, married at age 22 to the quarrelsome Charles III of Naples; when her husband was killed in 1386, she became regent (1386-1393) for her son, Ladislaus of Naples, who was 9 years old. Charles was assassinated on orders from Elizabeth of Bosnia, whose daughter, Queen Mary of Hungary, he had deposed, in spite of Margaret being much against toppling Queen Mary. During her regency, Margaret was able to make peace with Pope Boniface IX, who had excommunicated Charles (and Margaret too, just for being married to Charles) for plotting against the papacy.
July 28, 1609 – Judith Leyster born, Dutch painter during the ‘Golden Age’ of Dutch painting. She was one of the first women members of the Haarlem Guild of St. Luke, the local guild for artists. Within two years of her entry into the Guild, she had taken on three male apprentices. Ironically, her work received more recognition after she filed a lawsuit against the much better-known painter Frans Hals, who accepted a student who left her workshop without Guild permission. Hals settled by paying the fine, and keeping the student. Though her work was highly regarded during her lifetime, it was largely forgotten until 1893, when the Louvre purchased a much-admired painting, The Jolly Companions, purported for over a century to be a ‘Frans Hals’ which turned out to a Judith Leyster painting when the Louvre discovered Leyster’s distinctive monogram under the faked Hals signature.
July 28, 1819 – Louise A. Knapp Smith Clappe born, American teacher and author, came to California in 1849; her letters to her sister giving her impressions of life in the gold-mining camps, were published as a serial in The Pioneer periodical, from January 1854 to December 1855; taught in San Francisco public schools (1854-1878).
July 28, 1855 – Louisine Waldron Elder Havemeyer, American philanthropist, art collector and patron, feminist and advocate for women’s suffrage, supporter of Alice Paul and patron of Edgar Degas.
July 28, 1866 – Beatrix Potter born, beloved English author-illustrator of Peter Rabbit, and a total of 23 children’s storybooks. She was also a naturalist, especially noted for her studies and watercolours of fungi, and contributions to the understanding of fungi spore germination and hybridisation. Potter used the money earned by her books to purchase Hill Top Farm in the Lake District. She was also a pioneer in land conservation, buying hundreds of acres of farmland to preserve the unique landscape of the English Lake District, which she left in her will to the National Trust. The land she preserved is now a large portion of the Lake District National Park.
July 28, 1866 – By a vote of Congress, Vinnie Ream receives a commission from the U.S. government for a statue of Abraham Lincoln. She was only 18 at the time, making her the first and youngest woman to receive an artistic commission from the U.S. federal government.
July 28, 1874 – Alice Duer Miller, American author and poet, suffragist, known for satirical poems in her collection Are Women People? and the novel Come Out of the Kitchen.
July 28, 1879 – Lucy Burns born, American suffragist and women’s rights advocate, who formed the National Woman’s Party with Alice Paul; she attended Columbia University, Vassar College and Yale before becoming an English teacher at Brooklyn’s Erasmus High School (1904-1906), then, supported by her father, she continued her language studies in Germany at the Universities of Bonn and Berlin (1906-1909), and enrolled at Oxford to study English. It was during this time that she became involved with the woman’s suffrage movement after meeting the Pankhursts. She went to work for the Women’s Social and Political Union (WSPU – 1910-1912), and participated in organizing parades and demonstrations. She made numerous court appearances, charged with “disorderly conduct.” During one of her arrests in 1912, she met Alice Paul, also under arrest, at a London Police Station, and they decided to return to the U.S. and apply the tactics they had learned in England to the suffrage cause in America. Their partnership over the next eight years would make woman’s suffrage a national issue in the U.S., and pushed forward passage and ratification of the 19th Amendment in 1920. Burns would endure more time behind bars and harsher treatment than any other American suffragist, including repeated violent forced feeding, and being chained overnight to her cell bars by her raised arms. She was one of the first people to define the term "political prisoner." By the time Tennessee became the 36th state to ratify the Amendment, she was completely exhausted: “I don't want to do anything more. I think we have done all this for women, and we have sacrificed everything we possessed for them, and now let them fight for it . . . I am not going to fight anymore." She retired from political life, and devoted herself to Catholic charities and raising her orphaned niece.
July 28, 1896 – Barbara La Marr born as Reatha Watson, American silent film star and screenwriter. She appeared as an actress in 27 films between 1920 and 1926. She was originally hired as a screenplay writer for Fox Film, where she wrote several scripts which became successful movies before she was “discovered” by Douglas Fairbanks, who cast her in his 1921 film, The Nut, and then as Milady de Winter in his version of The Three Musketeers. But as La Marr ‘s fame and success grew, so did her partying and drinking. She was playing the flapper off-screen as well as on. In 1924, after a series of crash diets damaged her health, her attempts at restoring her career failed, and she died of pulmonary tuberculosis and nephritis in 1926, at age 29.
July 28, 1908 – Dame Annabelle Rankin, Australian politician, second woman member of the Australian Senate; first woman from Queensland to sit in the Parliament; first woman appointed as Opposition Whip in the Senate; first Australian woman to have a federal portfolio (cabinet position), and first to head a foreign mission, to New Zealand.
July 28, 1909 – Aenne Burda born, German publisher of the Burda Group, her family’s media company, which expanded into women’s magazines under her direction, including Burda Moden, which was launched in 1950, and is still being published. In 1977, she started Burda CARINA, a fashion and lifestyle magazine targeting younger women. She also started two charitable foundations, to support young academics and senior citizens.
July 28, 1929 – Jacqueline Bouvier Kennedy Onassis born, American cultural icon; American First Lady (1961-1963), started the White House Historical Association; widow of John F. Kennedy, then married to Greek shipping magnate Aristotle Onassis; book editor for Doubleday; advocate for historic buildings preservation.
July 28, 1929 – Shirley Ann Grau born, American novelist and short story writer; her multi-generational novel, The Keepers of the House, won the 1965 Pulitzer Prize for Fiction.
July 28, 1932 – Natalie Babbit born, American author-illustrator of children’s and YA books; Tuck Everlasting and The Eyes of the Amaryllis.
July 28, 1942 – Tonia Marketaki born, Greek film director and screenwriter; her first short film in 1967 resulted in her imprisonment by the Greek Military Junta (1964-1974); when released, she left Greece, and worked as an assistant editor in the UK, and director of educational films for farmers in Algeria. She came back to Greece in 1971, made three full-length films, Ioannis o Viaios (John the Violent), Krystallines Nyhtes (Crystal Nights), and I timi tis agapis (The Price of Love). She also directed a number of theatrical productions, and the TV series Lemonodasos. She died in 1994 at age 51.
July 28, 1946 – Fahmida Riaz born, Pakistani Urdu-language writer, poet, human rights activist, part of the progressive writers movement, and a feminist; she has published over 15 books of fiction and poetry, most considered controversial at the time, especially her second verse collection Badan Dareeda, regarded as too shockingly erotic and sensual for a woman poet. Founder and publisher of Awaz, a liberal and politically charged Urdu magazine, for which she was arrested and Awaz shut down. She was bailed out by a fan of her work, and sought asylum in India with her children and sister, where her husband, who had also been arrested, was able to join them after his release. They were in exile in India for seven years (1980-1987), before returning to Pakistan.
July 28, 1966 – Sossina M. Haile born in Ethiopia, Ethiopian-American chemist, whose family fled to America seeking asylum during the 1974 coup in Ethiopia, after her historian father was nearly killed. She is known for developing the first solid acid fuel cells, working in the field of sustainable energy technologies. Currently a professor of Materials Science and Engineering at Northwestern University and an editor for the Journal of Materials Research; previously at Caltech (1996-2015). NSF National Young Investigator Award (1994–99), Humboldt Fellowship (1992-1993), Fulbright Fellowship (1991-1992), AT&T Cooperative Research Fellowship (1986-1992), 2001 J.B. Wagner Award of the High Temperature Materials Division of the Electrochemical Society, 2000 Coble Award from the American Ceramic Society, and 1997 TMS Robert Lansing Hardy Award.
July 28, 1971 – Ludmilla Lacueva Canut born, Andorran author of fiction and nonfiction, columnist for the Catalan-language newspaper Bondia; her first published book, Los pioneros de la hoteleria andorrana, a history of the hotel industry of Andorra, won the Research Prize from the General Council of Andorra, and became a local best-seller for Saint George’s Day, when it is traditional for Andorran women to give the men in their lives a book
July 28, 2009 – Tanzania Women's Bank, under the leadership of Margaret Chaca, opens in Dar es Salaam. The idea started during the Dar es Salaam International Trade Fair in 1999. Women participants petitioned Tanzanian President H.E Benjamin Mkapa, asking that the government facilitate establishment of a women’s bank, so women could open checking and savings accounts, and apply for loans, more easily than at traditional banks, which were not geared for small accounts and microloans. It took eight years to get the bank listed as a Registered Financial Institution with the Tanzania Central Bank, and two more years before it opened its first office. It now has three more branches.
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July 29, 1742 – Isabella Graham born in Scotland, American philanthropist and educator, leader in founding the Society for the Relief of Poor Widows, the Orphan Asylum Society and the Society for Promoting Industry among the Poor.
July 29, 1862 – Belle Boyd, Confederate spy, the ‘Siren of the Shenandoah,’ arrested as an 18-year-old after the Union officer that she had been flirting with for information reported her. She aided General Stonewall Jackson the previous May by eavesdropping on the plans of Union General James Shield, and discovering the number of his troops, then riding through the night to deliver the news. After her arrest in July, she was taken to the Old Capitol Prison in Washington DC, held for a month, then released in a prisoner exchange. Boyd was arrested again in June 1863, but released after contracting typhoid fever. In 1864, she attempted to go to England, but her ship was intercepted by a Union blockade, and she was sent to Canada. There, she met a Union naval officer, and they were married in England. After his death in 1866, she became an actress on the English stage to support their daughter, but returned to the U.S. in 1869, settled in New Orleans, married and divorced, and then married again. In 1886, she began touring the country giving highly colored dramatic lectures on her life as a Civil War spy. She died in 1900 while on tour, of a heart attack in Wisconsin, at the age of 56.
July 29, 1846 – Sophie Menter born, German pianist and composer; one of Franz Liszt’s favorite students, a piano virtuoso noted for her electrifying playing style.
July 29, 1884 – Eunice Tietjens born, American author, poet, lecturer, WWI correspondent for the Chicago Daily News; editor at Poetry: A Magazine of Verse.
July 29, 1896 – Maria L. de Hernandez born, Latina activist, first Mexican woman radio announcer. Co-founder of Asociación Protectora de Madres in 1933, which helped expecting mothers, including providing financial aid if needed. She was a vocal opponent against injustice and inequality, speaking out for both the Mexican American and African American communities.
July 29, 1900 – Mary V. Austin born, Australian community worker and political activist; Regional Commandant of the Red Cross Society; National Vice President of the Australian Liberal Party (1947-1976); life member of the Victoria League for Commonwealth Friendship.
July 29, 1900 – Teresa Noce born, Italian labor leader, founding member of the Italian Communist Party, politician, journalist and feminist. Noce was editor of Il Grido del Popolo (The Cry of the People), where she called for better working conditions and the abolition of the Special Tribunals used to imprison anti-Fascists. In the 1950s, she served as a member of the Chamber of Deputies, where she was aligned with Unione Donne Italiane (Italian Women's Union), advocating for broad social legislation benefiting working women. Their efforts won the passage of a law in 1950 which protected the jobs of working mothers and gave five months of paid leave to working pregnant women.
July 29, 1903 – Diana Vreeland born, fashion icon, born in Paris, started as a columnist (1936), then was fashion editor at Harper’s Bazaar until 1962, when she became editor-in-chief at Vogue (1962-1971).
July 29, 1905 – Mary Roebling born, first woman president of a major bank, Trenton Trust Company(1937); the first woman American Stock Exchange governor (1958-1962); Roebling helped establish the first nationally-chartered bank founded by women (1978).
July 29, 1918 – Mary Lee Settle born, American author; won 1978 National Book Award for her novel Blood Tie; co-founder of the PEN/Faulkner Award for Fiction.
July 29, 1932 – Nancy Landon Kassebaum born, Republican Senator from Kansas (1978-1997), the first woman to represent Kansas in the U.S. Senate, instrumental in creation of Tallgrass Prairie National Preserve; noted for co-sponsoring the bi-partisan Kennedy-Kassebaum Health Insurance Portability and Accountability Act with Democratic Senator Edward Kennedy; was a strong supporter of anti-apartheid measures against South Africa in 1980s, and traveled to Nicaragua as an election observer.
July 29, 1936 – Elizabeth H. Dole born, American conservative Republican politician; first woman elected to the U.S. Senate from North Carolina (2003-2009), first woman to serve as U.S. Secretary of Transportation (1983-1987) under Ronald Reagan, and also served as U.S. Secretary of Labor (1989-1990) under George H. W. Bush, becoming the first woman to hold two different cabinet positions, in two different Presidents’ administrations. She served as president of the American Red Cross (1991-1999).
July 29, 1940 – Betty W. Harris born, African American chemist, noted for work on the chemistry of explosives at the Los Alamos National Laboratory; patented a spot test for detecting 1, 3, 5-triamino-2, 4, 6-trinitrobenzene (TATB) in the field. Harris was chief of chemical technology for Solar Turbine Inc., where she managed the technical laboratories and investigated cold-end corrosion of super alloys, which was caused by sulfuric acid and soot in gas turbine engines. She also worked on hazardous waste treatment and environmental remediation; American Chemical Society member.
July 29, 1940 – Solita Collas-Monsod born, aka “Mareng Winnie,” Filipina broadcaster, economist, academic and writer; Director General of the National Economic Development Authority (1986-1989); Professor Emeritus at the University of the Philippines School of Economics, where she has taught since 1963; member of the UN Committee for Development Planning (UNCDP – 1987-2000).
July 29, 1945 – Sharon Creech born, American author of children’s novels; first person to win both the American Newbery Medal, in 1996 for Walk Two Moons, and the British 2002 Carnegie Medal, for Ruby Holler; first American to win the Carnegie Medal.
July 29, 1946 – Ximena Armas born, Chilean painter, who lives in Paris; notable for the symbolism and mysterious quality of her artwork.
July 29, 1950 – Jenny Holzer born, American painter and author; noted as a neo-conceptual feminist artist, who works primarily on large-scale installations designed for public spaces. She won the Golden Lion at the 1990 Venice Biennale, and the Art Institute of Chicago’s Blair Award in 1982. In 2018 she was elected as a member of the American Academy of Arts and Letters.
July 29, 1951 – Susan Blackmore born, British writer, lecturer and broadcaster, whose fields of research include memes, evolutionary theory, psychology,parapsychology, and consciousness; best known for her book, The Meme Machine; PhD in parapsychology – her thesis was titled “Extrasensory Perception as a Cognitive Process,” but after years of experiments, she has become a skeptic, publishing in several humanist and skeptical magazines, as well as The Guardian newspaper.
July 29, 1952 – Marie Panayotopoulos-Cassiotou born, Greek politician; Member of the European Parliament (2004-2009) with the New Democracy, part of the conservative-centrist European People’s Party coalition; was Vice Chair of the EP’s Committee on Petitions, and seated on the Committee on Employment and Social Affairs, and the Committee on Women's Rights and Gender Equality.
July 29, 1958 – Gail Dines born in Britain, radical feminist and academic; Professor Emerita of Sociology and Women’s Studies at Boston’s Wheelock College; an outspoken leader of the anti-pornography campaign, founding member of Stop Porn Culture, and author of Pornland: How Porn Has Hijacked Our Sexuality.
July 29, 1963 – Julie Elliott born, British Labour politician; Member of Parliament for Sunderland Central since 2010; vice-chair of the All-Party Parliamentary Group on State Pension Inequality for Women; previously a regional organiser for the Labour Party (1993-1998) and for the National Asthma Campaign and the GMB Trade Union.
July 29, 1970 – Adele Griffin born, American young adult author, noted for her books The Unfinished Life of Addison Stone, Sons of Liberty and Where I Want to Be.
July 29, 1974 – “Philadelphia Eleven” deacons (Merrill Bittner, Alla Bozarth-Campbell, Alison Cheek, Emily Hewitt, Carter Heyward, Suzanne Hiatt, Marie Moorefield, Jeannette Piccard, Betty Schiess, Katrina Swanson, and Nancy Wittig) ordained as the first women Episcopal priests.
July 29, 1978 – Bidisha, born as Bidisha Bandyopadhyay, daughter of Indian emigrants; British filmmaker, broadcaster and journalist, covering international affairs, social justice issues, arts and culture, and international human rights; contributor to The Guardian and The Huffington Post, presenter for the BBC on Woman’s Hour, The Word and other programmes; author of Beyond the Wall and other nonfiction; does outreach work in UK detention centres and prisons for the English affiliate of PEN International; she launched her filmmaking career in 2017, directing the short, An Impossible Poison.
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July 30, 1751 – Maria Anna Mozart born, nicknamed “Nanneri,” older sister of Wolfgang Amadeus Mozart, she was trained from the age of seven by their father Leopold to play the harpsichord and the fortepiano. She and her brother were taken on tour. She was a talented player, and sometimes received top billing in the early days, but her career was cut short when she reached the age of 18, the age her parents considered her marriageable. She was no longer permitted to perform in public. Dominated by her father, she was forced to turn down a marriage proposal from the man she loved, and was married instead to a magistrate, already twice a widower, with five children from his previous marriages. When she gave birth to her first child in 1785, she had returned to the Mozart home. Her father Leopold, for whom the boy had been named, took over the infant, raising him in the Mozart household until Leopold the elder died in 1787, and her son was finally returned to his mother. After her husband died in 1821, she returned to Salzburg, with her two children and four of her stepchildren, to work as a music teacher. In 1825, she became blind, and died in 1829 at the age of 78. Though she and her brother had been close in childhood, their last visit was in 1783, and she received the last letter from him in 1788, three years before he died.
July 30, 1818 – Emily Brontë born, poet and author of Wuthering Heights.
July 30, 1852 – Emma Gillett born, American lawyer and women’s rights activist, co-founder of the Washington College of Law, the first law school founded by women.
July 30, 1893 – Fatima Jinnah born in British India, dental surgeon, biographer, stateswoman and one of the founders of Pakistan; she was a close advisor of her older brother Muhammad Ali Jinnah, who would become the first Governor General (1947-1948) of the new nation, and was a leading member of the All-India Muslim League; after independence in 1947, she co-founded the Pakistan Women’s Association which did much to help the resettlement of women migrants. But after her brother’s death in 1948, she was banned from speaking on the radio until 1951, and her radio address to the nation then was heavily censored by Liaquat Ali Khan’s administration. She wrote a biography of her brother in 1956, but it wasn’t published until 1987 because of censorship, and accusations that she had written ‘anti-nationalist material.’ Even when it was finally published, several pages were left out. She came out of political retirement in 1965, to run for president against the military dictator Ayub Khan, but the military rigged the election. When she died in 1967, rumors spread that it was not a natural death, and her family demanded an inquiry, but the government quashed any inquiry. Honored by the people for her support of civil rights, her funeral was attended by almost half a million people. She is often referred to as Māder-e Millat (Mother of the Nation).
July 30, 1939 – Eleanor “Ellie” Smeal born, women’s rights activist, co-founder and president of the Feminist Majority Foundation (1987) and publisher of Ms. Magazine, president of National Organization for Women (1977-1982 and 1985-1987).
July 30, 1940 – Pat Schroeder born, Democratic politician, U.S. Representative from Colorado (1973-1997), first woman to serve in U.S. Congress from Colorado; first woman on the House Armed Services Committee. She was a prime mover behind the Family and Medical Leave Act of 1993, and the 1985 Military Family Act. She briefly ran for U.S. President after Gary Hart dropped out of the 1987 race, but was derailed when she teared up during a speech, instantly branding her as “weak,” even though male candidates doing the same thing were praised for showing their feelings. She was an advocate of stronger copyright laws, and after leaving the House of Representatives, she became President and CEO of the Association of American Publishers (1997-2008). Now retired in Florida, she is on the board of the League of Women Voters of Florida. Schroeder was named to the National Women’s Hall of Fame in 1995.
July 30, 1942 – Pollyanna Pickering born, English wildlife artist and environmentalist who went on expeditions to study animals in their natural habitats.
July 30, 1942 – President Franklin Roosevelt signs bill creating a women's auxiliary agency in the Navy known as Women Accepted for Volunteer Emergency Service (W.A.V.E.S.).
July 30, 1947 – Françoise Barré-Sinoussi born, French virologist and Director of Unité de Régulation des Infections Rétrovirales (The Regulation of the Retroviral Infections Division), and a Professor at the Institut Pasteur in Paris. Best known for her pioneering work identifying the human immunodeficiency virus (HIV) as the cause of AIDS. She and Luc Montagnier jointly received the 2008 Nobel Prize in Physiology or Medicine for their work in the discovery of HIV. She travelled to Africa with colleagues in the mid-1980s, and, astonished by the magnitude of the epidemic, she committed to fighting thedisease in resource-limited countries. In 1986, she helped organise the International AIDS Conference in Paris, and two years later, she and her colleagues formed the International AIDS Society. She has served a consultant for the World Health Organization (WHO) and UNAIDS, initiating collaborations with developing countries and multidisciplinary networks to pool resources and share information. In 2012, she became the president of the International AIDS Society.
July 30, 1948 – Julia Tsenova born, Bulgarian composer and pianist. Noted for symphonic and chamber music, as well as choral works. Her interest in ancient Eastern philosophies, particularly Indian philosophies, has been an influence on her compositions. She died of cancer in 2010.
July 30, 1949 – Dame Sonia Proudman born, judge of the High Court of England and Wales in the Chancery Division (2008-2017); Deputy High Court Judge (2001-2008); became a Bencher in 1996, and was a Recorder in 2000. Proudman was called to the Bar in 1972, after being one of the first women to win an Eldon Law Scholarship to study for the English Bar, awarded to University of Oxford students who earned either a first class honours degree in the Final Honours School, or a distinction on the BCL or MJur (academic degrees in law).
July 30, 1950 – Harriet Harman born, British solicitor and Labour Party politician; Member of Parliament for Camberwell and Peckham since 1982; Harman holds the current record for the longest continuously-serving woman MP in the House of Commons. She was Deputy Leader and Chair of the Labour Party (2007-2015); Acting Leader of the Opposition in 2015.
July 30, 1956 – Anita Hill born, American lawyer and academic, professor of social policy, law, and women's studies at Brandeis University and a faculty member of the university’s Heller School for Social Policy and Management. She became a national figure during the 1991 U.S. Senate hearings on Supreme Court nominee Clarence Thomas when she testified that he had sexually harassed her as her supervisor at the U.S. Department of Education and the Equal Employment Opportunity Commission (EEOC). Though initially pilloried for her testimony, public opinion began to shift in her favor as time passed. Congress passed a bill later in 1991 that gave harassment victims the right to seek federal damage awards, back pay, and reinstatement, signed into law by President George H. W. Bush. By 1992, harassment complaints to the EEOC were up by 50%. Private companies started training programs to deter sexual harassment. The manner in which the all-male Senate Judiciary Committee challenged and dismissed Hill's accusations of sexual harassment angered woman politicians, lawyers and feminists. According to D.C. Congressional Delegate Eleanor Holmes Norton, Hill's treatment by the panel was a contributing factor to the large number of women elected to Congress in 1992. "Women clearly went to the polls with the notion in mind that you had to have more women in Congress," she said. In their anthology, All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave, editors Gloria T. Hull, Patricia Bell-Scott, and Barbara Smith described black feminists mobilizing "a remarkable national response to the Anita Hill-Clarence Thomas controversy.”
July 30, 1956 – Soraida Martinez born, American abstract expressionist painter and designer of Puerto Rican descent, creator of the art movement, Verdadism, which juxtaposes figurative abstract paintings with written social commentaries.
July 30, 1960 – Jennifer Barnes born, American-English musicologist, university administrator, opera singer, and a leading authority on composers Gian Carlo Menotti, Thea Musgrave and Ethel Smyth. In 1999 Barnes established a Leverhulme research partnership between Imperial College, Manchester University and the Royal College of Music. Seeing the potential in wireless EEG biofeedback, she designed a program to analyze the role of alpha, beta and theta waves in musicians and dancers under performance stress. Subsequent findings have been integrated into the curricula of performing arts institutions worldwide.
July 30, 1964 – Laine Randjärv born, Estonian Reform Party politician; Vice-President of the Riigikogu (Estonian Parliament) since 2011; Minister of Culture (2007-2011). She was Mayor of Tartu (2004-2007), after serving as Deputy Mayor (2002-2004).
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July 31, 1811 – Jane Currie Blaikie Hoge born, American nurse, welfare worker; fundraiser for the Union war effort; Chicago Home for the Friendless founder; Chicago Sanitary Commission co-administrator during U.S. Civil War; her Civil War memoir is The Boys in Blue.
July 31, 1816 – Lydia Moss Bradley born, businesswoman and philanthropist, managed her own fortune after the death of her husband, successful in real estate and banking, endowed the Bradley Polytechnic Institute, and became the first woman member of a national banking board. Bradley is the first American woman known to draw up a prenuptial agreement to protect her assets.
July 31, 1831 – Sarah J. Thompson Garnet, American suffragist and educator, first African American woman school principal in the New York City public schools, founder of the Equal Suffrage League in Brooklyn.
July 31, 1833 – Amelia Stone Quinton born, American social activist, advocate for Native American rights, a founding member of the Women’s National Indian Association.
July 31, 1858 – Marion Talbot born; when she had difficulty gaining admission to Boston University in spite of her father being the dean of its School of Medicine, she became a tenacious supporter of higher learning for women, and campaigned against efforts to restrict equal educational opportunities. She was Dean of Women at the University of Chicago (1895-1925); established the first Midwestern regional meetings of college deans in 1902, and then Midwestern regional meetings for deans of women, beginning in 1911; co-founder of what became the American Association of University Women, and served as the organization’s president (1895-1897).
July 31, 1860 – Mary Vaux Walcott born, American painter and naturalist, known for her watercolors of wildflowers, president of the Society of Women Geographers; her illustrations were often published by the Smithsonian.
July 31, 1879 – Margarete Bieber born, art historian and professor of art and archaeology, second female university professor in Germany (1919) before immigrating to the U.S., taught at Barnard College and Columbia University, published numerous academic texts, named to the American Academy of Arts and Sciences in 1971.
July 31, 1923 – Stephanie Kwolek born, American chemist whose career at the Dupont company lasted over forty years; best known as the inventor of Kevlar, for which she was awarded the company’s Lavoisier Medal for outstanding technical achievement, the first woman employee to receive this honor; also won numerous awards for her work in polymer chemistry, including the National Medal of Technology, and the Perkin Medal, given by the Society of Chemical Industry “for innovation in applied chemistry resulting in outstanding commercial development.”
July 31, 1924 – Geraldine Hoff Doyle born, probably the model for the WWII “We Can Do It” poster which came to symbolize Rosie the Riveters, women who became factory workers to support the war effort.
July 31, 1929 – Lynne Reid Banks born, British author of The L-Shaped Room, The Indian in the Cupboard, Dark Quartet, and Path to the Silent Country: Charlotte Brontë's Years of Fame.
July 31, 1940 – Carol J. Clover born, American academic and author, authority on gender in films; author of Men, Women, and Chainsaws: Gender in the Modern Horror Film.
July 31, 1944 – Sherry Lansing born, American film studio executive; she went from mathematics teacher to actress (in two films) to script reader, then head script reader, at MGM, where she worked on The China Syndrome and Kramer vs. Kramer; she moved to Columbia Pictures; became a partner with Stanley R. Jaffe in 1979 in Jaffe/Lansing Productions; in 1980, Lansing was appointed as the first woman president of 20th Century Fox; in 1992, she became chair of Paramount Pictures Motion Picture Group, but left in 2004 when Viacom, after taking over Paramount, decided to split the company into two parts.
July 31, 1952 – Faye Kellerman born, American author of mystery novels; noted for her Peter Decker/Rina Lazarus series, especially its first book, The Ritual Bath, which won the 1987 Macavity Award for Best First Novel.
July 31, 1956 – Lynne Rae Perkins born, American author and illustrator of books for children and young adults; her novel Criss Cross won the 2006 Newberry Medal.
July 31, 1958 – Suzanne Giraud born, French contemporary music composer and academic; recipient of the Prix Georges Enesco, and the Prix Georges Bizet; her work is often inspired by poetry, paintings, or architecture.
July 31, 1965 – J.K. Rowling born as Joanne Rowling, British author of the best-selling book series in publishing history, the Harry Potter fantasy series; film and television producer; and philanthropist; in 1990, she was a researcher and bilingual secretary for Amnesty International, and the Harry Potter concept was born while she was stuck on a train which was delayed for four hours; during the next seven years, she persisted in writing through the death of her mother, birth of her first child, divorce from her first husband and surviving on state benefits, before the runaway success of the first Harry Potter book in 1997; the series made her the world’s first billionaire author, a status she quickly gave up, donating much of her fortune to charity, including Comic Relief, One Parent Families, Multiple Sclerosis Society of Great Britain, the Shannon Trust, the English PEN Charity auction, and her own charity, the Lumos Foundation, which rescues children in orphanages separated from a living parent because of poverty or discrimination, and enables them to be reunited.
July 31, 1981 – Arnette Hubbard is installed as the first woman president of National Bar Association.
July 31, 1991 – U.S. Senate votes to allow women to fly combat aircraft.
_________________________________
Sources
http://www.nwhp.org/events/july/
http://www.scholastic.com/teachers/article/important-dates-us-womens-history
http://www.historyplace.com/specials/calendar/july.htm
http://www.onthisday.com/day/july/
Women Trailblazers of California: Pioneers to the Present,© 2012 by Gloria G. Harris and Hannah S. Cohen — The History Press
todayinsci.com
A Book of Days for the Literary Year,edited by Neal T. Jones
The Music-Lover’s Birthday Book, Metropolitan Museum of Art
www.sahistory.org.za
_________________________________
|
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18075
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yago
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3
| 2
|
https://www.filmfestival.gr/en/movie-tiff/section/243
|
en
|
Greek Films
|
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Thessaloniki
Athens
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18075
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yago
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0
| 34
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https://www.festival-cannes.com/en/f/kristallines-nichtes/
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en
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[] |
[] |
[
""
] | null |
[] |
2023-03-14T22:49:14+00:00
|
en
|
Festival de Cannes
|
https://www.festival-cannes.com/f/kristallines-nichtes/
| |||||
18075
|
yago
|
0
| 35
|
https://www.imdb.com/list/ls540795863/
|
en
|
Hellas
|
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[
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[] | null |
en
|
IMDb
|
https://www.imdb.com/list/ls540795863/
|
A son and his stepmother, without noticing their father/husband peeping at them, make love on a horse. The father, while being a painter, gets inspired and begins a new painting that creates tension between them.
A satire of life in modern Greece, presented through a series of different stories about sex. We see several couples and their relation with sex in parallel stories that come together in a hilarious way as the film progresses.
Two young Greek filmmakers seeking financing for their film "The End of the Passion" and end up with "Panourgias" a former porn-king of the 70s. He agrees to shoot the film but he also has another secret plan.
A criminal is given a two-day leave from prison to attend a funeral. He ends up meeting a prostitute. Having nowhere to go, they sleep in various hideouts and try to make money working odd jobs.
Under the Athenian night sky, before the silent threat of an imminent socio-economic crisis, a young man goes for a stroll and meets the love of his life. Does fate govern one's existence? What would have happened if he stayed in, instead?
A wealthy seductress enlists the help of two friends in a simple job that will set them all up for life. But everyone knows there's no such thing as a foolproof plan.
On a hot Athenian July, a reclusive Astronomy student spots a disillusioned woman with his telescope, and his dull existence takes on a new meaning. They coexist in time and space; but, they are so far apart. Will they ever become one?
|
||||||
18075
|
yago
|
3
| 76
|
https://dokumen.pub/realism-in-greek-cinema-from-the-post-war-period-to-the-present-9781350987715-9781786730770.html
|
en
|
War Period to the Present 9781350987715, 9781786730770
|
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[
""
] | null |
[] | null |
The history of Greek cinema post-1945 is best understood through the stories of its most internationally celebrated and...
|
en
|
dokumen.pub
|
https://dokumen.pub/realism-in-greek-cinema-from-the-post-war-period-to-the-present-9781350987715-9781786730770.html
|
Table of contents :
Cover
Half-title
Endorsement
Series information
Title page
Copyright information
Table of contents
List of figures
Acknowledgements
Introduction
1 Realisms and the Question of Form in Greek Cinema
Some preliminary questions
In search of historicity
Debating the canon
The epistemological potential of trauma
History and the formation of visuality
Contested fields of visuality
Beyond the heresy of realism
Re-reading visual regimes
2 The Construction and Deconstruction of Cinematic Realism in Michael Cacoyannis’ Films
The return of the stranger
Industry and creativity
Interfilmic transcriptions
Constructing visual narratives
Back to the theatre
3 Nikos Koundouros and the Cinema of Cruel Realism
Realistic images for an absurd world
Undoing the cinematic
The nightmares of history
Discarding realism
4 Yannis Dalianidis and the Cryptonymies of Visuality
Cinema as empirical ascesis
Homeless sexuality
Cinema for the common man
5 An Essay on the Ocular Poetics of Theo Angelopoulos
Political projects and their aesthetics
The power of local knowledge
The anthropogeography of European nihilism
6 The Feminine Gaze in Antoinetta Angelidi’s Cinema of Imaginative Cathedrals
Invitation to a beheading
Films as eschatological monuments: the omega point of being
The final lexicon
7 Greek Cinema in the Age of the Spectacle
Politics without representations
Politics of cynicism and the cinema of visual indeterminacy
The cinema of transgression
Optimistic Epilogue
Notes
Bibliography
Index
Citation preview
|
|||||
18075
|
yago
|
0
| 23
|
https://www.filmaffinity.com/en/film663662.html
|
en
|
Crystal Nights (1992)
|
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[
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] | null |
[] | null |
Crystal Nights is a film directed by Tonia Marketaki with François Delaive, Michelle Valley, Tania Tripi, Katerina Baka .... Year: 1992. Original title: Krystallines nyhtes. Synopsis: In Athens in 1936, Isabella, the German wife of a Greek army officer in the period of the Metaxas dictatorship, initiated in mysticism and possessing supernatural powers, falls in love with a much ...You can watch Crystal Nights through on the platforms:
|
en
|
/favicon.png
|
FilmAffinity
|
https://www.filmaffinity.com/us/film663662.html
|
Is the synopsis/plot summary missing? Do you want to report a spoiler, error or omission? Please send us a message.
If you are not a registered user please send us an email to [email protected]
All copyrighted material (movie posters, DVD covers, stills, trailers) and trademarks belong to their respective producers and/or distributors.
For US ratings information please visit: www.mpaa.org www.filmratings.com www.parentalguide.org
|
||||
18075
|
yago
|
3
| 21
|
https://academic.oup.com/book/974/chapter/137833762
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
18075
|
yago
|
1
| 38
|
https://www.scribd.com/document/330631789/Marketplace-Pitching-Papers-2016
|
en
|
Marketplace Pitching Papers 2016
|
https://imgv2-2-f.scribdassets.com/img/document/330631789/original/72d39b2ab3/1724425149?v=1
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https://imgv2-2-f.scribdassets.com/img/document/330631789/original/72d39b2ab3/1724425149?v=1
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[] |
[] |
[
""
] | null |
[
"The Journal of Music"
] | null |
Marketplace Pitching Papers 2016 - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Marketplace Pitching Papers 2016
|
en
|
https://s-f.scribdassets.com/scribd.ico?1159636c6?v=5
|
Scribd
|
https://www.scribd.com/document/330631789/Marketplace-Pitching-Papers-2016
| |||
18075
|
yago
|
0
| 74
|
https://en-academic.com/dic.nsf/enwiki/11304542
|
en
|
Crystal Kelly
|
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[] |
[] |
[
""
] | null |
[] | null |
Forward Born September 15, 1986 (1986 09 15) (age 25) Nationality American Height 6 ft 2 in (1.88 m) Weight
|
en
|
https://en-academic.com/favicon.ico
|
Academic Dictionaries and Encyclopedias
|
https://en-academic.com/dic.nsf/enwiki/11304542
|
Crystal Kelly (born September 15, 1986) is a professional basketball player in the WNBA.
Contents
1 High school
2 College
3 Professional
4 Notes
5 External links
High school
Kelly played for Sacred Heart Academy in Louisville, Kentucky, where she was named a WBCA All-American.[1] In addition, Kelly was named the 2004 Kentucky Miss Basketball. She participated in the 2004 WBCA High School All-America Game where she scored four points.[2]
College
Kelly attended college at Western Kentucky University, where she was a standout basketball player. She broke the WKU women's basketball program record for career rebounds, and earned a place in the top 25 career scorers in NCAA Division I women's basketball history by scoring over 2,600 points. In her senior year, she led the nation with a 64.8% field goal shooting percentage. Kelly was named to the all-Sun Belt Conference team during each of her four collegiate seasons, and was named the 2008 Sun Belt Player of the Year in her senior season. She graduated with a bachelor's degree in public relations in 2008.[3]
Professional
Following her collegiate career, Kelly was selected in the third round (31st overall) in the 2008 WNBA Draft by the Houston Comets.[4] The Comets waived Kelly in May 2008, but a few days later she was signed to the Sacramento Monarchs.[5]
Kelly averaged 7 points per game in 16 minutes per game as a backup to starting forward Rebekkah Brunson during the 2008 regular season. Then an injury to Brunson allowed Kelly to become a starter and a notable scorer during the WNBA Playoffs. In the Monarchs' victory over the San Antonio Silver Stars in Game 2 of the Western Conference semifinals, Kelly led all scorers with 19 points.[6]
Notes
WNBA Player Profile
|
||||
18075
|
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https://en.wikipedia.org/wiki/Tonia_Marketaki
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en
|
Tonia Marketaki
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2009-08-16T08:54:28+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Tonia_Marketaki
|
Greek film director
Tonia Marketaki (Greek: Τώνια Μαρκετάκη; 28 July 1942 – 26 July 1994) was a Greek film director and screenwriter.[1][2][3][4] She was born in Pireas and spent many of her childhood years in the Zografou district of Athens. Her maternal origins are from Kardamyla, in the island of Chios.
She received her formal training at IDHEC in Paris and upon her return to Greece she worked as a film critic in various newspapers from 1963 until 1967. The same year sees the completion of her first short-film creation and subsequent imprisonment by the then recently established Colonels' regime. Upon her release Marketaki fled abroad, working as an assistant editor in the U.K. and a director of educational films for illiterate farmers in Algeria.
In 1971 she again returned to her home-country. Apart from her three full-length films, she also directed a number of theatrical plays and a television series called Lemonodasos.[5][6]
Her final film Krystallines nyhtes was screened in the Un Certain Regard section at the 1992 Cannes Film Festival.[7] She died suddenly of a heart attack at age 51.[8]
Filmography
[edit]
Year Title Role Notes 1992 Krystallines Nyhtes – Κρυστάλλινες Νύχτες (Chrystal Nights) [9] 1983 I Timi tis Agapis – Η Τιμή της Αγάπης (The Price of Love) [10][11] 1973 Ioannis o Viaios – Ιωάννης ο Βίαιος (Ioannis the Violent) [12][13] 1967 O Giannis kai o Dromos – Ο Γιάννης και ο Δρόμος (Giannis and the Road)
References
[edit]
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https://www.qinetiq.com/en/blogs/crystal-film
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en
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Amazing crystal film transforms regular spectacles into night vision glasses
|
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[] |
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"Night Vision"
] | null |
[] | null |
en
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https://www.qinetiq.com/en/blogs/crystal-film
|
An international team of researchers, including Nottingham Trent University in the UK and the Australian National University (ANU) have fabricated a thin film meta-surface that they claim allows ordinary glasses to see in infrared (IR), thereby creating a new type of night vision technology. This meta-surface can be transferred to transparent glass, forming a layer of nanocrystals on its surface. This meta-surface can easily be applied to the glass of regular lightweight spectacles. The technology works as follows - through introducing and mixing a secondary beam of photons, the meta-surface is used to up-convert IR photons to visible light. The addition of this secondary beam provides the additional energy required to raise the frequency of the IR photons to the visible region of the spectrum. Interestingly the researchers also used a Charge Coupled Device (CCD) sensor to view the image, which implies the up-converted image is currently still too weak to see with the naked eye.
The technology is still in its proof of concept phase. Nevertheless, the researchers envision their technology could one day replace the bulky, power-hungry night vision goggles currently in use by the military, police and security services. They argue that their new technology could enable lightweight, cheap and easy to mass-produce night vision glasses that would be available to everyday users.
To quote Professor Neshev, a lead researcher from the ANU: “the new tech used meta-surfaces, or thin films, to manipulate light in new ways...This is the first time anywhere in the world that infrared light has been successfully transformed into visible images in an ultra-thin screen. It’s a really exciting development and one that we know will change the landscape for night vision forever.”
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https://dokumen.pub/greece-from-junta-to-crisis-modernization-transition-and-diversity-9780755617449-9780755617470-9780755617463.html
|
en
|
Greece from Junta to Crisis: Modernization, Transition and Diversity 9780755617449, 9780755617470, 9780755617463
|
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The recent economic crisis in Greece has triggered national self-reflection and prompted a re-examination of the politic...
|
en
|
dokumen.pub
|
https://dokumen.pub/greece-from-junta-to-crisis-modernization-transition-and-diversity-9780755617449-9780755617470-9780755617463.html
|
Table of contents :
Cover
Half Title
Title
Copyright
Contents
Illustrations
Preface
Introduction
1 Modernization and cultural dualisms
2 Eurosceptics or Europhiles? The cultural dilemmas of Europeanization
3 Debating the nation and its contested pasts: Antiquity and mnemohistory
4 Identity, religion, migration: From homogeneity to embracing otherness
5 Language questions: From standardization to diversity
6 From poetry to prose: Discovering modernism and revising the canon
7 The challenges of deregulation: From monophonic to polyphonic media
8 Cinematic allegories: From history to domesticity
9 Youth, feminism and sexuality: From oikos to demos
10 The rediscoveries of Greece: From the ancient ruins to the ruins of crisis
Conclusion
References
Index
Citation preview
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https://ees.org.gr/ees.org.gr/en/gdd/cinema/marketaki-tonia/
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en
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Greek Directors Guild
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en
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Tonia Marketaki is one of the most influential female directors of her generation. She was born in 1942 in Piraeus. She received her formal film training at IDHEC in Paris, and upon her return to Greece, she worked as a film critic in various newspapers from 1963 until 1967.
When she was in Paris, women were not typically encouraged to study filmmaking. That’s why she ended up studying camera operation and cinematic photography. Theodoros Angelopoulos, Alexis Grivas, Stavros Konstantarakos, Nikos Panagiotopoulos and Lambros Liaropoulos were some of her classmates at IDHEC. Marketaki, along with these directors, would later comprise the group of the New Greek Cinema.
Tonia Marketaki was opposed to the Greek military junta. She was arrested and sentenced to four months in prison, but she escaped to Paris, London, and Algiers, where she produced films for farmers (1969-1971). When the Colonels' Regime ended, she returned to Greece, where she worked as an art editor and film critic in newspapers and magazines. She soon developed a relationship with “Contemporary Cinema” magazine. She was very active politically, and, soon after its formation, she joined the Greek Directors Guild forces.
She directed three feature-length films. For “John the Violent”, considered by many a milestone in modern Greek cinema, she gained the best director and best screenplay awards at the Thessaloniki Film Festival. Marketaki found it challenging to fund her films; that was why her second film remained unfinished. She created “The Price of Love” (1984) and “Crystal Nights” (1992). She also directed the TV series “To Lemonodasos”, an adaptation of a novel by Kosmas Politis.
In 1980 she directed for the National Theatre of Northern Greece, written by renowned playwrights.
She suddenly passed away on July 26, 1994, before turning 52.
FERRIS COSTAS
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https://skittygara.wordpress.com/category/uncategorized/page/4/
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en
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Uncategorized
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2014-08-18T14:11:06+00:00
|
Posts about Uncategorized written by ComradeSkitty
|
en
|
https://s1.wp.com/i/favicon.ico
|
https://skittygara.wordpress.com/category/uncategorized/
|
Rating: 7.5/10
Runtime: 90
Language: Spanish
Subtitles: None
Country: Spain
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0040942
Director: Lorenzo Llobet Gracia
Cast:
Fernando Fernán Gómez … Carlos
María Dolores Pradera … Ana
Isabel de Pomés … Clara
Fernando Sancho … Productor
Alfonso Estela … Luis
Graciela Crespo … Sra. Durán
Félix de Pomés … Señor Durán
Mary Santpere … Doncella
Marta Flores … Esposa
Miquel Graneri … Marido
Jesús Puche … Fotógrafo
Valero … Carlos, niño
Juan López … Luis, niño (as Juanito López)
Antonia Llobet … Ana, niña
Antonio Leal … Comandante
Tomás Gutiérrez Larraya … Vendedor de Films Selectos (as Tomás G. Larraya)
Hernández … Otor vendedor
Joaquín Soler Serrano … (voice)
Enrique Tusquets … Hombre del puro
Arturo Cámara … Comandante (uncredited)
Camino Garrigó … Madre de Ana (uncredited)
María Severini … Dueña de la pensión (uncredited)
Description: This brilliant film was the only fiction feature made by Lorenzo Llobet Gracia who was associated with a club of cinephiles in Barcelona known as the Telúricos (the “underground”). The film is full of subtle and often not-so-subtle cues evoking the desire to escape Franco’s Spain. I’ve read, though I don’t know if it is true, that the censorship difficulties that the film faced were connected to its use of Catalan dialogue. If this is true, the version that survives today (in a reconstruction made in the early 1980s from two incomplete 16mm positive prints), is missing that important element. The reconstruction appears to me to have taken some liberties with the film in terms of editing technique. Unfortunately, in the state we have it, it is difficult to see all of the time Llobet Gracia’s sophisticated use of depth of field.
‘Vida en sombras’ [Life in shadows] is a film by Llobet Gràcia, a Catalan filmmaker coming from amateur cinema, who, during the post-war period, with modest means and far from the official sanction of the Fascist government, delved into the power of cinema to heal personal and collective wounds.
Llorenç Llobet Gracia (Barcelona, 1911-Sabadell, 1976) had bonded intimately with the world of cinema from the time his his father gave him a Pathé-Baby camera in his youth. This childhood experience is re-enacted at the beginning of ‘Vida en sombras’, the only commercial film he made in 1948, after having developed an intense activity in amateur cinema circles. Produced by himself, under the name Castilla Films, the film, which went through serious financial and censorship obstacles, has a free almost experimental style, outside the established codes of industrial cinema.
Technical specs:
File name : Life in Shadows.avi
Format : AVI at 1 609 Kbps
Length : 855 MiB for 1h 14mn 16s 800ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 656 x 496 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!jAt1yZAT!y0kCyK5NDWBe3BaPcJZo4cI1uE16M1KYyIbOABlKlZE
Rating: 8.2/10
Runtime: 74
Language: Serbo-Croatian
Subtitles: English
Country: Yugoslavia
Color: Color | Black & White
IMDb Link: http://www.imdb.com/title/tt0173015
Director: Vatroslav Mimica
Cast:
Slobodan Dimitrijevic … Marko Pozgaj
Pavle Vuisic … Markov otac (as Pavle Vujisic)
Gizela Huml … Markova baka
Fabijan Sovagovic … Golubar boltek
Sergio Mimica-Gezzan … mali Marko (as Srdjan Mimica)
Rudolf Kukic … gospon Haller
Zoran Konstantinovic
Jagoda Kaloper … Rajka
Renata Freiskorn … Bivsa supruga Milada
Olivera Katarina … Markova ljubavnica (as Olivera Vuco)
Lada Milic … Barbara, nova ljubav
Ivo Kadic … Fotograf
Marcel Cukli
Andro Lusicic … Kolega novinar
Nedim Omerbegovic … Inzenjer u pogonu
Branko Spoljar … Muz Markove ljubavnice
Mirko Vojkovic … Covjek iz kafica
Radojko Jezic … Kolega sa sastanka
Fahro Konjhodzic … Vodja pogrebnog orkestra
Adam Vedernjak … Bozo, kolega sa sastanka
Branko Bonacci … Kolega sa sastanka
Dusan Radmanovic
Velimir Chytil … Automehanicar (as Velimir Hitil)
Zdenka Hersak … Majka
Kruno Valentic … Vozac konjske zaprege
Mladen Hanzlovsky … Novinar na sahrani s novinama u rukama
Ljubo Kapor … mornar Janko
Branko Koivanic
Branko Majer … Sudac
Dragan Jankovic
Dragutin Kolman
Drago Bahun … Poznanik
Zeljko Mazur
Biserka Alibegovic … Markova kolegica koja ga poziva na telefon
Ivo Skrabalo … Kolega sa sastanka
Nikola Otrzan … Luka, Markov kolega
Ivo Baltic
Finka Pavicic-Budak
Leo Butorac
Arsen Dedic … Pjevac (uncredited)
Description: The film follows a day in the life of a divorced Zagreb journalist Marko Požgaj (played by Dimitrijević), an average modern intellectual who goes about his daily business. Mundane scenes of Požgaj’s day are shown interspersed with flashbacks and fantastic imagery reflecting his inner life. These include his recollections of childhood, his feelings about the present and past, including memories of his first marriage, his current girlfriend Rajka (Jagoda Kaloper) and his father killed in World War II (Pavle Vuisić), as well as his fantasies and hopes about the future.
The film is today regarded as a logical continuation in Mimica’s body of work as it replicates the stream of consciousness concept previously seen in his critically acclaimed 1964 film Prometheus of the Island. The film’s visual structure (based on a collage of scenes set in the past and present mixed with fantastic imagery, which are indicated by changes in picture quality and colour) and the theme of contemporary social alienation (in part resulting from the trauma of War World II) have urged critics to draw comparisons to his animated film The Inspector Is Back! (Inspektor se vratio kući, 1957) and have been called “trademarks of Mimica’s entire body of work”. Andrew James Horton, writing for the film journal Kinoeye wrote in 2001: “Some of the devices now seem a little dated. Changes in image quality and colour are probably less exciting now than they were then, and the intercutting of documentary footage of the concentration camps particularly now has a somewhat heavy-handed and “obvious” feel to it. But the film still exudes the appeal of what the New Wave must have looked like when it first emerged as a trend, with its concentration on ordinary people and charmingly observed street scenes. And its this that makes the film endearing. There’s none of the removed coldness that formal experimentation can bring to a film as an unfortunate by-product.”
Technical specs:
File name : Monday or Tuesday.avi
Format : AVI at 1 314 Kbps
Length : 700 MiB for 1h 14mn 25s 920ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 524 (1.374 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!fdxiWa4L!SKurPQt6VcsWIPFCkAZARwBnU-Ebw5wJb5LorufZWHs
Rating: Awaiting 5 votes
Runtime: 260
Language: Mandarin
Subtitles: None
Country: North Korea
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt2226515
Director: Ik Kyu-choe, Kim Jong-il
Cast:
N/A
Description: Are you ready for something completely out of left field? Today, I present to you the infamous North Korean war epic, Sea of Blood. Based on a revolutionary play supposedly written by the Eternal President of the Democratic People’s Republic, Kim Il-sung, and rumored to have been co-directed by the late, great Kim Jong-il (The North Korean film museum claims it was during the shooting of this film that his Kimness invented multi-camera shooting). Clocking in at a whopping 260 minutes, there is more propaganda here than you can shake a bust of Kim Il-sung at. Within North Korea, the operatic version of Sea of Blood is the only show at Pyongyang’s main theater, and is staged three to four times a week. This revolutionary work is also popular among the Chinese, especially those who lived through the Cultural Revolution, and have fond memories of revolutionary antics. Enjoy!
Technical specs:
File name : Sea of Blood (1).avi
Format : AVI at 1 563 Kbps
Length : 1.4 GiB for 2h 5mn 14s 280ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
___________________
File name : Sea of Blood (2).avi
Format : AVI at 1 545 Kbps
Length : 1.4 GiB for 2h 6mn 40s 680ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!doUDyCSb!NsN2VRIjAauyndGg4K8JnVRXuEoY5_lc6ZnxgdRQRQY
https://mega.co.nz/#!B4NwRAYC!Y-rAvQBVJyaBmBTk0Ahvokgvmzwqp2VXrSwQ0ffwrAk
Rating: 7.4
Runtime: 138
Language: Greek | German
Subtitles: English | Greek (Hardcoded for German portions)
Country: France | Greece | Switzerland
Color: Black and White | Color
IMDb Link: http://www.imdb.com/title/tt0104641/
Director: Tonia Marketaki
Cast:
François Delaive, Michele Valley, Tania Tripi, Ovidiu Iuliu Moldovan, Kelly Karmiri, Kelly Ioakeimidou, Frosso Litra, Melina Vamvaka, Tassos Palatzidis, Alexandros Koliopoulos, Manos Vakousis
Description: CRYSTAL NIGHTS (the film gets its title from the notorious “crystal nights”, the first systematic, mass attack by bands of Nazis on Jewish shop windows in the Vienna of 1938). In the film symbolism and realism become one. But above all, CRYSTAL NIGHTS is a film about absolute love, about the love that overcomes the barriers of time, that swings magically between “always” and “never”, that remains haughtily aloof when everything else bows down (in the Song of Songs it borders on religious worship). And it contains one of the most beautiful love scenes ever shot in the Greek cinema something like a mystical rite, like a flower of devotion to life.
Download Links:
https://mega.co.nz/#!gNsyVKDI!IazSoA-dqR_9wouHOIcTg9j3AK3XC8LtEKTvx51b7js
Technical specs:
File name : Crystal Nights.mkv
Format : Matroska at 1 330 Kbps
Length : 1.3 GiB for 2h 14mn 32s 127ms
Video #0 : AVC
Aspect : 656 x 368 (16:9 display AR) at
Audio #0 : AAC
Infos : 2 channels, 48.0 KHz
Language : el
Text #0 : UTF-8
Language : en
Rating: 8.7/10
Runtime: 106
Language: Croatian
Subtitles: None
Country: Yugoslavia
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0171246
Director: Fadil Hadzic
Cast:
Judita Hahn … Eva Ruzic (as Judita Han)
Rade Markovic … Ognjen Ruzic
Franjo Kumer … Ludvig Farkas
Toma Jovanovic … Policijski inspektor Hribar (as Tomo Jovanovic)
Voja Miric … Zavodnik (as Vojo Miric)
Sonja Hlebs … Prostitutka Silvija
Karlo Bulic … Advokat Bruno
Vanja Drach … Ognjenov prijatelj
Fabijan Sovagovic … Ustaski policajac zvani ‘Beba’
Veljko Maricic … Sudac
Hermina Pipinic … Vera, zavodnikova zenska
Mirko Boman … Stranac na granici
Milan Bosiljcic … Pijani mornar
Maria Braico … Leonina, Brunova domacica
Rajko Dukcevic … Vlado, policijski inspektor
Djurdja Ivezic … Ruza, Ruziceva ljubavnica
Miodrag Loncar
Danilo Maricic … Carinik
Gordana Petrovic … Talijanka s naocalima
Semka Sokolovic-Bertok … Prostitutka Andja (as Semka Sokolovic)
Zdenka Trach … Farkaseva susjeda
Franek Trefalt … Dezurni policajac na Sezani (as Franc Trefalt)
Djuro Turinski
Dusan Dobrosavljevic … Policajac (uncredited)
Vladimir Susic … Kartas (uncredited)
Description: An inspector looks for motives that made a woman he doesn’t consider a criminal perform a fraud. It is soon discovered that she has been a victim of a blackmail, which has to do with some horrible traumas she had suffered in the past. Although the investigation goes in the right direction, re-opening the old scars could cause a new breakdown of the long-suffering woman. A very interesting and tense drama/thriller from the specialist of the genre, Fadil Hadžić.
Technical specs:
File name : Back of the Medal.avi
Format : AVI at 1 017 Kbps
Length : 699 MiB for 1h 36mn 5s 760ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 640 x 480 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!GJFBiYSA!FQJDy16nrMF_Qlvqpa4br-FT50CkWzdHKNrs4r2ADsU
|
|||||
18075
|
yago
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0
| 19
|
https://www.ranker.com/list/the-best-movies-with-crystal-in-the-title/reference
|
en
|
The Best Movies With Crystal in the Title
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[
"Reference"
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2017-03-16T00:00:00
|
The Best Movies With Crystal in the Title, as voted on by fans. Current Top 3: The Dark Crystal, Indiana Jones and the Kingdom of the Crystal Skull, The City ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/the-best-movies-with-crystal-in-the-title/reference
|
In the entrancing realm of The Dark Crystal, a 1982 fantasy film, Jen (Jim Henson), an orphaned Gelfling, embarks on a perilous quest. His mission? To restore a shard to the dark crystal, thereby saving his universe from the malevolent Skeksis. Directed by Jim Henson and Frank Oz, this imaginative adventure unfolds in a world populated by mystical creatures and marred by an ancient prophecy. With its intricate puppetry and distinctive narrative, The Dark Crystal remains an iconic piece in the genre of fantasy films.
In the movie Indiana Jones and the Kingdom of the Crystal Skull, archaeologist Indiana Jones (Harrison Ford) is pulled back into action. This time, it's the 1950s during the Cold War, and he's up against Soviet agents led by the ruthless Irina Spalko (Cate Blanchett). They're after a mysterious artifact - a crystal skull from Peru, believed to hold extraordinary powers. Aided by his former lover Marion Ravenwood (Karen Allen) and a young greaser named Mutt Williams (Shia LaBeouf), Indy embarks on a globe-trotting quest to uncover the secrets of the skull. The adventure unfolds in Steven Spielberg's signature style, blending elements of action, adventure, and historical fantasy.
|
|||
18075
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yago
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2
| 20
|
https://www.cloud10beauty.com/products/kash-beauty-crystal-nights-palette
|
en
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Kash Beauty Crystal Nights Palette
|
http://www.cloud10beauty.com/cdn/shop/files/kash-beauty-crystal-nights-palette-1.jpg?v=1694511945
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http://www.cloud10beauty.com/cdn/shop/files/kash-beauty-crystal-nights-palette-1.jpg?v=1694511945
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Kash Beauty Crystal Nights Palette brings your makeup game to the next level. Unleash your inner goddess with this luxurious eyeshadow palette that embodies the radiance of semi-precious gems. With nine stunning shades, including deep, warm mattes and high-shine metallics, you'll be ready to shine!
|
en
|
//www.cloud10beauty.com/cdn/shop/files/cbjtd-pi83m_32x32_ba7b8fe2-486a-4697-98e6-fa087a4eeb65.webp?crop=center&height=32&v=1687842631&width=32
|
Cloud 10 Beauty
|
https://www.cloud10beauty.com/products/kash-beauty-crystal-nights-palette
|
Kash Beauty Crystal Nights Palette is your ticket to endless eye-catching looks. The rich, pigmented shades are perfect for creating bold, sultry eyes or subtle, everyday elegance. You'll love how easily they blend and build, allowing you to customize your look with ease. The inspiration drawn from amethyst and jade adds a touch of mystique to your makeup, making it ideal for both casual wear and glam nights out.
Shades:
Moonlight: Add all-over luminescence to the eyelid with this soft cream shade, inspired by the glow of the moonlight.
Haze: This neutral-toned brown is the ideal transition shade, helping blend colours smoothly and adding depth and intensity to the lid.
Crystal: Is a gorgeous, indulgent metallic gold, designed to draw attention to the eyes. Adding a luxe gleam to the eyelid, inner corner and brow bone.
Bronzite: Keep warm with this smouldering, rich bronze shadow, designed to add heat to any look. The shade works well with a smokey evening eye.
Dusk: This neutral medium brown colour is warm and rich. The delicious shade is super-versatile, working to create muted day-time looks as well as party looks.
Jade: Stand out from the crowd with this stunning, unique green shimmer shadow, inspired by jade gemstones. The olive-green shimmer is complemented with flecks of gold to catch the light.
Enchant: Fall in love with this sumptuous, deep matte brown shade, created to add depth and daring any look. The shade is rich and versatile and can be used in a variety of eye looks.
Sapphire: Inspired by the deep blue shine of sapphire crystals, this show-stopping shimmer shadow is speckled with silver reflects to create an intense effect.
Amethyst: This luxe purple shimmer is created in the likeness of amethyst crystals, use to add flair to any makeup look. The shimmer is flecked with pink and purple reflects, reminiscent of sparkling tinsel.
|
||
18075
|
yago
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0
| 39
|
https://www.instagram.com/Heretic.Films/%3Flocale%3D%25E4%25BB%25A3%25E5%258A%259E%25E5%258C%2597%25E9%25A9%25AC%25E5%2585%25B6%25E9%25A1%25BF%25E9%25AB%2598%25E8%2580%2583%25E6%2588%2590%25E7%25BB%25A9%25E5%258D%2595%25E3%2580%2596%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597lCZqR
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
18075
|
yago
|
3
| 95
|
https://vdoc.pub/documents/the-ionian-islands-aspects-of-their-history-and-culture-3i6cec842eeg
|
en
|
The Ionian Islands: Aspects Of Their History And Culture [PDF] [3i6cec842eeg]
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[] |
[
""
] | null |
[] | null |
The Ionian Islands: Aspects Of Their History And Culture [PDF] [3i6cec842eeg]. The Ionian Islands stretch south from the Adriatic, where Corfu's Pantokrator mountain overlooks Albania across narrow s...
|
en
|
https://vdoc.pub/documents/the-ionian-islands-aspects-of-their-history-and-culture-3i6cec842eeg
| |||||||
18075
|
yago
|
0
| 4
|
https://ifi.ie/film/crystal-nights/
|
en
|
Irish Film Institute
|
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[] |
2011-10-06T15:29:01+00:00
|
Irish Film Institute
|
en
|
Irish Film Institute
|
https://ifi.ie/film/crystal-nights/
|
The late Tonia Marketaki was one of Greek cinema’s most acclaimed women directors. Her work combines elements of eroticism and mysticism in its explorations of Greek history. Crystal Nights is a heady brew of sorcery, sex and reincarnation set before, during and after World War Two. A mystic tells a young German girl, Isabella, that her ideal lover will be born the day she marries. Years later, in 1938, the now 40-year-old woman is married to a Greek officer but falls madly in love with a young Jew, Albert. When Albert marries a younger woman, Isabelle commits suicide. Reborn as the girl Anna, she comes to rescue an older Albert when he faces death at the hands of the Nazis. The film gets its title from the name given to the first systematic attacks by the Nazis on Jewish shop windows in 1938. Although Marketaki’s highly stylised and poetic movie examines anti-Semitism in Greece and the terrible fate of the country during World War Two, its core concern is with the notion of a mythical, idealised love that transcends barriers of time and politics. With its time-shifting narrative and constant switches from colour to sepia-toned images, Crystal Nights is a heavily symbolic and sometimes obscure film, but there’s no denying the passion and skill behind its making.
(1992. English subtitles. Colour. Dolby stereo SR. 138 mins.)
|
|||||
18075
|
yago
|
0
| 78
|
https://skittygara.wordpress.com/page/4/
|
en
|
Page 4
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2014-08-18T14:11:06+00:00
|
en
|
https://s1.wp.com/i/favicon.ico
|
https://skittygara.wordpress.com/
|
Rating: 7.5/10
Runtime: 90
Language: Spanish
Subtitles: None
Country: Spain
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0040942
Director: Lorenzo Llobet Gracia
Cast:
Fernando Fernán Gómez … Carlos
María Dolores Pradera … Ana
Isabel de Pomés … Clara
Fernando Sancho … Productor
Alfonso Estela … Luis
Graciela Crespo … Sra. Durán
Félix de Pomés … Señor Durán
Mary Santpere … Doncella
Marta Flores … Esposa
Miquel Graneri … Marido
Jesús Puche … Fotógrafo
Valero … Carlos, niño
Juan López … Luis, niño (as Juanito López)
Antonia Llobet … Ana, niña
Antonio Leal … Comandante
Tomás Gutiérrez Larraya … Vendedor de Films Selectos (as Tomás G. Larraya)
Hernández … Otor vendedor
Joaquín Soler Serrano … (voice)
Enrique Tusquets … Hombre del puro
Arturo Cámara … Comandante (uncredited)
Camino Garrigó … Madre de Ana (uncredited)
María Severini … Dueña de la pensión (uncredited)
Description: This brilliant film was the only fiction feature made by Lorenzo Llobet Gracia who was associated with a club of cinephiles in Barcelona known as the Telúricos (the “underground”). The film is full of subtle and often not-so-subtle cues evoking the desire to escape Franco’s Spain. I’ve read, though I don’t know if it is true, that the censorship difficulties that the film faced were connected to its use of Catalan dialogue. If this is true, the version that survives today (in a reconstruction made in the early 1980s from two incomplete 16mm positive prints), is missing that important element. The reconstruction appears to me to have taken some liberties with the film in terms of editing technique. Unfortunately, in the state we have it, it is difficult to see all of the time Llobet Gracia’s sophisticated use of depth of field.
‘Vida en sombras’ [Life in shadows] is a film by Llobet Gràcia, a Catalan filmmaker coming from amateur cinema, who, during the post-war period, with modest means and far from the official sanction of the Fascist government, delved into the power of cinema to heal personal and collective wounds.
Llorenç Llobet Gracia (Barcelona, 1911-Sabadell, 1976) had bonded intimately with the world of cinema from the time his his father gave him a Pathé-Baby camera in his youth. This childhood experience is re-enacted at the beginning of ‘Vida en sombras’, the only commercial film he made in 1948, after having developed an intense activity in amateur cinema circles. Produced by himself, under the name Castilla Films, the film, which went through serious financial and censorship obstacles, has a free almost experimental style, outside the established codes of industrial cinema.
Technical specs:
File name : Life in Shadows.avi
Format : AVI at 1 609 Kbps
Length : 855 MiB for 1h 14mn 16s 800ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 656 x 496 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!jAt1yZAT!y0kCyK5NDWBe3BaPcJZo4cI1uE16M1KYyIbOABlKlZE
Rating: 8.2/10
Runtime: 74
Language: Serbo-Croatian
Subtitles: English
Country: Yugoslavia
Color: Color | Black & White
IMDb Link: http://www.imdb.com/title/tt0173015
Director: Vatroslav Mimica
Cast:
Slobodan Dimitrijevic … Marko Pozgaj
Pavle Vuisic … Markov otac (as Pavle Vujisic)
Gizela Huml … Markova baka
Fabijan Sovagovic … Golubar boltek
Sergio Mimica-Gezzan … mali Marko (as Srdjan Mimica)
Rudolf Kukic … gospon Haller
Zoran Konstantinovic
Jagoda Kaloper … Rajka
Renata Freiskorn … Bivsa supruga Milada
Olivera Katarina … Markova ljubavnica (as Olivera Vuco)
Lada Milic … Barbara, nova ljubav
Ivo Kadic … Fotograf
Marcel Cukli
Andro Lusicic … Kolega novinar
Nedim Omerbegovic … Inzenjer u pogonu
Branko Spoljar … Muz Markove ljubavnice
Mirko Vojkovic … Covjek iz kafica
Radojko Jezic … Kolega sa sastanka
Fahro Konjhodzic … Vodja pogrebnog orkestra
Adam Vedernjak … Bozo, kolega sa sastanka
Branko Bonacci … Kolega sa sastanka
Dusan Radmanovic
Velimir Chytil … Automehanicar (as Velimir Hitil)
Zdenka Hersak … Majka
Kruno Valentic … Vozac konjske zaprege
Mladen Hanzlovsky … Novinar na sahrani s novinama u rukama
Ljubo Kapor … mornar Janko
Branko Koivanic
Branko Majer … Sudac
Dragan Jankovic
Dragutin Kolman
Drago Bahun … Poznanik
Zeljko Mazur
Biserka Alibegovic … Markova kolegica koja ga poziva na telefon
Ivo Skrabalo … Kolega sa sastanka
Nikola Otrzan … Luka, Markov kolega
Ivo Baltic
Finka Pavicic-Budak
Leo Butorac
Arsen Dedic … Pjevac (uncredited)
Description: The film follows a day in the life of a divorced Zagreb journalist Marko Požgaj (played by Dimitrijević), an average modern intellectual who goes about his daily business. Mundane scenes of Požgaj’s day are shown interspersed with flashbacks and fantastic imagery reflecting his inner life. These include his recollections of childhood, his feelings about the present and past, including memories of his first marriage, his current girlfriend Rajka (Jagoda Kaloper) and his father killed in World War II (Pavle Vuisić), as well as his fantasies and hopes about the future.
The film is today regarded as a logical continuation in Mimica’s body of work as it replicates the stream of consciousness concept previously seen in his critically acclaimed 1964 film Prometheus of the Island. The film’s visual structure (based on a collage of scenes set in the past and present mixed with fantastic imagery, which are indicated by changes in picture quality and colour) and the theme of contemporary social alienation (in part resulting from the trauma of War World II) have urged critics to draw comparisons to his animated film The Inspector Is Back! (Inspektor se vratio kući, 1957) and have been called “trademarks of Mimica’s entire body of work”. Andrew James Horton, writing for the film journal Kinoeye wrote in 2001: “Some of the devices now seem a little dated. Changes in image quality and colour are probably less exciting now than they were then, and the intercutting of documentary footage of the concentration camps particularly now has a somewhat heavy-handed and “obvious” feel to it. But the film still exudes the appeal of what the New Wave must have looked like when it first emerged as a trend, with its concentration on ordinary people and charmingly observed street scenes. And its this that makes the film endearing. There’s none of the removed coldness that formal experimentation can bring to a film as an unfortunate by-product.”
Technical specs:
File name : Monday or Tuesday.avi
Format : AVI at 1 314 Kbps
Length : 700 MiB for 1h 14mn 25s 920ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 524 (1.374 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!fdxiWa4L!SKurPQt6VcsWIPFCkAZARwBnU-Ebw5wJb5LorufZWHs
Rating: Awaiting 5 votes
Runtime: 260
Language: Mandarin
Subtitles: None
Country: North Korea
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt2226515
Director: Ik Kyu-choe, Kim Jong-il
Cast:
N/A
Description: Are you ready for something completely out of left field? Today, I present to you the infamous North Korean war epic, Sea of Blood. Based on a revolutionary play supposedly written by the Eternal President of the Democratic People’s Republic, Kim Il-sung, and rumored to have been co-directed by the late, great Kim Jong-il (The North Korean film museum claims it was during the shooting of this film that his Kimness invented multi-camera shooting). Clocking in at a whopping 260 minutes, there is more propaganda here than you can shake a bust of Kim Il-sung at. Within North Korea, the operatic version of Sea of Blood is the only show at Pyongyang’s main theater, and is staged three to four times a week. This revolutionary work is also popular among the Chinese, especially those who lived through the Cultural Revolution, and have fond memories of revolutionary antics. Enjoy!
Technical specs:
File name : Sea of Blood (1).avi
Format : AVI at 1 563 Kbps
Length : 1.4 GiB for 2h 5mn 14s 280ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
___________________
File name : Sea of Blood (2).avi
Format : AVI at 1 545 Kbps
Length : 1.4 GiB for 2h 6mn 40s 680ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 720 x 272 (2.647 display AR) at 25.000 fps
Audio #0 : AC-3
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!doUDyCSb!NsN2VRIjAauyndGg4K8JnVRXuEoY5_lc6ZnxgdRQRQY
https://mega.co.nz/#!B4NwRAYC!Y-rAvQBVJyaBmBTk0Ahvokgvmzwqp2VXrSwQ0ffwrAk
Rating: 7.4
Runtime: 138
Language: Greek | German
Subtitles: English | Greek (Hardcoded for German portions)
Country: France | Greece | Switzerland
Color: Black and White | Color
IMDb Link: http://www.imdb.com/title/tt0104641/
Director: Tonia Marketaki
Cast:
François Delaive, Michele Valley, Tania Tripi, Ovidiu Iuliu Moldovan, Kelly Karmiri, Kelly Ioakeimidou, Frosso Litra, Melina Vamvaka, Tassos Palatzidis, Alexandros Koliopoulos, Manos Vakousis
Description: CRYSTAL NIGHTS (the film gets its title from the notorious “crystal nights”, the first systematic, mass attack by bands of Nazis on Jewish shop windows in the Vienna of 1938). In the film symbolism and realism become one. But above all, CRYSTAL NIGHTS is a film about absolute love, about the love that overcomes the barriers of time, that swings magically between “always” and “never”, that remains haughtily aloof when everything else bows down (in the Song of Songs it borders on religious worship). And it contains one of the most beautiful love scenes ever shot in the Greek cinema something like a mystical rite, like a flower of devotion to life.
Download Links:
https://mega.co.nz/#!gNsyVKDI!IazSoA-dqR_9wouHOIcTg9j3AK3XC8LtEKTvx51b7js
Technical specs:
File name : Crystal Nights.mkv
Format : Matroska at 1 330 Kbps
Length : 1.3 GiB for 2h 14mn 32s 127ms
Video #0 : AVC
Aspect : 656 x 368 (16:9 display AR) at
Audio #0 : AAC
Infos : 2 channels, 48.0 KHz
Language : el
Text #0 : UTF-8
Language : en
Rating: 8.7/10
Runtime: 106
Language: Croatian
Subtitles: None
Country: Yugoslavia
Color: Black & White
IMDb Link: http://www.imdb.com/title/tt0171246
Director: Fadil Hadzic
Cast:
Judita Hahn … Eva Ruzic (as Judita Han)
Rade Markovic … Ognjen Ruzic
Franjo Kumer … Ludvig Farkas
Toma Jovanovic … Policijski inspektor Hribar (as Tomo Jovanovic)
Voja Miric … Zavodnik (as Vojo Miric)
Sonja Hlebs … Prostitutka Silvija
Karlo Bulic … Advokat Bruno
Vanja Drach … Ognjenov prijatelj
Fabijan Sovagovic … Ustaski policajac zvani ‘Beba’
Veljko Maricic … Sudac
Hermina Pipinic … Vera, zavodnikova zenska
Mirko Boman … Stranac na granici
Milan Bosiljcic … Pijani mornar
Maria Braico … Leonina, Brunova domacica
Rajko Dukcevic … Vlado, policijski inspektor
Djurdja Ivezic … Ruza, Ruziceva ljubavnica
Miodrag Loncar
Danilo Maricic … Carinik
Gordana Petrovic … Talijanka s naocalima
Semka Sokolovic-Bertok … Prostitutka Andja (as Semka Sokolovic)
Zdenka Trach … Farkaseva susjeda
Franek Trefalt … Dezurni policajac na Sezani (as Franc Trefalt)
Djuro Turinski
Dusan Dobrosavljevic … Policajac (uncredited)
Vladimir Susic … Kartas (uncredited)
Description: An inspector looks for motives that made a woman he doesn’t consider a criminal perform a fraud. It is soon discovered that she has been a victim of a blackmail, which has to do with some horrible traumas she had suffered in the past. Although the investigation goes in the right direction, re-opening the old scars could cause a new breakdown of the long-suffering woman. A very interesting and tense drama/thriller from the specialist of the genre, Fadil Hadžić.
Technical specs:
File name : Back of the Medal.avi
Format : AVI at 1 017 Kbps
Length : 699 MiB for 1h 36mn 5s 760ms
Video #0 : MPEG-4 Visual (XviD)
Aspect : 640 x 480 (4:3 display AR) at 25.000 fps
Audio #0 : MPEG Audio (MP3)
Infos : 2 channels, 48.0 KHz
Download Links:
https://mega.co.nz/#!GJFBiYSA!FQJDy16nrMF_Qlvqpa4br-FT50CkWzdHKNrs4r2ADsU
|
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18075
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0
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https://www.wikiwand.com/en/Crystal_Nights
|
en
|
Crystal Nights
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Crystal Nights is a 1992 Greek drama film directed by Tonia Marketaki. It was screened in the Un Certain Regard section at the 1992 Cannes Film Festival.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Crystal_Nights
|
Crystal Nights (Greek: Κρυστάλλινες νύχτες Krystallines nychtes) is a 1992 Greek drama film directed by Tonia Marketaki. It was screened in the Un Certain Regard section at the 1992 Cannes Film Festival.[1]
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18075
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yago
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1
| 18
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https://www.academia.edu/40586158/Konstantinos_Kyriakos_Between_Two_Centuries_Contemporary_Greek_Cinema_and_the_Readings_of_Ancient_Greek_Tragedy_Logeion_A_Journal_of_Ancient_Theatre_8_2018_211_248
|
en
|
Konstantinos Kyriakos, “Between Two Centuries: Contemporary Greek Cinema and the Readings of Ancient Greek Tragedy”, Logeion. A Journal of Ancient Theatre, 8 (2018), 211-248.
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[] |
[
""
] | null |
[
"Konstantinos Kyriakos",
"upatras.academia.edu"
] |
2019-10-10T00:00:00
|
Konstantinos Kyriakos, “Between Two Centuries: Contemporary Greek Cinema and the Readings of Ancient Greek Tragedy”, Logeion. A Journal of Ancient Theatre, 8 (2018), 211-248.
|
https://www.academia.edu/40586158/Konstantinos_Kyriakos_Between_Two_Centuries_Contemporary_Greek_Cinema_and_the_Readings_of_Ancient_Greek_Tragedy_Logeion_A_Journal_of_Ancient_Theatre_8_2018_211_248
|
Does a modern audience expect a Greek play always to end in tragedy? This paper examines the reception of ancient drama in the Greek film industry of the 1960s. Two cinematic receptions of Sophocles and Euripides were produced within a period of less than three years: George Tzavellas' 'Antigone' (1961) and Michael Cacoyannis' 'Electra' (1962). The two directors took pains to emphasize the tragic aspects of their source texts even going so far as to make changes to them in order to meet this expectation. In my discussion I contextualize this phenomenon and investigate the high cultural value that the Greek state assigned to ancient drama.
This valuable anthology on Greek cinema edited by Lydia Papadimitriou and Yannis Tzioumakis – the first to be published in English as a book – makes a wide and twofold gesture towards international and Greek academia. It calls for the reevaluation of a vibrant, multivalent and fascinating, though marginal European film culture and also for a rethinking of the parameters for the study of Greek film. This gesture towards recognition and reassessment is particularly compelling since it occurs at a very critical but propitious moment: when Greek film, having crossed the borders to become a celebrated new voice on the international festival circuit, is marked by unusual extroversion; when – although nation-centric approaches have become less relevant in Film Studies – a growing focus on peripheral and small-nation cinemas has opened up a new space for neglected cinematic traditions; and finally, when the country’s precarious financial situation has brought about a renegotiation of Greek ...
This article is an updated and extended version of the introductory text that was written on the occasion of the tribute to Young Greek Cinema which was organized by the 45th Karlovy Vary International Film Festival, in 2011. A shorter updated version was also published in Kinecko (Czech Republic), no. 16, 2013: 2-4. It can also be found at https://www.facebook.com/notes/hellas-filmbox-berlin/greek-cinema-against-all-odds1-by-dimitris-kerkinos/510783695796604/
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0
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|
https://entertainment.ie/person/tonia-marketaki
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en
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Entertainment.ie
|
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[
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"biography",
"movies",
"tv shows",
"actor",
"director",
"script writer"
] | null |
[
"Entertainment.ie"
] | null |
Tonia Marketaki bio. Find out all of the tv shows, movies that Tonia Marketaki was involved with, interviews, photos and up to date news.
|
en
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Entertainment.ie
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https://entertainment.ie/person/tonia-marketaki
|
search for anything! e.g. Fallout or maybe 'Shōgun' Monkey Man Andrew Scott search for anything!
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18075
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https://encyclopedia.ushmm.org/content/en/article/kristallnacht
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en
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Kristallnacht
|
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On November 9–10, 1938, the Nazi regime coordinated a wave of antisemitic violence. This became known as Kristallnacht or the "Night of Broken Glass." Learn more
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https://encyclopedia.ushmm.org/content/en/article/kristallnacht
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- [credit=cc3b8594-03bc-43bc-aafe-9bb5f37eac8b]
A Nationwide Pogrom
Kristallnacht, literally, "Night of Crystal," is often referred to as the "Night of Broken Glass." The name refers to the wave of violent anti-Jewish pogroms which took place on November 9 and 10, 1938. This wave of violence took place throughout Germany, annexed Austria, and in areas of the Sudetenland in Czechoslovakia recently occupied by German troops.
Origin of the Name "Kristallnacht"
Kristallnacht owes its name to the shards of shattered glass that lined German streets in the wake of the pogrom—broken glass from the windows of synagogues, homes, and Jewish-owned businesses plundered and destroyed during the violence.
Assassination of Ernst vom Rath
The violence was instigated primarily by Nazi Party officials and members of the SA (Sturmabteilung: commonly known as Storm Troopers) and Hitler Youth.
In its aftermath, German officials announced that Kristallnacht had erupted as a spontaneous outburst of public sentiment in response to the assassination of Ernst vom Rath. Vom Rath was a German embassy official stationed in Paris. Herschel Grynszpan, a 17-year-old Polish Jew, had shot the diplomat on November 7, 1938. A few days earlier, German authorities had expelled thousands of Jews of Polish citizenship living in Germany from the Reich; Grynszpan had received news that his parents, residents in Germany since 1911, were among them.
Grynszpan's parents and the other expelled Polish Jews were initially denied entry into their native Poland. They found themselves stranded in a refugee camp near the town of Zbaszyn in the border region between Poland and Germany. Already living illegally in Paris himself, a desperate Grynszpan apparently sought revenge for his family's precarious circumstances by appearing at the German embassy and shooting the diplomatic official assigned to assist him.
Vom Rath died on November 9, 1938, two days after the shooting. The day happened to coincide with the anniversary of the 1923 Beer Hall Putsch, an important date in the National Socialist calendar. The Nazi Party leadership, assembled in Munich for the commemoration, chose to use the occasion as a pretext to launch a night of antisemitic excesses. Propaganda minister Joseph Goebbels, a chief instigator of the Kristallnacht pogroms, suggested to the convened Nazi 'Old Guard' that 'World Jewry' had conspired to commit the assassination. He announced that "the Führer has decided that … demonstrations should not be prepared or organized by the Party, but insofar as they erupt spontaneously, they are not to be hampered."
November 9–10
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Goebbels' words appear to have been taken as a command for unleashing the violence. After his speech, the assembled regional Party leaders issued instructions to their local offices. Violence began to erupt in various parts of the Reich throughout the late evening and early morning hours of November 9–10. At 1:20 a.m. on November 10, Reinhard Heydrich, in his capacity as head of the Security Police (Sicherheitspolizei) sent an urgent telegram to headquarters and stations of the State Police and to SA leaders in their various districts, which contained directives regarding the riots. SA and Hitler Youth units throughout Germany and its annexed territories engaged in the destruction of Jewish-owned homes and businesses. Members of many units wore civilian clothes to support the fiction that the disturbances were expressions of 'outraged public reaction.'
Despite the outward appearance of spontaneous violence, and the local cast which the pogrom took on in various regions throughout the Reich, the central orders Heydrich relayed gave specific instructions: the "spontaneous" rioters were to take no measures endangering non-Jewish German life or property; they were not to subject foreigners (even Jewish foreigners) to violence; and they were to remove all synagogue archives prior to vandalizing synagogues and other properties of the Jewish communities, and to transfer that archival material to the Security Service (Sicherheitsdienst, or SD). The orders also indicated that police officials should arrest as many Jews as local jails could hold, preferably young, healthy men.
Destruction of Synagogues and Buildings
The rioters destroyed hundreds of synagogues and Jewish institutions throughout Germany, Austria, and the Sudetenland. Many synagogues burned throughout the night in full view of the public and of local firefighters, who had received orders to intervene only to prevent flames from spreading to nearby buildings. SA and Hitler Youth members across the country shattered the shop windows of an estimated 7,500 Jewish-owned commercial establishments and looted their wares. Jewish cemeteries became a particular object of desecration in many regions.
The pogrom proved especially destructive in Berlin and Vienna, home to the two largest Jewish communities in the German Reich. Mobs of SA men roamed the streets, attacking Jews in their houses and forcing Jews they encountered to perform acts of public humiliation. Although murder did not figure in the central directives, Kristallnacht claimed many Jewish lives between 9 and 10 November. The official figure for Jewish deaths, released by German officials in the aftermath of Kristallnacht, was 91, but recent scholarship suggests that there were hundreds of deaths, especially if one counts those who died of their injuries in the days and weeks that followed the pogrom. Police records of the period also document a high number of rapes and of suicides in the aftermath of the violence.
Arrests of Jewish Men
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As the pogrom spread, units of the SS and Gestapo (Secret State Police), following Heydrich's instructions, arrested up to 30,000 Jewish males, and transferred most of them from local prisons to Dachau, Buchenwald, Sachsenhausen, and other concentration camps.
Significantly, Kristallnacht marks the first instance in which the Nazi regime incarcerated Jews on a massive scale simply on the basis of their ethnicity. Hundreds died in the camps as a result of the brutal treatment they endured. Most did obtain release over the next three months on the condition that they begin the process of emigration from Germany. Indeed, the effects of Kristallnacht would serve as a spur to the emigration of Jews from Germany in the months to come.
Aftermath
In the immediate aftermath of the pogrom, many German leaders, like Hermann Göring, criticized the extensive material losses produced by the antisemitic riots, pointing out that if nothing were done to intervene, German insurance companies—not Jewish-owned businesses—would have to bear the costs of the damages. Nevertheless, Göring and other top party leaders decided to use the opportunity to introduce measures to eliminate Jews and perceived Jewish influence from the German economic sphere.
The German government made an immediate pronouncement that “the Jews” themselves were to blame for the pogrom and imposed a fine of one billion Reichsmark (some 400 million US dollars at 1938 rates) on the German Jewish community. The Reich government confiscated all insurance payouts to Jews whose businesses and homes were looted or destroyed, leaving the Jewish owners personally responsible for the cost of all repairs.
Anti-Jewish Legislation
In the weeks that followed, the German government promulgated dozens of laws and decrees designed to deprive Jews of their property and of their means of livelihood. Many of these laws enforced “Aryanization” policy—the transfer of Jewish-owned enterprises and property to “Aryan” ownership, usually for a fraction of their true value. Ensuing legislation barred Jews, already ineligible for employment in the public sector, from practicing most professions in the private sector. The legislation made further strides in removing Jews from public life. German education officials expelled Jewish children still attending German schools. German Jews lost their right to hold a driver's license or own an automobile. Legislation restricted access to public transport. Jews could no longer gain admittance to “German” theaters, movie cinemas, or concert halls.
American Press Reports on Kristallnacht
American newspapers across the country covered the Nazi assault on Jews in front-page, banner headlines, and articles about the events continued to appear for several weeks. No other story about the persecution of the Jews received such widespread and sustained attention from the American press at any other time during the Nazi era.
German censors sought to block images of Kristallnacht from reaching newspapers in the United States. However, Life magazine was able to publish some images in its November 28, 1938, issue.
Perhaps no headline so aptly summarized the danger for the Jews under the Nazi regime than that published on the front page of the Los Angeles Examiner on November 23, 1938: “Nazis Warn World Jews Will Be Wiped Out Unless Evacuated By Democracies.”
US President Denounces the Nazis
At his press conference on November 15, 1938, one week after Kristallnacht, President Franklin D. Roosevelt denounced Nazi Germany’s terror attack on Jews, saying, “I myself could scarcely believe that such things could occur in a twentieth-century civilization.” FDR made an exception to his practice of off-the-record press conferences by allowing newspapers to quote this statement from his meeting with reporters that day.
The president also announced that he had recalled the US ambassador to Germany, Hugh Wilson. The United States was the only nation to recall its ambassador and would not replace him until after the end of the war in 1945.
In response to the news of Nazi terror against Jews, Americans protested in cities including New York and Los Angeles. Other Americans called for an increase in the number of immigrants allowed to enter the country.
Pressure on the US Immigration System
Despite the increasing threat faced by Jews living under Nazi rule in Germany and Austria, President Roosevelt knew that he would not be able to persuade Congress to reconsider immigration regulations. At the same November 15 press conference, a reporter asked the president if he would recommend relaxing the restrictions on immigration in order to admit the Jewish refugees from Europe. Roosevelt replied, “That is not in contemplation; we have the quota system.”
Labor Secretary Frances Perkins, whose department oversaw the Immigration and Naturalization Service, persuaded President Roosevelt to allow approximately 12,000 Germans, most of whom were Jews and already in the United States on visitor visas, to remain in the country indefinitely. Although he knew extending the visas could raise congressional objection, the president made his position clear. “I cannot,” he said, “in any decent humanity, throw them out.” Indeed, no Jews were forced to leave the United States to return to Nazi-occupied Europe for the duration of the war.
Some lawmakers who hoped to change the country’s restrictive immigration quota laws saw an opportunity in the wave of sympathy among Americans for refugees after Kristallnacht. On February 9, 1939, Senator Robert F. Wagner (D-NY) and Representative Edith Nourse Rogers (R-MA) introduced identical bills into Congress to offer refuge to 20,000 children under 14 from the Greater German Reich. Despite widespread support, the Wagner-Rogers Bill died in Congress. The quota system remained unchanged throughout the war and into the 1960s.
A Turning Point
The events of Kristallnacht represented one of the most important turning points in National Socialist antisemitic policy. Historians have noted that after the pogrom, anti-Jewish policy was concentrated more and more concretely into the hands of the SS. Moreover, the passivity with which most German civilians responded to the violence signaled to the Nazi regime that the German public was prepared for more radical measures.
The Nazi regime expanded and radicalized measures aimed at removing Jews entirely from German economic and social life in the forthcoming years. The regime moved eventually toward policies of forced emigration, and finally toward the realization of a Germany “free of Jews” (judenrein) by deportation of the Jewish population “to the East.”
Thus, Kristallnacht figures as an essential turning point in Nazi Germany's persecution of Jews, which culminated in the attempt to annihilate the European Jews.
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Silver Night Crystal Heart
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https://crystalelegance.co.uk/product/silver-night-heart-made-with-swarovski-crystals-2/
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Description
A beautiful handcrafted crystal heart necklace, created with Austrian crystals. The elegant Silver Night crystal heart is suspended from a quality 18 inch (45cm), 925 sterling silver fine trace chain.
As light is captured and reflected, the crystal silver night heart pendant produces an aurora of colours, the main colours being black and silver grey which change and reflect other colours according to the surroundings.
The heart pendant at 14mm is minimalist and elegant, large enough to attract attention whilst proving simultaneously discrete at the same time. This necklace is perfect for both everyday wear and special occasions alike.
This necklace is also available with a shorter 14 inch (35cm) or 16 inch (40cm) chain, the 14 inch chain is more suitable for a child. Please leave a message when checking out if you require a shorter chain.
As a finishing touch the necklace is presented in a Crystal Elegance gift box.
A perfect gift for Birthdays, Anniversaries, Special Occasions or as a keepsake for yourself.
We’re so confident you will love this item that we offer a 30-day no-quibble money back guarantee. You may return your item and we will refund you in full if you are not completely satisfied.
**Necklace and Earring Sets also available!**
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https://archive.org/stream/BFIHISTORYOFCINEMA18961996SUPPLEMENTAL1996/BFI%2520HISTORY%2520OF%2520CINEMA%25201896-1996%2520SUPPLEMENTAL%25201996_djvu.txt
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BFI HISTORY OF CINEMA 1896 1996 SUPPLEMENTAL 1996 : VIDEO SHOP 93101 : Free Download, Borrow, and Streaming : Internet Archive
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https://archive.org/services/img/BFIHISTORYOFCINEMA18961996SUPPLEMENTAL1996
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https://archive.org/services/img/BFIHISTORYOFCINEMA18961996SUPPLEMENTAL1996
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BFI HISTORY OF CINEMA 1896-1996 SUPPLEMENTAL 1996
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en
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Internet Archive
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https://archive.org/details/BFIHISTORYOFCINEMA18961996SUPPLEMENTAL1996
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https://ees.org.gr/ees.org.gr/en/gdd/cinema/ferris-costas/
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Greek Directors Guild
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Costas Ferris was born in Cairo in 1935. He received a broad education based on his Greek roots. He studied drama in Cairo and filmmaking in Athens and Paris. In 1957 he settled in Greece, where he has been living ever since (except for 1967-1972, when he was an exile in Paris due to the Colonels' Regime). In 1958 he worked as an assistant director of the film “The River” by Nikos Koundouros.
He was one of the New Greek Cinema group leaders and provided the group with a concrete theoretical framework. He worked as assistant director for more than 60 fiction films, close to some of the most important figures of the film industry, such as Michael Kakoyannis, Nikos Koundouros, Andrew Marton, James Neilson, Édouard Molinaro, Richard Caspar Sarafian, Richard Wilson, Pierre Kast, Jean-Daniel Pollet. He joined a research group focused on the rembetiko song culture. His first short film was censored and banned as it was considered anti-touristic.
In 1965, he directed his first feature-length film, “Some Girls Like It In Khaki”, and in his next movie, “Crazy Blood”, he admitted that he tried to apply the ideas of the New Greek Cinema group.
Before and during his stay in Paris, he worked with the French director and friend Jean-Daniel Pollet and together, they participated in the events of May 1968. At that time, he met Volker Schloendorf, Werner Hertzog, Barbet Schroeder, Nicholas Ray, Samuel Fuller, Ruy Guerra, Anatole, Pascale Dauman, and other significant figures. During his Paris years, he wrote the screenplay for “Le Sang”, an opera (L' Opéra des oiseaux) and the lyrics for the third and final studio and only double album of the Greek progressive rock band Aphrodite's Child (666 Apocalypse).
In 1973 he returned to Greece, and he has been active in film, theatre, writing, music, and journalism ever since. In 1986, he met his partner in life and creation, Thesia Panagiotou.
PLYTA MARIA
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https://www.imdb.com/list/ls009367366/
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The 20 best Greek Film Directors
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https://www.imdb.com/list/ls009367366/
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Theo Angelopoulos began to study law in Athens but broke up his studies to go to the Sorbonne in Paris in order to study literature. When he had finished his studies, he wanted to attend the School of Cinema at Paris but decided instead to go back to Greece. There he worked as a journalist and critic for the newspaper "Demokratiki Allaghi" until it was banned by the military after a coup d'état. Now unemployed, he decided to make his first movie, Rekonstruktion (1970). Internationally successful was his trilogy about the history of Greece from 1930 to 1970 consisting of Die Tage von 36 (1972), Die Wanderschauspieler (1975), and Die Jäger (1977). After the end of the dictatorship in Greece, Angelopoulos went to Italy, where he worked with RAI (and more money). His movies then became less political.
He studied painting and sculpture at the Athens School of Fine Arts from which he graduated in 1948.
Because of his left-wing political beliefs, he was exiled in Makronisos Island after the end of World War II
He started his career, as a director, at the age of 28, on 1954, with the film "Maghiki Polis" (Enchanted City) that was influenced by neorealism. With his second film "Dracos" (Dragon) in 1956 came his national and international recognition for his cinematography.
Lately he was hospitalized because of respiratory problems
He passed away around 16:00 on the afternoon of February 22, 2017 at his home in Athens, close to his family, at the age of 91.
Yorgos Lanthimos was born in Athens, Greece. He studied directing for Film and Television at the Stavrakos Film School in Athens. He has directed a number of dance videos in collaboration with Greek choreographers, in addition to TV commercials, music videos, short films and theater plays. Kinetta, his first feature film, played at Toronto and Berlin film festivals to critical acclaim. His second feature Dogtooth, won the "Un Certain Regard prize" at the 2009 Cannes film festival, followed by numerous awards at festivals worldwide. It was nominated for a Best Foreign Language Film Academy Award (Oscar) in 2011. Alps won the "Osella for best screenplay" at the 2011 Venice film festival and Best Film at the Sydney film festival in 2012. His first English language film The Lobster was presented in Competition at the 68th Cannes Film Festival. Moreover, "The Lobster" was nominated for the (Oscar about the) Best Original Screenplay by the Academy and won Best Screenplay and Best Costume Design at the European Film Awards of 2015. His fifth project "The Killing of a Sacred Deer" was also presented in Competition at the 70th Cannes Film Festival where it won the award for the best Screenplay. Lanthimos's last film "The Favorite" is a historical Drama about the British Queen Anne.
Giorgos Tzavellaswas a Greek film director, screenwriter, and playwright. His filmmaking was particularly influential, with critic Georges Sadoul considering him "one of the three major postwar Greek directors" (along with Michael Cacoyannis and Nikos Koundouros). Tzavellas wrote at least 26 plays, in addition to writing the scripts for all of his films. Among his notable films are Marinos Kontaras (1948), the drama O methystakas (1950), and Antigone (1961), a cinematic adaptation of the Sophocles tragedy. His adaptation of Antigone reimagined it in the language of realist cinema, omitting stylized elements of Greek stageplay such as the chorus, and attempting to convey the same information via setting and dialogue. In 1964 he was a member of the jury at the 14th Berlin International Film Festival. His masterpiece, however, is the 1955 film Istoria mias kalpikis liras (1955), a film in four parts, linking the stories of several people through their transactions of a single counterfeit gold coin.
Alekos Sakellarios was a Greek writer and a director. He was born in Athens and grew up in Agios Panteleimonas and began to study journalism and acting at a young age. He wrote his first theatrical play in 1935 called The King of Halva. He entered the film industry and had roles in both screenwriting and directing. He directed mainly with Hristos Giannakopoulos and together they wrote and produced an estimated 140 works. The most popular include: The Germans Strike Again, Thanasakis o politevomenos, I theia ap' to Chicago, Dikoi mas anthropoi, Ena votsalo sti limni, Kalos ilthe to dollario, Ta kitrina gantia, Otan leipei i gata, I soferina, Laterna, ftoheia kai filotimo, Alimono stous neous and more. Many of these theatrical plays were transferred to the cinema with notable success. He also wrote the lyrics of many songs (over 2,000). The significant journalist Freddie Germanos called him the "most clever Greek of the 20th century". He died in 1991 and is buried in the First Cemetery of Athens in a family grave.
In his childhood he used to climb to the lighthouse of the nowadays ghost-town of Koprena, where he was raised, and daydream he was in a ship, sailing for distant places. His family, though, forbade a sailor's career. As things turned out, he became one of the two or three greatest film makers of the so-called golden era of the Greek cinema, the '60s. Three generations of Greeks laughed and cried with his movies. Those films are still very successful when broadcast on Greek TV. The sea is more than evident in his best known films. He had the reputation of a hard man to work with but he used to say, "making movies is a game, if we all respect its rules, we can enjoy the game, when someone breaks the rules the game is no longer amusing for the rest of the set". He spent many of the last years of his life by the sea, next to a pine forest, writing novels mostly for children.
He studied film direction in Greece and worked in more than 40 films as an assistant director. In 1965 he made his first short film O kleftis (1965) and in 1967 his second short film, Tzimis o Tigris (1966) won many awards in several festivals. In 1972 he made his feature film debut, Ein Bräutigam für Anna (1972) (Anna's Engagement), which won several wards in the Berlin Film Festival, London Film Festival and more. He spent six months in exile during the Greek junta in 1973. Then he made O megalos erotikos (The Great Love Songs) after Manos Hatzidakis's request about this documentary based on his music work.
In 1977 he directed the controversial political allegory Happy Day . In 1980 he directed _Eleftherios Venizelos: 1910-1927 (1980)_, a film based on the life of the Greek politician. In 1985 he directed Petrina hronia (Stone Years), a strong emotional drama in politically turbulent times based on a true story, which won a best actress award in the Venice Film Festival and was a great commercial success. In 1989 he directed Das Trikot mit der 9 (1988), a film about a soccer player.
In 1992 he directed _Isyhes meres tou Avgoustou_ (Quiet Days in August), which won a special mention in the Berlin Film Festival. In 1996 came _Akropol_ based on the Greek theatre of the 50s and then in 1997 he directed It's a long road.
Father of director/actor Alexander Voulgaris and director Konstantina Voulgari.
Iannis Smaragdis was born in Crete in 1946. He studied Film in Greece and France. He made his first appearance in 1972 with the short film Two Three Things..., which received the first prize at the Athens Film Festival, as well as a Special Mention at the Montreal Film Festival. Iannis Smaragdis' career has been full of creativity and counts many successes. His most significant features are Cavafy (1996) and El Greco (2007). They were both very successful and award-winning films that participated in many international festivals, the most significant being the Toronto International Film Festival. On television, he touched the hearts of audiences with his Good night to you, Kyr Alexandre in 1980. In 1988 he directed the 13-episode series Hush... Our Country is Sleeping..., which is considered the best TV series since the beginning of television broadcasting in Greece. Iannis Smaragdis has directed many more TV series, such as Hadjimanuel (1984) and Les Enfants Gates (2001). He has also directed documentaries and essays: Spyros Louis (2004), I've brought to art (1998), Thus spake the city (1990-1993), to name a few. In 2007 he directed Opera of Shadows at the Athens Concert Hall. In 2012, he completed his new film God Loves Caviar, which officially participated at the 2012 Toronto International Film Festival. It was released in Greek theatres in October 2012 and was a box office hit for three consecutive weeks. Until 31 December 2012 it reached 350.000 admissions. He is currently working on his new project titled Nikos Kazantzakis, a film about the great Greek author and based on the latter's autobiography Report to Greco. On the internet he was also voted the most popular artist for the year 2012. Earlier this year he was appointed by the Istituto di Studi Giuridici Economici e Sociali Internazionali I.S.G.E.S.I. in Rome to the position of Manager of Cinema and Theatre and head of all scientific studies of the same department. He is a member of the Giuseppe Sciacca International Awards Committee.
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http://www.defenddemocracy.press/the-great-greek-director-roviros-manthoulis-died/
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The great Greek director Roviros Manthoulis died
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http://www.defenddemocracy.press/the-great-greek-director-roviros-manthoulis-died/
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At the age of 92, a great figure of Greek culture, the director, writer, poet, Roviros Manthoulis, died in Paris on the morning of Holy Thursday, April 21, 2022.
Ο Roviros Manthoulis has been hospitalized in a Paris hospital since the beginning of the week with a coronavirus.
It is not yet known where his funeral will take place.
His CV
His life was an adventure as it seems from the short biography he had sent to HuffPost: He was born in Komotini. As a teenager, he took part in the Resistance. He studied Political Science in Athens and Directing in America, 17 years old, he published his poetry collection “Stairs”. Since then he has made 122 films (most of them on French television), published 17 books and directed ERT-1 and ERT-2.
A detailed biography from the website of the Parliament testifies to his fictional life, from his childhood.
Roviros Manthoulis was born in Komotini and grew up in Athens. He participated in the circles of Children’s Physique and in the lines of EAM of Youth and continuation of EPON. From the end of 1943 until the Liberation, it was the “funnel” of Exarcheia and Naples, which brought in the evenings, from a terrace on the hill of Strefi, the messages of resistance in front of the open windows of the neighborhoods.
After high school he studied Political Science in Panteion and published his first book, the poetry collection Skalopatia (1949). His teacher in poetry was Nikiforos Vrettakos and his company, in the literary loft of Loumidis, were, among others, Michalis Katsaros, Nikos Gatsos, Manos Hadjidakis, the critic Alekos Argyriou and the director Frixos Iliadis, published the famous magazine “Poetic Art”. From 1949 to 1953 he studied Film and Theater at Syracuse University in New York State.
It was there that the first American file was opened to him, when he published an anti-McCarthy article in the Syracuse newspaper. McCarthy had his headquarters in this city, in the offices of the Federation of Veterans.
His second case was opened in 1972, when he was shooting the movie “Blues with clenched teeth” in Haarlem. When he returned from America in 1953, he initially collaborated with the “Wednesday Theater” of the E.I.R., bringing a new radio technique to theatrical adaptations. With Michalis Katsaros, who found himself again in Loumidis, they founded a film company that soon disbanded.
Wanting to help with his film education, he took over the direction of studies at two consecutive film schools. At the Stavrakos School, where Karolos Koun, Mikis Theodorakis and Giannis Tsarouchis had already taught, he had collaborators Grigoris Grigoriou and Giannis Bakogiannopoulos. At the Ioannidis School, he had hired Christos Vachliotis, in the acting department.
The friendship that connected them was extended to many of his worthy students such as Iraklis Papadakis, Fotis Mesthenaios, Leon Loisios. (In the two documentaries that Loisios shot in Lesvos, Mesthenaios was the cameraman, Manthoulis was the editor and Bakogiannopoulos wrote the narration).
Among his most famous students were Pantelis Voulgaris, Nikos Nikolaidis imitris Kollatos and Vassilis Rafailidis, who also became his assistant in a documentary.
In the meantime, Manthoulis had undertaken to organize the documentary department at the Ministry of Press and Information, but within a year he was fired. It was only then, in 1958, that he made his first film, a documentary about Lefkada, which should be, perhaps with a difference in breasts, the first Greek documentary.
In Lefkada he also uploaded the poetic work of William Saroyan “My Heart is up there”, after 7 months of rehearsals and some performances at the Athens Theater. In this, George Papastefanou made his first appearance, in the role of a child and the current writer Stratis Xaviaras, in the role of a 90 year old man! Manos Eleftheriou had taken part in the peasants’ dance – he brought oranges and eggs to the “old” Xaviaras when the dance heard him play a military trumpet song by Ben Johnson, sung in the London lodges in the early 17th century./p>
The dissemination of the documentary in Greece became an obsession in Manthoulis and in 1960 he founded the “Group of 5”, with Iraklis Papadakis, Fotis Mesthenaios, Giannis Bakogiannopoulos and Rousso Koundouros. After an orgasm of enlightenment of the public and government agencies, with lectures, screenings, festivals and film clubs, they all turned to film a series of films for various organizations and make a living from it. The “Acropolis of Athens” (1961), which returned with Ir. Papadakis and F. Mesthenaios (and the great archaeologist Giannis Miliadis), sold to 3,000 universities in America).
Their films each time won the award of the Thessaloniki Film Festival. “The Greatest Power” in 1961, “People and Gods” in 1965 with the voice of Kimonas Freier (translator of Kazantzakis’s Odyssey into English) which was broadcast every year for 5 years by the American network NBC. In 1959 Manthoulis accepted a proposal by Mr. Antonis Zervos (of the well-known company ANZERVOS, which had studios, distribution and many cinemas) to shoot a Greek comedy – “Mrs. Mayor” (1960) – starring Georgia Vassiliadou and Vassilis Avlonitis, Nikos Kourkoulos in a supporting role, Kazantzidis and Marinella in a first film appearance and Fotis Mesthenaios as director of photography.
The same happened with “Papadopoulou Family” (1961), written by Vangelis Goufas, with Orestis Makris, Dino Iliopoulos, Pantelis Zervos, Kakia Analyti, Stefanos Lineos and Thanassis Vengos, before he even started growing up of roles. One of the greatest, who also won the Critics’ Award for Best Actor, will be in Manthoulis’s next film “Hitler’s Hands Up” (1963), co-starring Vassilis Diamantopoulos. In this film, Manthoulis raised the bar of quality even more, in order to pass all the atmosphere and the authenticity of the Occupation, with the result that, apart from the critics’ awards he received then, it was played as a “national” film on national anniversaries./p>
The next step was a personal film. The trigger was given by the Julians. “Hitler’s Hands Up” was a first political film, but “Face to Face” (1966) will be even more caustic. Through the caricature of the rising newly wealthy class of shipowners and builders, who demolished and disfigured Athens, it was necessary to note the dictatorial tendencies that threatened political legitimacy and freedoms, which had just begun to return to Greece with so much effort. Such a film was not easy to make, because Censorship also took care of it.
Many contributed with small financial contributions or with their work. The script was not submitted to Censorship and filming began with permission for a previous documentary. The copy managed to leave the workshop to take part in the Thessaloniki Film Festival 1966, a great year with very good films. There he aroused the student youth, impressed foreign critics and won the Golden Award for Directing, as it was called at the time. The signatures of the jury are impressive: Giannis Tsarouchis, Manos Hadjidakis, Elli Lampeti, Filopoimin Finos, Giannis Bakogiannopoulos, Grigoris Grigoriou & # 8230; For the first time, perhaps, the audience that was waiting for the director at the exit, lifted him on his shoulders, like an Olympian, and took him to the surprised French critics who were waiting for him in the cafe to interview him.
The following year, “Face to Face” was invited to take part in various festivals, starting with the International New Film Festival in the city of Yer in southern France. Exceptionally and out of competition, because the Festival accepted only the first films of directors, while this was Manthoulis’ 4th.
The Festival started with “Face to Face” on April 21, 1967, the day that the junta coup took place in Greece! Of course, the film was prophetic, but such a coincidence could not be expected. It will probably be the first anti-echo event that took place abroad. With dozens of journalists, cameras and microphones.
Manthoulis’s interviews were broadcast the same night by several European radio stations and by the “Voice of Truth”, a radio station broadcasting from Eastern Europe. The following week, the Cannes Film Festival organized a special screening, ignoring the junta’s protests. Of course, the film was banned in Greece “all over the country, for reasons of general position”, the director’s passport was canceled, the police visited his house, his name was blacklisted by the press.
However, “Hitler’s hands are high” took the baton of resistance. During its screening in the dark rooms, the spectators, as soon as they heard the song of Christodoulou-Theodorakis, burst into slogans against the junta. It is the beginning of exile abroad. The film is set in Paris, the reviews are triumphant, the French television invites Manthoulis to collaborate. He commissioned him to direct an original program that would be shot in various countries (he was traveling, then, with a refugee passport “stateless”), exploring the political and social roots of spectacle, music and song.
It’s the age of the pop generation, the generation that opposes the Vietnam War and established values in general, and that, in France, will end in May ’68. The program, entitled “At the Poster of the World,” featured many famous artists, including Jacques Brel, Joan Baez, the Rolling Stones with Keith Richards and Mick Jagger, John Mayall, Sanra, Marion Williams. Johnny Halliday, George Mustache, Nureyev and many others. For the same program he made a documentary with Melina, Mikis Theodorakis and Maria Farantouri about the situation in Greece.
The “Poster of the World” was loved by both the public and the critics, who gave it the annual award for the best French show of 1969. “A single scene by Roviros Manthoulis, the acrobats performing their numbers over roulette in a casino in Las Vegas, it was enough to send the previous program to the trash “wrote Le Monde (22-3-1969). We owe the “Poster of the World” a rare moment. Nureyev in rehearsal, dancing with Claire Mott and talking to us about life and death. Excellent moments, at the height of the one who inspired them “writes L’Union (13-12-1969).
” We must say that the meeting of Georges Moustakis with Mikis Theodorakis exceeded all our predictions. Roviros Manthoulis managed with great skill to show us Theodorakis’s commitment (as if reading his thoughts) to passing his music to Moustakis. A deeply moving creation.
“After such a film, it is obvious that what followed was impossible to interest us,” writes L’Humanité (21-5-1970). The result of this success was to assign him the 3rd channel, which in the meantime was preparing to broadcast, to direct a documentary about the blues.
Manthoulis shot “Rising Mississippi” in America and with this film he opened the channel on January 3, 1973. At the same time, he shot in Harlem the feature film “Blues with clenched teeth”, which was played in cinemas the same year and was released. enthusiastic reviews. The film was screened at various festivals and in the Best Films of the Year section of the London Film Festival. Best Film of the Year was also chosen by Belgian critics (along with Fassbinder’s “Marriage of Maria Brown” and Gunay’s “Herd”). Then begins the series of cultural documentaries with the general title “One country, one music”, which brought Manthoulis to many countries of the 5 continents (Ireland, Hungary, Egypt, Yemen, USA, Sicily, Cuba, Argentina, Brazil, Canada , Australia, Israel, etc., and in Greece when the junta fell).
He had previously “directed” over the phone the scenes shot by the cameraman Fotis Mesthenaios in Greece during the dictatorship for the film “Cry of Silence”. Meanwhile, Melina is excited about the film that Manthoulis made for her for “Poster of the World” and suggests him an American film produced by Dassen, entitled “Lilly’s Story”. Manthoulis writes the script in English (with Giorgos Sevastikoglou) and sends a French crew to secretly shoot scenes in Athens, where he is arrested outside the Security on Bouboulinas Street.
In the end, the film was not shot because on the eve of the shooting the producer company was dissolved. And he could not return to Romania either, because it was banned by Ceausescu, who had signed a trade agreement with the junta in those days. Shortly after the fall of the junta, the government proposed to Michalis Kakogiannis to take over Television (1975).
He refused and suggested Manthoulis. Karamanlis assigns him the artistic direction of ERT, which in the meantime had become a public limited company. Manthoulis accepted for a year.
During this time he tried to make the program relevant, with his collaborators Giannis Bakogiannopoulos, Petros Markaris, Tonia Marketaki and others. He brought in the French editor Dominique Colonna to start a series similar to those he was shooting in France. He christened it “Backstage” and assigned it to worthy young directors such as Papastathis and Hatzopoulos.
At the same time, he made a noon program, “Every noon”, which from the first day was loved by the public, imposed live programs, which did not exist then because of the fear of the Jews, created “A movie, a conversation”, brought the film crews on television and shot the first serials in a film, such as “The village photographer” and “The teacher with the golden eyes”, remodeled the “Theater of Monday” (which reached 90% viewership), inaugurated “Music Nights” with George Papastefanou, starting with a “George Moustaki Night” and limited the American program by bringing European serials, such as the French “Black Bread”, the Italian “Pinocchio” and others from the Balkan countries (and of course he accepted protests from the American embassy & # 8230;).
Among other things, he managed to persuade the angry with the government Manos Hadjidakis, who was preparing to resign, to remain in the Third Program. In his days, ERT Thessaloniki was also founded (today’s ERT-3). When Manthoulis took over ERT, YENED, the television channel of the Ministry of Defense, had 75% of the viewers and ERT 25%. When he left, the percentages were reversed, with the result that he was accused by the Minister of Defense (Ev. Averoff) in the Council of Ministers of unfair competition. When, finally, some employees of KYP were appointed to ERT and started sabotaging the program, Manthoulis resigned.
Manthoulis continued his travels for French television and, returning from Tahiti, the new government of Andreas Papandreou invites him to take over YENEI, but he does not accept. She then asks him to find a way to rectify the chaos created on ERT because it was about to close. This also happened, ERT met and they ask Manthoulis to take over the artistic direction during the transformation of YENED, which in the meantime came under the responsibility of the Ministry of the Presidency, to ERT-2. He did what he could with his collaborators Leonidas Zenakos, Vassilis Vafeas and Nino Mikelidis, until he resigned to direct “Circumcised States” (1983-1986) of the Circus, a French co-produced television series that lasted three years. This serial has been broadcast only three times since then in Greece and 50 times on French television. There is no Frenchman who has not seen at least one episode of “Rule of Law”. “One of the most amazing and fascinating films I’ve seen on television in recent years,” François Sagan wrote in a tabloid for L’Évènement du Jeudi magazine.
In 1991, Manthoulis was elected President of the Hellenic Community of Paris, which he tried to turn into a Greek cultural center. He founded a film club there, launched a magazine and organized seminars with academics, like a popular university. At the same time, he made a series of films about the Greeks of Paris. He presented to the members of the community many Greek politicians (Costa Karamanlis, Aleka Papariga, Nikos Konstantopoulos, George Papandreou etc.). After ten years he resigned from the community, after first organizing a Greek week entitled “Greece on the Seine”, in collaboration with the Municipality of Paris, presenting the Greeks who participate in the cultural activities of France (Costa Gavra, Vassilis Alexakis, Giannis Kokko, Antigoni Ionatou, the painter Pavlos).
For the first time in history, the mayor welcomed a foreign community. Two thousand members of the Greek community spent one night in the repressed halls of the Paris City Hall, which began with a recital by soprano Alexandra Papatziakou and pianist Giannis Vakarelis. Someone said (Vassilis Alexakis I think) that the last time something like this happened was Rossini’s concert in support of the Revolution of 1821 & # 8230 ;. The City Council awarded him the Medal of the City of Paris for his cultural activity in France. At the same time, Manthoulis is interested in the role of television in shaping young viewers, shooting the film “Bomber Television” and persuading the Minister of Mass Media to establish the Jules Verne Institute to strengthen educational programs. >
Culture Minister Jacques Lang commissioned him to make a film about Reims Cathedral, which was shown overnight at the temple, and persuaded the champagne producers, who had been invited to donate 100 million francs to restore the temple and preserve the 2,000 statues that decorate. The French Ministry of Culture instructs Vassilis Alexakis to invite Greek writers to France and Manthoulis the playwrights. Iakovos Kampanelis, Loula Anagnostaki and Giorgos Maniotis will come, whom Manthoulis presents at the Theater of World Cultures together with excerpts from their works played in French. This will lead to the presentation by Manthoulis of Maniotis’s work “The Common Logic” at the Avignon Festival, in the presence of the author. The show will be broadcast on state radio France-Culture.
In the meantime, Manthoulis focuses mainly on Greek issues and shoots the “Greek Civil War” and the “Dictatorship of the Colonels” for the French cultural channel ARTE (co-produced with FR-3 and NET) as well as the feature film “Lilly’s Story” (about how the old film with Melina was not shot), which was selected by the Venice Film Festival as an official entry in 2000. The film was shot in Paris, Greece, Slovenia and Hungary (because one of her episodes refer to the exile there Dimitris Hatzis). During this period he published new books (the previous one was The State of Television) by Exantas Publications: The Ancient Erotic Vocabulary, for the slang of the ancient Greek language, Mimiabs by the Alexandrian comedian Heron in translation and commentary, the experiential novel L Blues with Tight Teeth, chronicle of the shooting of the film, The Diary of the Civil War, 1900-1974 by Kastaniotis et al., A total of 17 books to date. (The last three of them are THE WORLD AGAINST US, THE METAMORPHOSIS OF APHROPHY and MONTAGE, by Gavriilidis Publications). (From the biography of the Publication of the Youth Plan Doviros Manthoulis-A Life Films on the occasion of the Olympia International Film Festival for Children and Youth 2006).
Source: politis.com.cy / Published at cyprus-digest.com
Also read
Robert Manthoulis : le cinéma de l’exil
We remind our readers that publication of articles on our site does not mean that we agree with what is written. Our policy is to publish anything which we consider of interest, so as to assist our readers in forming their opinions. Sometimes we even publish articles with which we totally disagree, since we believe it is important for our readers to be informed on as wide a spectrum of views as possible.
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https://www.famousfix.com/topic/michele-valley/filmography
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en
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Michele Valley Filmography, List of Michele Valley Movies and TV Shows
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Films starring Michele Valley. Also features Michele Valley TV shows. Latest movies featuring Michele Valley. Michele Valley DVDs. The list includes TV series, TV movies, short films and movie appearances. The filmography list includes the title, the title's year of release, and the character played by Michele Valley, where applicable.
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FamousFix.com
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https://www.famousfix.com/topic/michele-valley/filmography
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https://en.wikipedia.org/wiki/Wikipedia:WikiProject_Film/Recognized_content/Did_you_know
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en
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Wikipedia:WikiProject Film/Recognized content/Did you know
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https://en.wikipedia.org/wiki/Wikipedia:WikiProject_Film/Recognized_content/Did_you_know
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This is a list of recognized content, updated weekly by JL-Bot (talk · contribs) (typically on Saturdays). There is no need to edit the list yourself. If an article is missing from the list, make sure it is tagged (e.g. {{WikiProject Film}}) or categorized correctly and wait for the next update. See WP:RECOG for configuration options.
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http://www.tainiothiki.gr/en/programs/greek-fantasy-cinema
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en
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Greek Fantasy Cinema
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greek,greece,film archive,museam,festivals,cinema,lais venue
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http://www.tainiothiki.gr//en/programs/greek-fantasy-cinema
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Never before has the genre of fantasy “invaded” so decisively in our lives. Small and big screens, books, comics, almost all art forms, are flooded with its heroes. So perhaps, it has finally become clear that the fantasy genre does not ignore reality. On the contrary, with its magic mirror, it discovers all its possibilities, today’s and tomorrow’s, in all their dimensions, conscious and unconscious. Psychoanalysis offered the most important tool for understanding the realm of fantasy, and Freud with the “Uncanny” paid his own tribute to the genre.
The tribute “Greek Fantasy Cinema” of the 11th AAGFF comes on time. Its 11 films cover almost all categories of the genre. The uncanny (“Apetaxamin” by Frieda Liappa, “Crystal Nights” by Tonia Marketaki, “Properties Οf 2” by Achilleas Kyriakidis), the magical (“A Dog's Dream” by Angelos Frantzis), allegory combined with dystopia (“No Sympathy for the Devil” by Dimitris Athanitis), science fiction (with the delirious parodies of “Dracula Of Exarcheia” by Nikos Zervos and of "The Attack Of The Giant Moussaka” by Panos Koutras), dangerous mind-games (“Eurydice BA 2037” by Nikos Nikolaidis, “In The Shadow Of Fear” by George Karypidis). Or even, the combination of fantasy and film noir (“The Night With Silena” by Dimitris Panagiotatos) or fantasy and psychological thriller (“History 52” by Alexis Alexiou).
There are other notable fantasy films. When all together, assembled in my documentary “Strangers In A Strange Land”, were presented at various festivals abroad, the surprise was the same everywhere: “But have there been so many good fantasy films in Greece?” Yes, they have been done, with a lot of love and little money, in difficult times, and for all typecasting and scorn for the genre.
Now some of these films are at your disposal. See them. Discover an unknown, different Greek cinema!
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https://e-dimitria.gr/en/ekdhlwseis/tisff-cinema-day-16-2/
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en
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TiSFF @ Cinema / Day 16
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2023-10-06T14:36:36+00:00
|
en
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Dimitria 55
|
https://e-dimitria.gr/en/ekdhlwseis/tisff-cinema-day-16-2/
|
‘TONIA MARKETAKI’, Warehouse D
On October 13, 14, and 15, there will be live screenings of two two-hour sessions at Warehouse D in the Port.
Screening times:
17:00-19:00
20:00-22:00
Tickets for screanings at Warehouse D:
Two screenings per day: €7
One screening per day: €5
Purchase your ticket at the ticket booths at the entrance of the venue.
Α’
WENDIGO
Félix Bouffard-Dumas, Canada
14′
Through an exploded mosaic, the film proposes an experimental interpretation between the Wendigo’s legend and the Quebecers’ insecurities of their identity.
Director Biography – Félix Bouffard-Dumas
~
FABRIK
Sverre Aune, Germany
19′
Shot entirely in Digital Infrared, FABRIK follows a lone humanoid creature, fighting for survival in a forsaken world – living off oil-spills from self-operating factories. Her quest for oil takes her across the desert and into an unknown world of steam and machines.
Director Biography – Sverre Aune
Sverre Aune was born in Trondheim, Norway, in 1994.
Growing up in the Norwegian countryside, he started experimenting with film and video by himself at an early age, and at 19 he moved to Denmark to study at European Film College. A year later he moved to Berlin to finish a BA in Practical Filmmaking at MET Film School Berlin. He joined the German Film and Television Academy Berlin in 2017, where he’s currently studying Film Directing. As well as directing, Sverre works as an Editor, co-owns a film club, co-hosts a film podcast and writes most of his own scripts himself.~
DEMI-GODDESSES
Martin Gerigk, Germany
7′
‘Demi-Goddesses’ is the second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.
Overall, the intention of the film is that it will spark conversations and inspire the viewer to imagine a world where gender is not a limiting factor. At best, the audience will leave the theater with a greater awareness of the issues and a sense of possibility for a just future.
Director Biography – Martin Gerigk
~
I KILLED YOU A DOZEN TIMES
Kris De Meester, Belgium
6′
I killed you a dozen times, but you won’t go away. Maybe it’s because you’ve killed me first. Out in the cold, on a strange new globe.
“I Killed You a Dozen Times” immerses viewers in a captivating exploration of the aftermath of a traumatic breakup. The protagonist, driven to erase the other person from their existence, finds themselves exiled to a chilling and unfamiliar realm. As they confront the relentless echoes of their pain, the boundaries between reality and imagination blur, creating a surreal and introspective experience.
“I Killed You a Dozen Times utilizes its title as a refrain, spoken by the narrator, as they bemoan a fruitless relationship. The film plays with the audience’s senses, both audibly and visually, keeping them constantly on edge. The camera voyeuristically passes over partially clothed women, lying motionless on the floor. The women, exposed and fragile, are a visualization of the emotional toll endured by the narrator. Moreover, the soundtrack emits a constant whirr, creating a palpable tension that’s never broken. Again, this mirrors the narrator’s perpetual, unanswered inquiry into why. All in all, the film exhibits an equal parts disturbing and eye-opening look at the post-breakup healing process. The combination of violent imagery, poignant narration, and acute sound design construct a unique, tangible representation of one’s incorporeal inner struggle.”
Shane McKevitt – Venice Film Week
“I Killed You a Dozen Times expertly uses the power of visual language and sound to communicate complex emotions and experiences. Through its striking imagery and sound design, together with the emotive poetry recited by the narrator, the film masterfully portrays the agony and emotional struggles stem from toxic relationships, a subject that is often challenging to express in words. The film’s ability to vividly visualize and depict such complex emotions is a testament to its remarkable use of audio-visual storytelling.”
Jane Ching – Sundance Film Festival Hong Kong, Hong Kong Arthouse Film Festival
Director Biography – Kris De Meester
~
SANAA, SEDUCTRESS OF STRANGERS
Jan Eilhardt, Germany
3′
Director Biography – Jan Eilhardt
~
ALL EFFORT OF MEN
Jean-Gabriel Périot, France
13′
BIRDS DON’T LOOK THROUGH THE WINDOWS
Eirini Tampasouli, Greece
7′
If I was a bird, I would look through the windows of the flats all the time. But they choose not to do so. A film partly created in the Academy of Ji.hlava International Documentary Film Festival.
Director Biography – Eirini Tampasouli
~
THE MECHANICS OF LIQUIDS
Gala Hernández López, France
30′
In 2018, an incel called Anathematic Anarchist posted a suicide letter on Reddit entitled “America is responsible for my death”. The Mechanics of Fluids is an attempt to find answers to his words. A virtual drift through the internet in search of his digital traces that ends up being an inner journey between our connected solitudes.
Director Biography – Gala Hernández López
~
SEARCHING FOR UTOPIA
Sotiris Petridis, Greece
5′
A woman tries to study the structure of the modern utopia offered by digital life, but her narrative hides personal traumas..
Director Biography – Sotiris Petridis
~
THE HOUSE WITH NO DOORS
Marina Akarepi, United Kingdom
7′
A man gets lost in the woods and is attacked by various monsters. As he desperately tries to escape he realises he is turning into a monster himself.
Director Biography – Marina Akarepi
Marina Akarepi was born in Athens. She started painting and playing music from a very young age. Her education on classical art, mythology and theatre ignited her passion for storytelling and she soon fell in love with conceptual art and film.
She studied Audio and Visual Arts and worked as a writer for independent magazine 3pointmagazine.gr, where she introduced a cinema- themed column, and later published a poetry collection.
Marina is currently residing in the UK, where she studied Film Production and made her directorial debut with the experimental short film The House With No Doors. She is currently completing a MA in Visual Anthropology at the University of Manchester.
She is a writer, musician, poet, filmmaker and animal rights activist.
~
MY MOTHER’S DOWRY AGREEMENT
Penny Theodoros Kissa, Greece
13′
Director Biography – Penny Theodoros Kissa
~
B’
TO READ THEM POEMS
Alexis Chatzigiannis, Greece
24′
Director Biography – Alexis Chatzigiannis
Born and raised in Athens. Studied Documentary in the University of Aegean. Has directed a lot of documentaries screened in festivals & greek TV and also short fiction films screened in festivals all over the world. To read them poems is his last film.
~
LITTLE SPARTACUS
Sara Ganem, France
28′
Between Eastern blocks and cherry brandies, I navigate around the Danube with Spartacus, my Greek speaking bicycle. But the world is not big enough to drown my pain.
Director Biography – Sara Ganem
~
EUROPEAN MAN…AMERICAN BEACH
Rex Shannon, United States
7′
A European man goes naked to an American beach. A clothed American beachgoer takes offense and a brawl ensues.
Director Biography – Rex Shannon
Rex Shannon began his artistic career as a fiction writer and literary scholar. His first three creative productions were a short story called “Come Up Here” published in Alaska Quarterly Review, an academic article on James Joyce’s “Ulysses” published in Joyce Studies Annual, and an internet novel published on web3. Since 2022, Rex has turned his narrative productions to film. “European Man…American Beach” is his first narrative short: a drama/comedy about a brawl between a naked European and an American who’s deeply offended by the European’s nudity.
~
ACROSS THE SEA
Elad Mukades, Israel
26′
The first flight in my life to a friend’s wedding when I was 31 was for me a multifaceted release experience, an encounter with new landscapes, people and patterns.
My closest partner on the exciting journey was the camera with which I was amazed and together we turned anxiety into pleasure.
I am honored to invite you to join me on the ‘Mission of the Mitzvah’ flight, to Weizmann’s wedding, 12 hours away from Israel, and to return with me with a new look and thoughts.
Director Biography – Elad Mukades
Certificate studies – Jewish Film College
Master’s degree in film studies – Sapir College
~
LA FLOTTE
Jessica Woodworth, Belgium
23′
Tess, Mia, Rok and Tiago fly the skies with La Flotte airline, their hearts full of longings, their true natures bubbling just below the surface of their ultra-groomed appearance. The unthinkable happens in mid-flight, leaving them suspended between heaven and earth, past and future, life and death.
Director Biography – Jessica Woodworth
Jessica Woodworth is a Belgian-American film director, screenwriter and producer based in Belgium. Prior fiction feature films are Khadak, Altiplano, The Fifth Season, King of the Belgians and The Barefoot Emperor, made with Peter Brosens. Her most recent feature film Luka premiered in 2023 in Rotterdam. Her films have screened in over 350 festivals including Venice, Cannes, Toronto and Sundance. She has won over 70 awards, including the Lion of the Future in Venice. Jessica grew up between Belgium, Switzerland and the US and has since studied and worked in Italy, France, China, Mongolia and Morocco. She has a degree in literature from Princeton University and a masters in documentary film from Stanford University. She gives workshops for actors and directors, has been on juries worldwide and is a frequent mentor for film students.
~
MOTHER’S SKIN
Leah Johnston, Canada
20′
Newfoundland, 1971. A neglected six-year-old girl struggles to cope with her mother’s depression and her father’s alcoholic rage. She spends her days alone, fending for herself, as her father works and her mother sleeps. At night, violence erupts around her, threatening to tear her family apart. But when the girl discovers a secret hidden within their home, her dysfunctional world takes on a strange new meaning.
Director Biography – Leah Johnston
LEAH JOHNSTON (WRITER/DIRECTOR) is an award-winning filmmaker from Nova Scotia, Canada. Her most recent short film, INGRID AND THE BLACK HOLE, premiered at Fantasia Film Festival and was showcased at over twenty film festivals, winning eight awards, including Best Canadian Short at Edmonton International Film Festival. She is the recipient of the Corus Fearless Female Filmmaker Award (2015), the $35,000 Bravofact/WIFT Prize (2015) and the National Screen Institute Drama Prize (2013). She graduated with a B.F.A. from New York University’s Tisch School of the Arts and is an alumni of the National Screen Institute, the Reykjavik Talent Lab and the Academy of Canadian Cinema Directing program.
~
MADELEINE
Raquel Sancinetti, Canada
15′
Every week, two friends born 67 years apart share their life stories in a senior home’s living room. The younger friend convinces the 107-year-old lady to join her in an adventure: a road trip to the sea.
Director Biography – Raquel Sancinetti
Raquel is a Brazilian-Canadian filmmaker. With a background in film post production, she earned her degree in Film animation at Concordia University in 2013 and since then has been working on independent films. Her graduation film “Cycle” has played in several festivals around the world and won 4 prizes.
DATÆTERNA
Axel Chemin, France
23′
In the near future, a micro-worker performs tasks that are suggested to her. Between data center maintenance and data processing, she hesitantly searches for ways to feel emotions. Devoid of social links, this world is saturated with data.
Director Biography – Axel Chemin
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https://issuu.com/ca4s/docs/corfu
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AthensArt Odysseia
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2011-11-08T00:00:00+00:00
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CORFU, The Island of Feakes
Ambelonas 15-30 October 2011
Friendship through Art can change the World
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/favicon.ico
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Issuu
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https://issuu.com/ca4s/docs/corfu
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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18075
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https://www.academia.edu/37254573/Balkan_as_Mataphor_Between_Globalization_and_Fragmentationpdf_pdf
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2018-08-17T00:00:00
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Balkan. Somewhere between a tragedy and a myth, a place and a condition, the term is perhaps best understood as a metaphor. It has been used and abused in academia by proponents of opposing political views. Multiculturalism has appropriated it, as
|
https://www.academia.edu/37254573/Balkan_as_Mataphor_Between_Globalization_and_Fragmentationpdf_pdf
|
Editorial 1/2016 The "Balkans" as the European Inner Otherness In her brilliant course From the Discourse of Brotherhood and Unity to the Discourses of EU Integration: The case of transition in Serbia at the Center for Comparative Conflict Studies in Belgrade, cultural and gender scientist Jelisaveta Blagojević gave the inspiration to the present issue of medien & zeit. One of Blagojevićs main concerns was to demonstrate and to sensitize her audience to the significance of designations: To wield the power of naming means to take part in ruling discourses that strongly influence the acceptance of thoughts and possible actions – which, unfortunately, often function to diminish the status of others. The current academic debates about Southeast Europe demonstrate structures of power created by language use and political terms. By developing the title of this issue The Balkans as the European Inner Otherness, the editors decided to use this much-discussed expression, which should be briefly addressed in the following. The term Balkans, especially the phrase Western Balkans, has been criticized as an adverse expression established by the West leading politicians and scientists to refuse its use, even to suggest banishing the expression from the language used. Western Balkans is the official terminus technicus created by the European Union in 1998. With the exception of Slovenia, which acceded to the EU in 2004, it includes the post-Yugoslavian countries of Bosnia-Herzegovina, Croatia, Macedonia, Montenegro, Serbia, Kosovo, and Albania. Criticism is leveled at the term as a product of the western symbolic order and western symbolic geography as well as the partially negative connotations of the term Balkans. According to Erhard Busek, former Austrian Vice-chancellor and Special Co-ordinator of the Stability Pact for South Eastern Europe from 2002 until 2008, the term Balkan is connected to a psychological devaluation, which will undoubtedly affect the sensitivity of people in Balkan states. The term Balkan is associated with corruption, disorganization and anything but sympathy (Busek, 2005, p. 10). Following this idea, the Western definition of this region is of such formative power that any attempt to differentiate and deconstruct the Balkans has to fail on the term. Art historian Louisa Avgita remarks appositely: “There is no Balkan side of the Balkan story, simply because the Balkans does not exist without the West” (2007, p. 219). The same line is taken by media scientist Zala Volcic when she concludes that the historic interference of the West and the Balkans mainly resulted in the exploitation of Southeast Europe. Hence, she also comprehends the term Balkans not only as a geographical concept but using the expression to indicate “a cultural entity, widely defined by shared imperial legacies and by the specific marginal positioning of the region in relation to Western Europe” (Volcic, 2013, p. 334). As the philosopher, philologist, and theorist Judith Butler made very clear, the dilemma of stereotyping is certainly inevitable: “Identity categories tend to be instruments of regulatory regimes, whether as the normalizing categories of oppressive structures or as the rallying points for a liberatory contestation of that very oppression” (Butler, 1993, p. 308). However, the recent debates have shifted, especially since Maria Todorova published her well-known study in 2009, Imagining the Balkans. The historian suggests another view: by re-establishing and redefining the term, by adding meaning and significations, it may be used as a term of empowerment: “If Europe has produced not only racism but also antiracism, not only misogyny but also feminism, not only anti-Semitism, but also its repudiation, then what can be termed Balkanism has not yet been coupled with its complementing and ennobling antiparticle” (Todorova, 2009, p. 189). In this sense, the ability to name oneself provides the possibility to speak for oneself, to raise one’s own voice and to emerge from the silence. In this issue the editors follow her idea as a positive approach to deconstruct historically grown inequality and exploitation without ignoring the entitlement of other arguments and without closing our minds to further debate. This point of view may help to criticize conventional terms and to reconstruct connotations in a productive and confident way. A positive approach is particularly necessary nowadays, since questions of the future development of Europe are urgent: Considering the current political, economic, and social situation, for example the wars in the Ukraine on European soil, the remaining economic uncertainties followed by deep cuts in social expenditures, social indifference, and a decline in the helpfulness of the “European fortress”, the question arises as to what exactly will remain of the European idea? It requires no prophetic gifts to already imagine that, after these fundamental upheavals, Europe must be reformulated, possibly reformatted. We will be urged again to debate the canon of its values, its history and borders, discussing the architecture of its institutions and the ways of decision-making. The question of tomorrow raises the question of the actors within the European future: Who will be the European decision-makers of the future? Those who want to gain a perspective on the future of Europeans are well advised to focus on the many, on their identities and learn to understand social structures and their historical contexts. Focusing on the role of Southeast Europe, this issue of medien & zeit contributes to the debate for a strengthened and united future Europe. The prelude is given by media and communication scientist Mirjana Stošić. In her paper she focuses on the significance of the specific hegemony of coded interpretations in the contemporary Western cultural relation to “cultural otherness”. In a profound analysis of discourses of “otherness” she examines the West-East dichotomy and its certain discursive issues of identity and difference as well as the phenomena of race, nation, ethnic group, and class. The cultural and theoretical heritage of Balkan and the West are put in relation to each other and thus the question of Balkan is engaged as theoretically made, unmade, and remade and the consequences are defined. Stošić stimulates the thoughts about “otherness” and equips the reader to the challenge of academic debate. The subject of identity in Bosnia and Herzegovina is raised by historian Anida Sokol in her investigation of the propaganda campaigns during the Census of 2013. In this survey, the population was given a limited choice to associate with the three traditional, ethno-national groups, hence to identify as Bosniaks, Serbs, and Croats, creating religious and national senses of belonging. The highly politicized Census was also taken as an opportunity to protest against ethno-national divisions by civil society groups and to question the constitutional privileges of particular groups of citizens, human rights and the level of state repression. Silvia Nadjivan addresses the public discourse on the EU accession process in Serbia. With special emphasis on a detailed historic derivation Nadjivan reconstructs the paradoxical process of both aiming to belong to the EU and refusing this option. The political and communication scientist therefore demonstrates not only the difficulties of the East-West dichotomy, but depicts impressively the political protagonists and provides their historical backgrounds. Thus the paper contributes to the political assessment of the construction and policy of “Europeanness” in Serbia and the EU. Eva Tamara Asboth’s media analysis of the uprisings in the Balkans in the middle of the 19th century contributes to the conceptual history and the history of Europe’s discovery of the Balkan countries. She shows the dichotomy between an imagined civilized European community on one side, and on the other side the notion of the backwardness of European Turkey, namely Bosnia-Herzegovina, Montenegro, and Serbia circulated by the first German illustrated newspaper Illustrirte Zeitung. In his short essay, philologist and journalist Nedad Memić gives precise insights into the medial presentation of refugees and the Balkans in Austria’s current reporting. In the section Research Corner Christina Krakovsky presents her paper on the public involvement in political affairs, mainly with regard to Serbia. Aiming to expand the understanding of political activities, the closely entwined areas of political and cultural, artistic and civic activism are examined. The public potential of political involvement can be traced by disclosing the historical background of mutual recognition and interference as well as the formation of the current political situation. As a result, the author questions the perceived lack of democratic will to participate in the political system. With the contents of the present medien & zeit issue, The Balkans as the European Inner Otherness, we contribute to the research complex of the Franz Vranitzky Chair of European Studies. One main research field of the transdisciplinary professorship at the University of Vienna is dedicated to exploring the generation born into the tumultuous and collapsing Yugoslavia of the Nineties. A detailed description of the research focus can be found in the recent publication Generation In-Between. The Children of the Balkan Wars: Getting to Know a Crucial Generation for Europe (2016) written by the editors. We encourage the readers of this issue to enter this crucial debate and act to develop a mutual Europe of equal values. We hope you enjoy reading the present issue. Rainer Gries, Christina Krakovsky & Eva T. Asboth
This book examines the de/re/construction process of the image of the Balkans as a space embedded in the European discourse in different media from 1830 to the present days. According to the author, the Balkans have served as a stereotypical media paradigm for a simulacrum of particular western and eastern phantasms. Those phantasms had and continue to have effects on the process of recreating new cultural and political concepts of identity and space in the Balkans. Zimmermann analyses literature, travelogues, paintings and scientific writing to guide us between the different poles of the creation of predominantly negative and secondary Balkan stereotypes. As the Great Ottoman Empire slowly dissolved by the mid-19th century, two of the Great Powers (Russia and Austro-Hungary) saw an opportunity to increase their imperial influences. However, they discovered small, corrupt and bankrupt states at odds with each other. Soon this region would be called the Balkans Powder Keg. It is interesting to learn that the initial interest by both Western and Eastern imperial states were not the Balkans but the liberated Greece. However, for the travellers who met Greek liberation fighters, the fighters did not mirror the pre-constructed stereotype of Hellenic civilization, but were instead perceived as disorganized combatants and robbers. Hence, Pan German and Pan Slavic antagonistic discourses created a stereotype of fatalistic, primitive, devious and bloodthirsty Balkans. For instance, Alexander Sergejewitsch Puschkin and Michał Czajkowski sent their fictional characters to disappear into the Balkans void. When Bosnia became part of Austro-Hungarian Protectorate, the image of the Balkans slowly altered through e.g. travelogues, doctors' anecdotes and Freud's visit to " a space beyond the pleasure principle " , where pathological eroticism unites with thanatological phantasm. Later in the book Zimmermann links such Balkan phantasms with Baudrillard's theory of simulacra hyper-reality and video installations of Marina Abramović.2 The longest chapter is devoted to the analysis of Yugoslav identity creation under Tito and is well-founded on abundant media materials. As a reaction to the 1948 conflict between Tito and Stalin, the creators of Yugoslav identity tried to counter accusations of being primitive and backward by turning them into an affirmative multicultural model. Miroslav Krleža and Otto Bihalji-Merin, the leading intellectuals of that time, tried to construct Yugoslav identity based on a heretic sect of Bogomils, medieval religious dualists, who did not belong either to the Catholic or Orthodox Church. They converted to Islam by the mid-15th century and anticipated Bosnian multiculturalism. Bogomil symbolism reflects Yugoslav neither West nor East oriented religious-belief as well as Yugoslav position being related neither to Western Capitalism nor Eastern Communism. Zimmermann aptly succeeds in explaining how the ideas and concepts used to create this original, positive, and alternative image of Yugoslavia transmuted and then created the fertile ground for the break-up of Yugoslavia. The focus on peoples' folk art (e.g. Bogomil tombstones, medieval Macedonian frescos, naïve paintings, autodidacts, archaism, etc.) turned in the case of Serbia into nationalistic populism through the reawakening of the epics about Kosovo. Zimmermann analyses the transformation of the Kosovo myth that was used for the creation of the first Yugoslav project in detail. For instance, Ivan Meštrović's model for the Kosovo Tempel from 1915 was converted into a nationalistic Serbian propaganda instrument in the late 1980s. The author presents how the newly constructed, affirmative third way ended up in death and destruction. Subsequently the last chapter deals with thanatological phantasms and its post-Bosnian war (1992-1995) implications on visual media (self)perception that was caught between reality and fiction. Zimmermann's primary focus is on the influence of foreign images on the construction of identity among Slavic people who lived on the territory of the former SFRY. The author succeeds in presenting the Balkans' duality in a multidisciplinary way (literature, history, art history, memory and media studies), while her art-historic background (her first doctorate is in art history) offers the reader a superb analysis of various media examples of " inbetweenness " , such as Danatti all'inferno/The Damned Cast into Hell by Luca Signorelli as a source of Freud's simulacrum or Ron Haviv photo from Bijeljina in 1992 that inspired/provoked many artists and philosophers to write about it.
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Marketplace Pitching Papers 2016
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Marketplace Pitching Papers 2016 - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Marketplace Pitching Papers 2016
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Summers in Thessaloniki have a character of culture. And indeed, it is difficult to meet a resident of Thessaloniki who has not been to one of the city's festivals. Year after year, Thessaloniki's festivals are becoming establishments, some as old and traditional now and others as new ones that are slowly finding their own place on the city's cultural map.
It is a fortunate thing for a city to remain alive during the summer months through its activities and to keep its cultural identity unchanged but at the same time constantly renewed. Every year, residents and visitors of the city make their annual rendezvous with the summer festivals that host a multitude of artistic and cultural activities.
In Thessaloniki you will find many small and large events, festivals, festivals within festivals and performances, many of which take place in historic locations.
Moni Lazariston Festival
The Festival that every year increases its presence and brings for the audience a rich program of concerts and events including artists of the world music scene.
All kinds of group ages gather to enjoy their favourite musicians and the courtyard of the Lazariston Monastery is transformed into a lavish celebration that welcomes and celebrates summer in the city.
Artistic, classical and rock rhythms come alive until the end of September and invite everyone to enjoy themselves to their tunes. Once you've chosen the act you'd like to see, make sure you book your tickets early, as many concerts sell out in a flash.
Next event: 18/07 George Perris.
Learn more here
Eptapyrgion Festival
The culture of Thessaloniki at its best. Concerts, operas, performances, musical events in one of the most historic and emblematic locations of the city: within Eptapyrgion, one of the 15 UNESCO Cultural Heritage Sites in Thessaloniki.
As a relatively new addition to the list of the city's festivals, it proves every year its dynamics since 2019 and seeks to make Eptapyrgio a pole of attraction for visitors not only because of its historicity but also because of the cultural activities that take place there.
If you're thinking of attending the Eptapyrgion Festival, don't think about it for too long. Availability is limited and festival fans are showing their warm response early for the festival's activities.
Next event: 18/07 Federico García Lorca: Poetry Nights
Learn more here
Festival "Kalokairi sto Theatro Kipou"
And if you still don't consider Thessaloniki to be the city of summer festivals, then, Kalokairou at Theatro Kipou can tell you that you haven't seen it all yet.
The event organized by the Municipality of Thessaloniki promises a summer of culture and activities at the Theatro Kipou for young and old alike. Among a rich program you will find children's performances and of course concerts, music and theatrical events for adults.
The Festival will accompany residents and visitors until September and its proposals will fill our summer nights with song, dance and fun for all.
Next event: 22/7 8 Gynaikes (8 Women), theatre performance.
Learn more here
43rd Book Festival
The meeting point for book lovers. And it was only natural that such an initiative could not be missing from the city's summer festivals.
In front of the waterfront, at the White Tower Square, overlooking the Thermaikos Gulf, the festival welcomes its visitors with a number of books and publications that will be the best summer companion this year.
With a special tribute to Cypriot Letters and Cypriot poetry, the 43rd Book Festival writes its own history in the city as for over 40 years it has been highlighting the importance of continuous learning and access to knowledge.
At the White Tower Square until 21/07.
Learn more here
10th Forest Festival
Forest Festival celebrated its tenth birthday in the city this year with performances and concerts, most of which were sold out.
Especially if you are a fan of ancient theatre, then the festival is for you. Its activities will revive ancient comedies and tragedies in the venues of Theatro Dasous and Theatro Gis in lush green locations within the urban landscape. Among others, Forest Festival hosts concerts with the most famous and beloved names of the music scene.
Besides, there is no summer in Thessaloniki without a concert at Dasos Theatre or Gis Theatre and the locals already know that.
Next event: 19/07 Aeschylus' Oresteia, theatre performance.
Learn more here
More
Introduction
The Holy Week, or Passion Week, is celebrated in the churches of Thessaloniki with devoutness and with numerous ecclesiastical services. The believers actively participate and prepare for the joyful event of Christ's Resurrection. In the streets and neighborhoods, the customs and folk traditions associated with this period are evident.
We call the Passion Week the Holy Week, not because of the length of the hours, but because the person is our Lord.
According to sources in Jerusalem, they have used the designation "Holy Week" since the 4th century.
Lazarus Saturday and Palm Sunday have the unique place in the church year as days of joy between Lent and the mourning of Holy Week. They are outside the period of Lent, which ends on the Friday before Palm Sunday.
On Palm Sunday, "fish is eaten," as it is considered a great Feast of the Lord, and the strict fasting (abstention from animal products) of Great Lent, which has preceded it, and that of Holy Week following it, is interrupted.
Palm Sunday
The Holy Week begins. This day commemorates the memory of Jesus' triumphal entry into Jerusalem, where, according to the Evangelists of the holy Gospels, the Judean greeted Him warmly, holding vayas (palm branches - symbols of victory) and, spreading their clothes on the ground, cheered "Hosanna, blessed is he who comes in the name of the Lord".
By the end of the Divine Liturgy, the priests distribute to the faithful the Vayas, which have previously been blessed in all the churches of the city during the Orthodox service.
The first three days of Holy Week, namely Palm Sunday, Holy Monday and Holy Tuesday, constitute a single, liturgical unity, preparing us spiritually for the divine drama and the Vespers are called the "Bridegroom's services", because the well-known troparion "Behold, the Bridegroom Christ will come suddenly at midnight" is chanted in the churches. “And blessed is the man who will find himself spiritually awake, while on the other hand he is unworthy who will find himself sluggish and negligent. Beware, then, my soul, lest you be overcome by sleep, lest you give yourself up to the death of sin and find yourself outside the kingdom of God, but take heart, crying aloud, holy, holy, holy art thou our God, have mercy on us with the protection of the holy angels.”
Palm Sunday afternoon
Two events are dominant:
The life of Joseph, the so-called Pangalos, that is, the handsome in body and soul, eleventh son of the patriarch Jacob. Joseph, who was sold as a slave to the Egyptians, prefigures in his adventure Christ Himself and His passion. This is a great Old Testament figure, about whom we read in the last section of the book of Genesis.
The incident of the fruitless fig tree that Jesus dried occurred the day after His triumphal entry into Jerusalem. It is a living exhortation to believers to produce spiritual fruit.
Holy Monday afternoon
In the Sequence of the Bridegroom of that day we remember two parables:
Of the ten virgins, which teaches us to be ready and prudent, like the five wise virgins, and full of faith and works of charity.
Of the talents, which teaches us to be industrious, to cultivate and increase our spiritual gifts.
The two parables are instructive and of utmost importance for our salvation, reminding us of the Second Coming of the Lord.
Holy Tuesday afternoon
In the matins service we remember the repentance of the sinful woman who, out of gratitude, anointed the feet of the merciful Lord with precious myrrh just before His Passion and was forgiven for her sins because she showed great love and faith in Christ.
This event was preserved by all four Evangelists with some minor differences in their narratives.
Moreover, on this day we remember the betrayal of Judas.
The last hymn in that day's service is that of the pious and scholarly Byzantine poet and melodist, the nun Kassiani, who lived during the reign of Emperor Theophilos (829-842). It is one of the most beautiful hymns in Orthodox church hymnography and at the same time, it conveys special messages about God's boundless love and forgiveness.
The choice of a hymn, written by this particular historical person for liturgical use during Holy Week, conveys timeless messages about the equality of the sexes and the divine love for the female sex!
Holy Wednesday afternoon
The sacrament of Unction
On Holy Wednesday in the afternoon, along with the Sequence of Holy Washbasin, the sacrament of Unction for the sanctification of the believers , in order to cure their physical and spiritual illnesses.
The sacrament of Unction on the words of St. James the Brother of God:
At the end of the service, the priests chrism (i.e., anointing) the faithful with the holy oil crosswise on the forehead, the chin, the two cheeks, the palms and the outside of the hands.
On that day, the Church in her hymnal reminds us of 4 events that occurred shortly before the Passion of the Lord.
the Holy Washbasin
the Last Supper
the prayer of Jesus in the Garden of Gethsemane and
the betrayal of Judas
The Fathers of our Church have determined that we celebrate the great events that took place on the day our Christ was arrested. According to the holy Gospels, on the fifth day of that week the Lord, as God, knowing what was about to happen, wished to dine with His disciples for the last time. For this He arranged a table in a certain high place in Jerusalem. This supper took place in the evening and is called the Last Supper, because during it great events took place.
Jesus washed the feet of His disciples at the Last Supper, summing up the meaning of His ministry. Nowadays, usually in the cathedral, the high priest washes the feet of 12 priests in a re-enactment of the event, according to the sequence contained in a separate, liturgical book.
Holy Thursday morning
The main theme of the day is the celebration of the sacrament of the Eucharist.
On the same day, according to a folk tradition, accepted by the Church, believers boil eggs and paint them red, in memory of the bloody sacrifice of Jesus on the Cross, while in some houses, in the courtyards or on the balconies they hang a red cloth.
Holy Thursday afternoon
In the evening, during the service, twelve passages from the Gospels are read, describing the events from the arrest to the burial of Christ.
On the same evening the ceremony of the Crucifixion of Christ takes place. After the fifth Gospel, the Crucifix comes out of the Sanctuary, accompanied by Priests and Cantors : "Today he hangs on the wood of the cross who hung the earth on the waters", the priest chants, as he carries the crucified Jesus into the temple. After the procession is completed, the Cross is placed in the centre of the temple, the faithful venerate the Crucifix and place wreaths and flowers at His base.
It is the climax of the divine drama. Then the "Passion Sequence" is celebrated and we remember and experience the Saving and horrible Passion of our Lord and God, namely: the spitting, the scourgings, the mockeries, the humiliations, the beatings, the crown of thorns and, above all, the Crucifixion and death of Christ.
After the evening service, women usually decorate the Epitaph and the canopy, in which the Epitaph is placed, with flowers. The Epitaph is a cloth on which the Lord of the Dead is embroidered or painted. The flowers symbolize the perfumes of the interred and the myrrh-bearers. Often in the Bible, flowers are used to glorify divine wisdom.
Jesus also makes reference to the fleeting beauty of flowers, especially lilies, to convince His hearers that man should trust in God's providence.
Holy Friday morning
On Holy Monday morning the Great Hours are chanted, which include many hymns and the Deposition of the Crucified. The Epitaph is decorated with flowers and placed in the wooden canopy (symbolizing the deathbed). And then the faithful worship it. The churches remain open to worshippers until the evening service.
We are introduced to the atmosphere of the Holy Saturday by the glorification of the Holy Friday Vespers, which is chanted in a rhythmic, but at the same time mournful sound. The Lord has breathed his last and Joseph, boldly asking permission from the Roman ruler Pilate, descends with Nicodemus the lifeless body of Jesus.
On Good Friday morning, shops remain closed until 12 noon as a sign of mourning and respect.
Holy Friday afternoon
In the Holy Friday evening, the hymn is about the burial of the Lord by Joseph and Nicodemus and the descent of His soul to Hades, where He preached to all the dead.
During the service, praises are chanted, small hymns, very dear to the people, by an unknown poet. Afterwards, the procession of the Epitaph and the cube is made outside the church and in the streets of the church area.
During the service, praises are chanted, small hymns, very dear to the people, by an unknown poet. Afterwards, the procession of the Epitaph and the cube is made outside the church and in the streets of the church area.
In the Metropolis of Thessaloniki it is customary for the Epitaphs of the Metropolitan Church of St. Gregory Palamas and the Cathedral of the Sophia of God to meet.
During the meeting priests and faithful chant together.
Epitaphs are also found in other parishes of our city. During the procession of the Epitaph, a custom with ancient roots, which is lost in the depths of the centuries, bands play mournful marches and mournful bells sound from the bells of the churches. The faithful participate in the procession of the Epitaph and follow, holding lit dark-coloured candles in mourning.
Except that the procession of the Epitaph of the holy church of St. Minas in the city center takes place at noon in the center of the market, so that professionals and workers have the blessing to worship it.
Holy Saturday (First Resurrection)
The Holy Saturday marks the end of the Passion Week. It is the only Saturday of the year on which we also fast from oil.
On the morning of Holy Saturday, Vespers and the Liturgy of the Great Basil are celebrated in the churches, ushering us into the celebration of the next day, namely the Resurrection of the Lord.
The service of that morning has a joyful and celebratory character. It is called the "First Resurrection".
After the reading of the prophecy of Jonah, which prefigures the three-day burial and Resurrection of the Lord, the priests inside the churches throw laurel leaves (bay leaves) to the faithful, which symbolize victory and joy (that is, the victory of Christ over death, His Resurrection).
In many churches, metallic objects or seats are loudly struck. This custom symbolizes the clangor and excitement for the anticipated Resurrection of Jesus. In the Resurrection Gospel of the same day, we read that Jesus addressed the women with the Greek greeting "Rejoice." With this greeting, the Risen Lord honors the women.
Αρχή φόρμας
Holy Saturday night
The services of Easter Sunday, the matins and the Divine Liturgy of Saint John Chrysostom, are celebrated at midnight on Holy Saturday in all the churches of our city. The Cathedral of our city, dedicated to the Wisdom of God, is presided over by Metropolitan Philotheos of Thessaloniki.
The services of Easter Sunday, the Matins and the Divine Liturgy of Saint John Chrysostom, are celebrated at midnight on Holy Saturday in all the churches of our city. The Cathedral of our city, dedicated to the Wisdom of God, is presided over by Metropolitan Philotheos of Thessaloniki.
On the night of Holy Saturday, at 11:30, the lights of the churches are turned off and the Archpriest in the Cathedral comes out to the Holy Doors, holding candles with Light from the unlit candelabrum, which is inside the sanctuary, and chanting "Receive Light...", that is: "Come receive light from the unfallen light". The same happens in the other churches of our city, while the faithful hold white candles and candles and light them.
Afterwards, the Archpriest, the priests, the cantors, the rulers and the faithful go out into the courtyard of the cathedral, where the Gospel of the Resurrection is read and at 12:00 midnight the "Christ rose from the dead, having conquered death by His death and given life to the dead who were in the tombs" is chanted. The bells of all the churches in our city ring joyfully to convey the message of the Resurrection and fireworks and firecrackers "light up" the night!Αρχή φόρμας
The faithful light their candles, kiss each other, exchange resurrection wishes (Christ is risen!) and crack the eggs, painted in red.
The Easter candle custom dates back to early Christian times, when newly converted Christians were baptized on Holy Saturday and Easter Sunday after a period of preparation. The candle they held in their hand symbolized the new light of Christ, which would now illuminate the soul of the new convert.
The candle is lit for the first time on the night of the Resurrection, to emphasize that Christ is the light of the world and His commandments are a light on the path of our lives.Αρχή φόρμας
Easter Sunday morning
The Vespers of Love is celebrated in the morning at the Metropolitan Church of St. Gregory Palamas, presided by the Metropolitan of Thessaloniki, with a number of priests. The same service is celebrated in the other churches of our city in the evening at 7.00.
In the service, a passage from the Gospel of John is read, which refers to the appearance of Christ after His resurrection to His disciples, except for Thomas, who was not present, was not convinced of the event and asked for proof. Christ appears and greets them with "Peace be with you" because His disciples were in need of peace.
The passage is also read in foreign languages, in order to emphasize that the Resurrection concerns the whole world and has a universal dimension.
The service is called the "Vespers of Love" because Christ was crucified and resurrected out of love for people.
The meaning of the Resurrection
The Resurrection of Christ is the solid rock upon which the "One, Holy, Catholic and Apostolic Church" is built.
The Gospels of the New Testament do not describe the resurrection of Christ, but record testimonies and experiences of the disciples who met the Risen Christ or visited the empty tomb where the martyrs heard from the angel: "He is not here, for, as he said, he is risen". The same is true of the Byzantine icons of the Resurrection: it is not the event itself that is depicted, but its anthropological consequences. The Risen Christ takes a man, Adam, and a woman, Eve, by the hand and brings them out of the darkness of Hades, uniting them.
The Resurrection will always proclaim that "the powers of hell shall not overcome the Church".
The message "Christ is risen" is the most beautiful song, the greatest comfort and the brightest guide on the dark and sad paths of history. Upon "Christ is Risen" rests all that is most beautiful and most high in our faith. The risen Christ opened heaven and raised man from death to life, from corruption to incorruption and eternity.
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AHISTORYGREEKCINEMA AHISTORYGREEKCINEMAVrasidas Karalis The Continuum International Publishing Group 8...
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Citation preview
A
HISTORY
GREEK
CINEMA
A
HISTORY
GREEK
CINEMA
Vrasidas Karalis
The Continuum International Publishing Group 80 Maiden Lane, Suite 704, New York, NY 10038 The Tower Building, 11 York Road, London SE1 7NX www.continuumbooks.com © Vrasidas Karalis, 2012 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. Library of Congress Cataloging-in-Publication Data Karales, Vrasidas, A history of Greek cinema / Vrasidas Karalis p. cm. Includes bibliographical references ISBN: 978-1-4411-8090-2 Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN
Contents Preface
viii
Acknowledgments
xxii
Chapter One: Early Greek Cinema: 1905–1945 Constructing the Cinematic Gaze
1
Production Begins
7
Organization and Challenges
15
Developing Film Culture
27
The Collapse
31
Greek Cinema Reborn
33
An Assessment
39
Chapter Two: Constructing a Visual Language: 1945–1960 Rebuilding the Industry and Reconnecting with the Audience
44
Production Begins Again
50
Discovering Reality in the 1950s
56
The Wonderful Years of Masterpieces
63
The Proliferation of Films
79
Chapter Three: Glory and Demise: 1960–1970 The New Decade
88
The Revenge of History: 1960–1965
104
Towards the New Greek Cinema
107
v
vi
Contents The Solitary Case of Takis Kanellopoulos
114
Commercial Successes and Contested Aesthetics
117
The Rise of Urban Melodramas and Musicals
128
Under the Eyes of the Dictators
137
Chapter Four: The Formalist Moment: The Inward Gaze and the New Greek Cinema (1970–1981) Self-reflexivity and the Cinematic Eye: New Greek Cinema (1970–1974)
143
A New Discourse about Film Culture
158
The Rise of Soft Porn
163
The Fall of the Junta
168
1974 and the Great Transition
170
1975: The Year of the Masterpiece
176
1975–1981: Uneasy Days of Freedom
180
Chapter Five: The 1980s: Hope and Disenchantment The Socialist Government and the Promise of Change
193
New Films for the New Regime and the Death of New Greek Cinema
198
A Poet’s Interlude: Stavros Tornes
213
Towards the Bankruptcy of an Era: 1986–1991
215
1986–1994: The Limbo Years
217
Towards a Transnational Greek Cinema: 1991–1995
228
vii
Contents
Chapter Six: The Polyphony of the Decentered Gaze: The Other as Cultural Hero (1995–2010) General Themes and Trends
239
Entering the New Millennium: the Context
245
New Iconographies and Stylistic Challenges
247
The First Years of the New Century
259
2005–2010: Social Collapse and Cinematic Renewal
265
The Horrible Language of Numbers
275
After the Future
282
Recapitulation
285
Notes
289
Bibliography
294
Index
299
Preface
I This book is intended a s a narr ative HISTORY of Greek cinema
from its inception almost a century ago to the present day. It delineates the development, problems, trends, and personalities, as well as the main films, in chronological order; attempting in the process to highlight commonalities and incongruities, similarities and differences, continuities and ruptures. As a narrative history, the book is not concerned with trying to follow the complex structural or ideological threads of a more or less anarchic industry; although it does attempt to construct an “intelligible” account of what happened. It also avoids structuring the narrative around particular issues, such as the questions of identity that have become extremely voguish during the last 30 years in discussions about all things Greek. The creation of specific cinematic works or groups of works has always been underpinned by a complex interplay of many factors; consequently, there can be no single way of interpreting such a multifaceted and unpredictable cultural activity without limiting its semantic complexity. The history here refers to such issues to the degree that they have had an impact on the experience of watching films in the country. It deals primarily with the perceptual experiences that films create for their viewers and, therefore, focuses on their formal analysis and their historical contextualization. It approaches movies as cultural artifacts and as specific responses to wider questions and problems—artifacts that are articulated through visual means at specific moments in time and as singular problematizations of social realities. Probably, this book should have been written 30 years ago when the construction of a grand narrative was still feasible within the area of film studies. Since such a narrative is absent, we try to formulate it today while simultaneously identifying the structural asymmetries, ideological irregularities, and heterogeneous incongruities hidden beneath the thrust of a linear exposition. The book thus needs a companion volume that would explore the history of Greek cinema through the prism of specific genres, periods, and formalist questions as well from the point of specific analytic approaches, like feminism, subaltern studies, Hollywood hegemony studies, postcolonial and queer readings.
viii
Preface Until such a volume is prepared, we focus here on the realities that defined cinematic experience as lived history at a macro-historical level, in an attempt to delineate a history of emotions in Greek society. At the most elementary level, however, our main purpose is to illustrate the political, aesthetic, and technical difficulties that film-makers confronted in order to make films in Greece, and from there to discuss the wider problems they faced and explain the solutions they formulated.
II The history of Greek cinema is a rather obscure and unexamined affair. Greek cinema emerged slowly and then collapsed. For several years it struggled to reinvent itself as it dealt with the uncertainties of a colossal national defeat in 1922; then, while in the process of recovering, it produced its first mature works, then broke down completely and almost vanished. For a short time before the Second World War, it resurfaced outside Greece, in Turkey and Egypt. During the War, it re-established its distribution and technological infrastructure and after 1944 flourished wildly, despite the indifference and hostility of its most formidable enemy, the Greek state. It was then continuously muzzled by strict censorship and government interference. In brief periods of moderate liberalization it proliferated beyond its own financial viability, showing the keen interest of audiences in watching Greek films, even of the most questionable quality. Yet under the strict surveillance of the 1967 dictatorship, Greek cinema produced some of its greatest achievements. After 1974, it exploded with a creative energy that sustained it for a decade, during which it was suffocatingly embraced by the government, until the euphoria of state-funded freedom meant it lost touch with its audience and—under the bureaucratic organization of the state—vanished almost totally. In the mid-1990s, young film-makers severed their ties with the recent past and began to construct novel cultural representations, creating a renewed connection with the estranged public, through new iconographic motifs and formal “investigations” which continue today. Throughout the last ten decades, production has generally been uneven. From a total of about 4,000 surviving movies, most are of a generic nature, characterized by a lack of experimentation with the medium and an avoidance of direct depiction of the stark realities surrounding the screen. Yet these realities have always been present through the mere recording of the cityscape, the depopulated countryside, and the psychology of characters in specific moments of history. No modernist experimentation with form and storyline or radical breakdown of narrative and image can be found in Greek cinema until very late in its development. We cannot find a single theoretical work of
ix
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Preface reflection on the experience of watching movies until the early 1970s, nor a sociological approach to the act of going to the cinema itself, which was and continues to be a major event of collective socialization and a rite of passage for adolescents. Most Greek films were made for the immediate consumption of local audiences and with commercial success in mind. The majority were slapstick comedies, boulevard skits, dramas of passion, sentimental war movies, colorful musicals, and patriotic melodramas. They still remain the most successful products of the industry—through their remakes and reincarnations. Few movies (almost always financial failures) raised questions about history, class, gender, identity or cultural memory in ways that would make them interesting to audiences outside the country. Some of these films interrogated the structure of Greek society and the power arrangements within the nation state against the backdrop of oppressive political censorship, heavy taxation, and controlled distribution. The films were mainly “political” in the sense that they produced an oppositional way of looking at established perceptions of reality, of framing the real and of representing conditions of Greek society at particular moments in history. During most of its history, cinema, both as an industry and as a culture, developed in opposition to the institutions of the Greek state and its policies. Successive governments saw cinema as an enemy of the state and enacted strict censorship laws to control the ideas and forms that film-makers created in their attempts to construct a cinematic representation of Greek reality. Consequently, most people involved in the production of films, even those with conservative ideology, expressed opposition—explicit or implicit— to the dominant official ideology of the state as it was imposed through education, army, police, news media, and the Christian Orthodox Church. Such oppositional aesthetics were brought to the fore in periods of historical crises and at times of political unrest, as, for example, after the Asia Minor Catastrophe of 1922, the Civil War of 1946 to 1949, and during the military dictatorship of 1967 to 1974. Until the state became the main sponsor of the industry in the late 1970s, film-making was made possible only through the persistent vision and moral strength of certain exceptional cinematographers, who managed to construct and consolidate an iconographic idiom capable of depicting the Greek experience in a formally coherent visual language (despite the absence of sufficient production funding and well-equipped studios). Throughout the ten decades of its existence, Greek cinema would struggle to construct a visual metaphor that, within the modes of its specific historical consciousness, would heighten the understanding of reality and offer an opening into the realm of the possible, and occasionally even the utopian. The interplay, rather than the antagonism, between commercial and art-house movies, between film industry and film culture, has been the
Preface other battleground for the development of cinema in Greece—a country that joined the club of “developed” European countries in the late 1970s and the European Union in 1981. The development of Greek cinema has always been intimately associated with deep infrastructural problems in technology, material culture, and scientific know-how. For many decades, all film equipment had to be imported while exorbitant production costs never allowed for the democratization of the medium by giving access to new professionals. Only in the late 1950s and early 1960s did technological progress offer the opportunity for more people to get involved in the industry and to make their mark. Even after the major technological problem was solved, however, the question of the audience was immediately posed. As a small market with limited investment capital, Greece could neither sustain a developed and organized system of film production with international distribution and appeal nor, even more importantly, attract international funding through co-productions, something that would have given a wider scope to Greek films. Greek cinema could not even attract foreign actors (as could, for instance, Italian and more recently Spanish cinema) who would have given an international appeal to local films. Almost all Greek movies were made for domestic consumption, addressing local problems within the parameters of specific historical circumstances. This contextual specificity of these movies is both what redeems them and what marginalises them. Initially, Greek movie audiences were largely comprised of villagers who had moved to urban centers but who had maintained their rural mentality— cinema was introduced to Greece when urban culture was at its infancy and when populous cities such as Athens were still made up of distinct neighborhoods, or, as in Thessaloniki, of a mosaic of different groups. The mass of urban population was increased after 1922 with the influx of Anatolian refugees. After the Second World War and the Greek Civil War, mass migration towards urban centres completely transformed the demography of cities, thus creating the conditions for an urban and industrial culture. Only in the 1970s did the first generation with a truly urban upbringing and educated under a uniform education system become the target audience of film-makers. During the transition to the new urban mindset, the nouveaux riches of the lower middle class—the petit bourgeois—were the main viewers of Greek films. Consequently, their intellectual pretensions, “crass” sense of humor, and ideological fantasies shaped the dominant forms of representation for the largest part of film production. The tension between popular and creative cinema has always been and continues to be strong in Greek films, even though postmodernism has declared a convergence of high and popular artistic traditions through hybrid genres of representation based on the pastiche, the parodic and the interstitial.
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Preface Even in current times, with the permeation of everyday life by digital technology and the democratization of the film medium by the handheld camera, there is a distinct and almost deep cultural reluctance to proceed with a creative synthesis of both modes of production. For a prolonged period, the gap between the auteur and the director of popular movies only widened: a “good” movie remained a private vision while a “successful” one was considered a marketable generic commodity. Indeed, middle-ground movies attempting a synthesis of artistic risk and wide audience response were mostly absent. Because of the medium’s immense social effectiveness in a society tormented by political and institutional instability, the Greek state functioned either as the main sponsor of or the main obstacle to its development from its very inception. For decades, heavy taxation on the production of movies, a lack of protectionism, and the imposition of strict political control hindered the development of cinema as an independent and self-sufficient industry. From the late 1970s until the end of the 1980s, government took a friendlier, and ultimately more patronizing, approach to cinema. For almost 20 years, government seems to have functioned as the main or sole sponsor of all movies produced in the country—and the movies were spectacular failures with audiences, creating an unbridgeable gap between viewers and directors and finally, between filmgoers and the films themselves. It was a period that confirmed Paul Rotha’s adage that “the movie was rampant; the film was dormant!” After 1985, most Greek movies lost their commercial edge and became art-house films made exclusively for festivals and specialized venues. The old films, brimming with dazzling vivacity, passionate drama, and vernacular drollness, were either rejected or forgotten. A certain brand of elitism hijacked the dominant discourse of evaluating films, expressing through impenetrable and opaque idioms preconceived theories of vision, ideology, and film-making. Marxist, semiotic, and psychoanalytic approaches were used not for elucidating the submerged content of these “commercially successful” films but to exclude them from discussion and to isolate them in the oblivion of overspecialized academic studies. The obvious was the message, during this period of ideological frenzy, coinciding with Socialist Party rule. This state of affairs, however, could not have lasted for very long; the audiences simply disappeared and the system was no longer sustainable. Finally, the inevitable dominance of television gave the ultimate coup de grâce to the dying film industry. In the early 1990s, the practice of co-sponsorship came into operation. More recently, the practice of multiple sponsorships came into effect de facto and is still trying to find its institutional and legal framework within the state. During the last 20 years, international funding has been available, either through the European Union or through consortia with other European
Preface or American companies, and has essentially liberated production from its imposed or self-imposed tutelage to the Greek state or the Greek media. The misadventure is not over yet, however. The ongoing financial meltdown has imposed heavy restrictions on new and emerging directors. In the early 1990s, such directors, after a traumatic act of emancipation, cut the umbilical cord with the great names of the auteur tradition, thereby reconfiguring a new visual idiom to depict a completely changed and radically reformed society. As Greece finds itself on the brink of financial collapse in 2011, many film-makers struggle hard to secure funding for their films and channels for their promotion—and the situation is still too fluid for any predictions to be made about the final outcome.
III During its century of life, Greek cinema has managed to produce both interesting and commercially viable works, some of which are of international significance and deserving of closer study. Unfortunately, few are known outside Greece and, on many occasions, Greek cinephiles, for various reasons. Still fewer studies have been dedicated to the exploration of its historical trajectory. Many articles, especially in electronic journals, have dealt mainly with specific Greek directors, the impact of their work, or more generally with the aesthetics of Greek cinematography. In English, there is only one brief history of Greek cinema—The Contemporary Greek Cinema by Mel Schuster—which was published in 1979 and which focuses on the New Greek Cinema as it was developing then. This history does not offer a thorough analysis of the presuppositions and historical circumstances underpinning the medium before that period. Although we must recognize the pioneering character of Schuster’s work, it is important to note that its historical scope gives a rather limited understanding of the evolution of cinema as an artistic and social medium in Greece. We must also mention the brief but extremely accurate observations by Mirella Georgiadou, in Peter Cowie’s A Concise History of Cinema (1971). Also important for mapping out approaches and new perspectives on Greek cinema is the special issue of the Journal of Modern Greek Studies, edited by Professor Stratos E. Constantinidis in 2000. A number of its contributors analyse different periods and important films, presenting a sophisticated and nuanced understanding of the problems of Greek cinema both as cinematic art and as social text. Dan Georgakas’ “Thumbnail History” of Greek cinema, as also his reviews of Greek movies in the journal Cineaste, is another valuable contribution to the discussion of Greek cinema history. With an international experience in mind, Georgakas evaluates Greek cinema in its interaction with society, industry, technology, audience, and, finally, in the context of
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Preface its specific contribution to the representation of Greek historical experience. Furthermore, he detects thematic threads and technical analogies that give to Greek movies artistic and ideological continuity in both style and storytelling. Recent studies by Lydia Papadimitriou have shed more light on a specific genre of Greek cinema: the musical, exploring it as a cultural product and emblem of specific social ideologies that was disseminated at particular historical moments. In Greek, the multi-volume History of Greek Cinema by Yannis Soldatos is invaluable because of its impressive command of the primary sources, hard-to-find reviews, and innumerable references, which bring together the most important discussions on the topic, showing the persistent themes that have dominated the production and appreciation of film in Greece. Soldatos’ history is a continuous labour of love, which, despite the somewhat intrusive passion of its writer, is of permanent importance. 100 Years of Greek and Foreign Cinema by Ninos Fenek-Mikelidis represents a more personal vision of Greek cinema by one of its most important reviewers. Also of particular interest is Marinos Kousoumidis’ Illustrated History of Greek Cinema, which ends in 1981 but which contains accurate information and a selection of crucial primary sources. The monumental two-volume edition Greek Cinema by Angelos Rouvas and Hristos Stathakopoulos is a solid and invaluable source of historical information. Finally, Aglaia Mitropoulou’s Greek Cinema, in spite of its very personal approach by one of the pioneers of film history, is extremely valuable for the detailed information it gives on many film-makers and the background of their work as well as for its aesthetic appraisals. Of all the Greek directors, the most popular among scholars has been Theo Angelopoulos, and the superb studies dedicated to him by Andrew Horton in particular, contain deep insights into the work of a film-maker whose significance has exceeded the limits of national cinema. Unfortunately, no studies in English have been made of other important Greek directors such as Michael Cacoyannis or Nikos Koundouros, or even of contemporaries who deserve international attention like Constantine Giannaris. Other brief histories in English, available mainly on the internet, are equally interesting, and indicative of specific approaches to the historical development of a peripheral European cinema. (The anonymous compiler of ‘History of Cinema in Greece’ at filmbirth.com should be commended for its succinctness and accuracy.) A serious shortcoming of histories written in Greek is that they tend to focus on detailed references to people and events of local interest, so the big picture of the evolution of cinema as art and social testimony is usually lost under particular circumstances and individual references, and sometimes even behind personal antipathy and bias.
Preface For this book, I have endeavored to sift through material that is vast and still critically unexplored in order to present what reaches out, beyond the circumstantial or the episodic, to become (within the specificity of its historical situation) a symbol of a general trend, marking patterns of collective response. I have tried to locate the films that have directly or indirectly influenced the cultural and psychological topography of the country and to provide a brief commentary on their specific “social” value and formal structure—even when these movies were neither commercially successful nor seen by wide audiences. Given that this is a general survey, I have avoided detailed “cultural readings” based on the premises of academic film studies, as such approaches need to concentrate on specific movies, genres or individuals and through their very specificity to understand the wider cultural debates and political agendas that dominated the Greek public sphere in different moments of history. Having said this, there are also many occasions where I examine films’ implications, especially regarding gender, class, and cultural memory. I also try to emphasize the importance of foreigners, such as the founder of Greek cinema Josef Hepp, of women directors like Maria Plyta and of commercial directors like Yannis Dalianidis, who have been either forgotten or ignored. Finally, I have attempted to minimize my overall references, as most of these are in Greek and the bibliography in English quite limited. The issue of periodization is important. My initial intention was to divide the material into four periods: from the beginnings to 1944 with the liberation from German occupation, when the industry was reorganized and had established its own modes of production and exhibition; from 1945 to 1970 and the release of Theo Angelopoulos’ Reconstruction (1970), which reorientated cinematic practices, created new audiences and reinvented cinematic representation, marking the end of the Old Greek Cinema and the beginning of the New; from 1970 to 1995 when Angelopoulos released his monumental Balkan epic Ulysses’ Gaze (1995) as the breaking point of the Greek national cinema; and from 1995 to 2011, when a distinct new way of production, tentatively called the New Greek Current, started to emerge and produce its first works, which gained international recognition. In the end, however, I chose to break the history down decade by decade after 1945, as the immense number of films and the extensive debates surrounding them would have created an imbalance in narrative flow. This final arrangement accepts the establishment of the Thessaloniki Film Festival in 1960 and the election of the first Socialist Government in 1981 as equally important turning points in the history of Greek cinema. These two events reoriented production and promotion practices in the country and gave to this narrative the necessary temporal markers for a balanced chartering of the wider reconfigurations that occurred in film culture and the social realities surrounding them.
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Preface Furthermore, since 1995 a wide variety of genres, diversified approaches and filmic representations has been made possible through the depiction not simply of the foreign immigrant, but also through the discovery of the perennial other that had existed within Greek society since its very establishment: the marginalized group, the religious other, the outcast, and the displaced or dissociative individual. During the last 20 years, new “cultural heroes,” such as the immigrant, the transvestite, and the masculinized feminine, have found representation—portrayals that indicate a deep crisis in the traditional values pertaining to masculinity, the vexed issue of “Greekness,” and women’s self-articulation. Certainly, we have to define what we mean exactly by “national Greek cinema.” As this history argues, Greek cinema and images about Greece were made by Greeks and non-Greeks alike; starting with the patriarch of local cinema, the Hungarian Josef Hepp and continuing after the war with the English Walter Lassally and the Italian Giovanni Varriano, it would be fairer to talk about the history of cinema in Greece instead of Greek cinema simply. The heterogeneity of the cinematic endeavor in the country provides a better understanding of the collective efforts to construct a local visual idiom and to create the perceptual strategies that connect it with the dominant traditions worldwide. Greek cinema was and still is a point of convergence, a space of colliding idioms, as expressed by Hollywood and European traditions. Being both at the same time, Greek audiences and critics alike love to hate Hollywood and hate to love European auteurism. Such a fundamental ambivalence can be seen throughout the development of Greek cinema, creating an emotional and intellectual tension which gives a distinct energy and power to many Greek films. On the other hand, “Greek cinema” and the expectations of international audiences were not determined by films made solely by directors of Greek origin or, indeed, for Greek audiences. The most internationally successful movies that defined the cinematic representation of Greece for public consumption were made by the American philhellene Jules Dassin. His Never on Sunday (1960) was particularly responsible for establishing the dominant international image of Greek cinema, a topic that deserves further exploration and discussion in separate studies. Even Michael Cacoyannis’ celebrated Zorba the Greek (1964) cannot really be seen as a purely “Greek movie.” The director notwithstanding, it is essentially an American movie, with an American production and distribution company, performed in English and with the international audience as its target. The main focus of this exploration is to foreground the cinematic works, the personalities and some of the discussions that critically reflected on how reality could or could not be depicted by the camera. It also addresses the question of whose reality is being depicted and for whom, since movie-making is a social event and an act of public intervention, involving
Preface not isolated individuals but groups of people and mechanisms of industrial production—on many occasions, government-sponsored initiatives involving state apparatuses. Historical context is everywhere and sheds light on the production of each film. In this overview I try to outline the questions regarding history, cultural memory, and historical conscience implicitly depicted in each film by suggesting some provisional explanations about them within the wider context of local intellectual history and the history of ideas in Europe.
IV Existing histories of Greek cinema, especially in Greek, tend to give a catalogue of titles in historical sequence. Yet, despite this concern with historical particulars, most fail to study the historicity of each movie within the cultural and aesthetic context of the intellectual milieu that produced it. Within their specific context, most movies are sites of cultural politics since they give form to the various historical contestations that dominate cultural or political debates. In some, the density of the filmic text is so complex that the films can be seen as indications not simply of a looming social crisis but as spaces of an unfolding visual crisis, as is clear for example between 1965 and 1967 and after 1984/85. In the most important films of Greek cinema, one can see precisely how negotiable the limits are between cinema as an artistic activity and cinema as a social institution. Many movies were made with both political and aesthetic concerns incorporated into their structure; and as the medium gained confidence in the late 1950s, an implicit dialogue commenced between the film-makers themselves in an attempt to consolidate a distinct cinematic idiom. It still remains to be discussed (though not in this book), if there is a distinctly Greek cinematic language or cinema that has never achieved full self-awareness and articulation. It is said that the most important film producer, Filopimin Finos, preferred to make a “good imitation of a Hollywood movie” rather than to produce a “bad Greek film.” Contemporary globalization brings such a dilemma to the fore again. Moreover, the intellectual establishment of the country had an ambivalent attitude towards the medium itself. Despite its popular appeal, many intellectuals were extremely reluctant, if not unwilling, to accept its artistic value—only in the late 1950s did intellectuals begin to articulate a positive appreciation of cinema, and always with many reservations. Cinema is one of the main arts of capitalist modernity and, as such, has presupposed on many occasions a radical break with the established practices of the past in terms of aesthetics, historical awareness, and self-articulation. Throughout its history, Greek culture has been a bookish tradition based on the word and the printed page rather than on the image and the
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Preface visual modality of perceiving reality. Many important intellectual Western texts were written in Greek and because of them (and the mythologies around their meanings), the Greek language is of cultural value and significance, something that has been emphasized by the ideology of the state. Language has been the most singularly important thread of continuity in Greek history from antiquity to today. The establishment of the Greek nation state in 1828 was based on the continuing memory that such privileged texts offered to the citizens of the new civil society who, after being socialized by the educational system, articulated their self-perception in terms of linguistic continuity with the culture of Homer, fifth-century Athens, and the Hellenistic, Byzantine, and Ottoman periods. Being Greek meant speaking Greek through a peculiar strategy of nation building, which was based on linguistic nationalism, consecrated by religious ceremonies or folkloric rituals and fiercely disseminated by the education system. However, cinema privileges the image and, even more so, the flowing images of the ephemeral and the temporary. The transition from a culture of the book to a culture of images, from a reading society to the society of the spectacle gives an extremely important anthropological content to cinematic art in Greece—something that could perhaps be extended to other countries of Eastern Europe and the Mediterranean, such as Russia, Bulgaria, Romania, and Turkey, or the Arab countries, which seem to have faced analogous cultural dilemmas regarding their past, identity, and contemporary physiognomy. This survey also addresses briefly some peculiarities of Greek cinema. For example, despite the internationally accepted image of Greece as the locus of an ancient Greek culture, Greek cinema has rarely dealt with its nation’s ancient past. We don’t have modern Greek cinematic representations of classical Greece. The main concern of most Greek movies has been the political question in contemporary Greek society. And the political question, of course, is associated with the history of the country and the ways in which Greek society dealt in times of war and peace with its own self-perception and cultural memory. The most important postulate for Greek film-makers has been the attempt to construct, invent, or compile an optical language that could visually articulate Greek society either as a coherent unity or as a palimpsest consisting of gaps, missing pages, and individual silences. Indeed, it took Greek film-makers a prolonged period of almost 30 years to piece together the morphemes for a visual grammar appropriate and equivalent to the complexities of Greek society. The transition from a non-perspectival culture—a culture outside the visual tradition of Western European art— to the modern visual regimes, based on space, volume, light, and shadow, generated not only technological but also stylistic problems. In the early years, cinema was a succession of tableaux vivants or a series of family portraits. Only after 1936 can we clearly see that Greek
Preface cinematographers had abandoned the one-dimensional space of Byzantine iconography and had started exploring the potentialities of spatial depth, formal volume, and multiple stage arrangements. In the 1950s, a group of creative directors established an imaginative dialogue between the camera and the human form, thereby consolidating the visual language that permeates Greek cinematic representations to this day. It also took decades—not until after 1960—and many individual efforts and personal struggles for the Greek state to develop an interest in the industry, an interest undoubtedly encouraged by the fact that the ideological influence of cinema had by that stage become undeniable and its social impact uncontested. Cinema as an industry has served Greece as no other industry. For example, Cacoyannis’ Zorba the Greek has been the single most important trademark for exports, a “national” symbol that has instigated the local cultural industry through tourism and established “Greece” as a special place in the cultural imagination of the world. Cultural contextualization is crucial for the understanding of the development of Greek cinema. We must study the internal dialogue among directors, directors of photography, script writers, producers, actors, and, finally, of the audience itself in order to form a complete picture of the central physiognomy of Greek cinema. Some movies have generated more interest than others: as cultural artifacts, popular and generic movies are much more relevant to an understanding of the dominant taste, horizon of expectations, and collective pursuits than movies made by the singular vision or exclusive fascination of a particular individual. The old debate between genre and auteur is something that can be detected in Greece, as in many other cinematic traditions. When certain movies were screened, they elicited equally problematic emotions and reactions in their audience. Such films were either popular “soapies” based on the charisma of superstars such as Aliki Vouyouklaki, or works that expressed the artistic and political concerns of directors such as Nikos Koundouros, Takis Kanellopoulos, Theo Angelopoulos, Tonia Marketaki, and Stavros Tornes. The problem of representing the unstable realities of Greek society has been the pivotal point of departure for this account. Its main purpose is to explore and discuss the representation strategies established by a number of directors in order to depict the Greek experience and its cultural memory since the introduction of cinema into the country. We want to discuss the movies and artists who defined public taste, while at the same time connecting certain films with international trends, movements, and questions. Overall, this book focuses on films in which the depiction of Greek reality has assumed a special and even “irregular” form in an attempt to construct a visual pattern for the Greek experience—such films, regardless of their commercial success or failure, stand out by themselves.
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Preface This survey also briefly deals with the representations of “others” in Greek cinema (Roma, Jews, Americans, British, Turks, and so on), and finally examines movies that depict forms of sexual otherness and social marginalization as symbols of diversification and pluralism. While such movies were extremely rare in early periods of Greek cinema, they have proliferated recently as Greek society moves towards a more multinational and multicultural demography. Such films also chronicle the fluid and unstable realities that have emerged since 1991 and the influx of refugees from Balkan and Eastern European countries. On some occasions, I have attempted an anthropological conceptualization of Greek cinema, especially in relation to the modes of representation and the types of image it established in order to depict a society in constant fluidity and instability. Within such a society the issue of individual characterization has always remained crucial.With the exception of Theo Angelopoulos, who avoided any psychologization of individual existence, most film-makers tried to construct human types affected by the instability of their surrounding society, but have mostly failed in creating complete and believable characters. While commercial cinema depicted the stereotypical, conformist and adjustable “common man,” art cinema grappled with the psychological complexities and existential dilemmas of the internal exile and the social outcast, an enterprise that made such movies introspective, opaque, and, occasionally, self-indulgent. In its development, Greek cinema had to deal with the problem of constructing a visual language that would unlock the mystery of the human form and situate it within its historical local realities. The solution to this problem took decades to formulate and came about only after the creative imagination had succeeded in liberating itself from the traumas of historical experience. One can see the whole history of cinema in Greece as a visual antidote for the confusion and anxiety caused by such traumas; an attempt to bring balance and closure to the symptoms of post-traumatic helplessness that dominated a society in constant crisis over its present and future position in history.
V Inevitably, in writing this history I have had to choose films which did not simply define Greek cinema history but which could also be of interest to an international audience. I have tried not to see Greek cinema as a battleground between commercial and art films but to present the formal complementarity of both modes of production. I have endeavored to talk about the merits and the problems that each genre depicts within its own context and, wherever possible, in reference to the artistic quest of their makers. There are chapters on what is called New Greek Cinema, as well as
Preface chapters on propaganda, soft porn, or bad melodrama. They all illustrate the panorama of Greek film production and present through their own “gaze” different aspects of Greek history, culture, and society. Moreover, the fact that many “artistic” film-makers were involved in the production of commercial, popular culture films shows the implicit symbiotic relationship between high and popular culture and the invisible pathways of their convergence. In most cases, unfortunately, we do not have good digital copies of films produced between 1910 and 1980 (although recently a digitalization project has been inaugurated by the Greek Film Centre, EKK, and has been funded by the European Union and independent distributors). Still, many good films exist in bad prints and it would be of great assistance to the future historian of Greek cinema if the important task of digitalization were to be completed. Many films of the early period are considered lost; however, as recent research shows, many Greek films made between 1911 and 1945 have lain forgotten somewhere in the film archives of Berlin, Paris, London, and Moscow—for various reasons in each case. Let us hope that young researchers will try to salvage these lost treasures and reveal to contemporary viewers the difficulties that early Greek filmmakers confronted and so acclimatize the main art of modernity to the structures and mentalities of a traditional society on the periphery of Europe.
A note on the transliteration of names and titles I followed the simplest phonetic transcription of Greek names as they are pronounced in the language: Yorgos instead of George (but Yeorgios for the archaic form of the name), Yannis instead of John. The translated titles of films in English are taken from Dimitris Koliodimos, The Greek Filmography: 1914 through 1996. I indicate wherever there is a difference of opinion. When a particular form of name has already been used in English (Theo Angelopoulos for example) I maintain that form. All translations from Greek are mine unless otherwise indicated. Sometimes, there are discrepant release dates for films. The screening season in Greece starts in October, so a film can be shown in the theaters in the following year, even if it was produced in the previous year. In most cases, I have followed the date given by Rouvas and Stathakopoulos, while in others I use the year of release.
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Acknowledgments I a m deeply indebted to m any people for their assistance in the fruition of this project. First of all, I would like to express my gratitude to my students of the Modern Greek Department at the University of Sydney for their personal response, unbiased approach, and “random” comments, which helped me to form a truly contemporary view, free of the allure of history and the sentimentalism of childhood experiences. Many thanks are also owed to my colleagues in the department: Dr. Anthony Dracopoulos for our inspiring and challenging conversations and Dr. Panayota Nazou for her encouragement and relentless criticism. A thank you must also go to my colleague in the European Cinema course, Professor Judith Keene, for her sensitivity and critical gaze. I am also indebted to my other colleagues at the University: Michelle Royer, Laleen Jayamanne, and Richard Smith, whose presence and ideas helped me to form my own approach to cinema. I am thankful to my friend Takis Katsabanis who insisted on being critical but always with love, since this is “our tradition.” To my sister Emily for her inspiring fighting spirit and my friend Ourania Lampsidou for her uncompromised modernity. Finally, to my friend and partner Robert Meader whose dislike of Theo Angelopoulos and the “auteur” tradition gave me a reality check. The support and encouragement from particular individuals who made a substantial contribution to the study of Greek cinema enabled me to access material and sources that were very hard to find; Nikos Theodosiou with his out-ofprint studies on the beginnings of Greek cinema and the culture surrounding the experience of going to the movies. My colleague Lydia Papadimitriou provided me with extremely helpful commentary after having read a draft of the first chapter. George Mitropoulos kindly sent to me from Greece books that are hard to obtain in the Antipodes. Dan Georgakas has been the single inspiring force behind the whole project, since the study of his work and political thinking gave me the capacity and strength to be lucid and unambiguous. I also feel a deep sense of gratitude to the anonymous seller of DVDs in a small shop in Piraeus who in two days found for me the rarest Greek movies, especially films made between 1930 and 1960, which I could not find in the most advanced research centers. There are no words to express my gratitude to Mr. Charles Humblet the educational designer of the School of Languages and Cultures at the University of Sydney. Without his technical assistance there would have been no photographs in this book, which, as we know, make every book worth reading.
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Acknowledgments My colleague Cathy Cassis with her linguistic sensitivity edited the text so that it has a smooth narrative flow and a seamless structure of sentence. Cathy gave the text its necessary stylistic unity and expressive precision which in my own world of confused bilingualism never really exists. Finally, I am thankful to the editor of Continuum, Katie Gallof, who embraced the project with enthusiasm and humor from its very inception. This book is dedicated to the memory of my brother Nicholas who died unexpectedly several days after we were reconnected by an unexpected discussion on the significance of going to James Bond movies together. Vrasidas Karalis, University of Sydney, July 2011
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Chapter One
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Early Greek Cinema: 1905–1945
Constructing the Cinematic Gaze On November 29 , 1896 , Athenians paid a hefty price to attend the first
ever screenings of moving pictures on Greek soil. The screenings took place nine months after the Lumière brothers officially patented their invention in Paris. At a central street in Athens and at a humble venue especially modified for the occasion, a strange inscription read: Cinematofotographe Edison. An anonymous reviewer wrote in the newspaper The City (To Asty): Carriages are travelling, horses are running, the sea is quietly moving, the wind is blowing, clothes are waving, trains are departing, Ms Loie Fuller is shaking and twisting like a colourful snake her paradoxical, unique and famous clothes, so that one thinks that they have before them living human beings, faces enlivened by blood, bodies pulsating with muscles. The illusion of life, in all its endless manifestations, parades in front of us. When it becomes possible to have a series of Greek images, of Athenian scenes and landscapes, the cintematofotograph will then excel, becoming an even more enjoyable spectacle. However, even as it stands, it presents one of the most astonishing inventions of science, one of the most fascinating discoveries; it is worth being watched by everybody and, certainly, they will all watch it and immerse themselves in its consummate phantasmagorias.1
Every day for a month, 16 screenings were offered until Alexandre Promio, the representative of the Lumière brothers, took the projector and the short films to Constantinople. All famous early films made by the Lumières were screened: L’ Arrivée d’un Train, La Sortie des Usines Lumière, Lyon les Cordeliers, Le goûter de bébé, and others. Despite their immense success, no special interest in film was shown in the Greek capital for over four years. Adverse and disastrous circumstances at the beginning of the following year quashed any curiosity or entrepreneurial interest in further exploring or 1
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A History of Greek Cinema making use of the new invention. (The first screenings were organized in Thessaloniki, then under Ottoman rule, in July 1897; and, in July 1900, the first regular screenings were shown at the famous Orpheus theater on the thriving commercial island of Syros.) Indeed, the new art of cinema was the casualty of the political and social upheavals of Greek history. In order to establish itself and consolidate its presence, the medium needed political stability, social cohesion, and, of course, peace with other countries: essentially the preconditions for the establishment of technological infrastructure and the development of a sophisticated studio system that would allow for the emergence of film culture. Such preconditions were absent from Greek history until 1950. Prolonged periods of warfare (1912–1922), political instability (1922–1928 and 1932–1936), dictatorships, failed coups, and ultimately the German occupation followed by the Civil War (1946–1949) deferred for almost 50 years the smooth incorporation of the technological infrastructure and the conceptual framework that cinema as an industry and as an art needs to flourish. At the end of the nineteenth century, the nation state of Greece had a total population of about 2,500,000 people; another 3,000,000 Greeks lived outside the national borders, mainly in the Ottoman Empire, Russia and Egypt. Athens, the capital city, had an unremarkable population of 130,000 and competed with other established centers of Greek civilization, such as Constantinople, Smyrna, and Alexandria, for cultural and financial domination.2 The Greek economy was predominantly agricultural, although in the last decades of the century several programs of international investment were in place and the presence of the working class had become noticeable in the political and ideological debates of the country. In April 1896, Greece organized the first Olympic Games of the modern era. The success of the Games raised the hopes of the Greek people and the political establishment on many levels. However, by the end of 1897 the country experienced the effects of a humiliating bankruptcy, first announced in 1893 by the Prime Minister Charilaos Trikoupis (1832–1896) with one of the most memorable phrases of Greek political vocabulary: “Regretfully, we are bankrupt!” The bankruptcy was a long process and was the painful outcome of a combination of intense borrowing for infrastructure works, the systemic corruption of a state based on political clientelism, the organization of the Olympic Games, and, finally, of a humiliating military defeat by the Ottoman Empire in the so-called Black 1897 War. Nonetheless, against all odds, the movement for a social and political renaissance began during the first decade of the new century, when the country was forced to confront the dilemmas of modernity and proceed with its industrialization process, its rising working-class movement, and its unresolved territorial disputes with the collapsing Ottoman Empire (mainly in Crete and Macedonia). Programs of reform were gradually implemented by different
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governments, starting in 1900 and culminating in the Goudi Uprising of 1908 when rebellious but ineffective officers demanded political concessions from the rather indolent and indifferent King George I of the Hellenes. In this political and social climate, the Psychoule Brothers from the city of Volos, Thessaly, introduced the first projection machine to Athens in 1899 at the Varieté theater behind what is today the site of the Old Parliament, screening short films, which they later took to the countryside. In 1900, other entrepreneurs, especially those from Smyrna or Alexandria, like Cleanthis Zahos and Apostolos Kontaratos, imported new projectors and installed them at the cafés surrounding Constitution Square between the Palace and the Parliament. Fierce competition broke out between the café proprietors for the premiere screening of the most recent French and Italian productions. The first movies, however, started being regularly screened at the industrial port of Piraeus by the Smyrnian businessman Yannis Synodinos. The initial session consisted of Edison’s The Battle of Mafeking and one of the great commercial successes of the day, Georges Méliès’ Cinderella. Other movies directed by Ferdinand Zecca and produced by Charles Pathé, such as Histoire d’un crime and Les Victimes de l’alcoolisme, became popular. Thanks to Pathé’s entrepreneurship, the tradition of Pathé-Journal with newsreels of actual events was to become the enduring legacy of early French cinema to Greek cinematography. After 1904, many cafés imported their own projectors, and the desire of their proprietors to attract greater audiences to their establishments only intensified the antagonism between them. A number of newsreels were taken during the Greek-Turkish war of 1897 by Frederic Villiers (1852–1922) and by Méliès himself (1861–1938)—these have to be the earliest film recordings on Greek territory3. An unknown American cameraman first filmed Athens in 1904. Later in the same year, an enigmatic French cameraman, named Leon (or Leons), who worked for Gaumont, Pathé’s great competitor, came to Athens to cover the mid-Olympiad of 1906 and filmed the games. His films were among the first existing visual records made on Greek territory. In 1907, an unknown cameraman made the first Greek journal, filming The Celebration of King George I. In 1908, a successful businessman from Smyrna, Evangelos Mavrodimakis, began to offer regular screenings of movies in the center of Athens, which had only just been supplied with electricity. On the central Stadiou Street he established the first movie theater, naming it the Theater of the World; he is considered to be the father of the Greek cinema venue. In these early days, each session usually consisted of a screening of eight short films, accompanied by a pianist, with improvised melodies, but later, whole orchestras were added together with popular singers. In early 1911, the first permanent cinema, Olympia (to be renamed later Capitole), was built in Piraeus by Yannis Synodinos, thereby inaugurating the material infrastructure for the expansion of cinema on Greek territory.
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A History of Greek Cinema It was not, however, until 1911/12, after the city of Athens was fully supplied with electricity, that three grand cinemas were specifically built to cater for the needs of the new art and its growing audience (Attikon, Pallas and Splendid). But open-air screenings retained their appeal for Athenian audiences, continuing the tradition of the open-air performances of the shadow theater of Karagiozis, which was for many decades the most popular form of public entertainment. In 1913, one of the most historic, almost legendary, cinemas opened in Athens, the Rosi-Clair, which was to screen the most popular films over a period of 50 years and which was finally closed down in 1969, under changed circumstances. In subsequent years, the famous Pantheon theater was established at the center of the city for the middle class, while the more humble Panorama was opened in a less-auspicious suburb for the underclass. By 1920, a network of six cinemas existed in the capital, together with open-air screenings that continued to be offered by a considerable number of cafés. Throughout the country, with the annexation of the city of Thessalonica in 1912 and the rest of Macedonia and the Aegean islands, an overall number of 80 cinemas were in operation by the end of the decade. During this period, due to the increasing demand for technological support, many foreigners were invited to Athens as cameramen, maintenance technicians, and projectionists. Some chose to stay. Among them, the German-Hungarian Josef Hepp (Giozef Chep, 1887–1968) worked relentlessly for decades to consolidate the new art form and should be recognized as one of the most prominent film-makers in the history of Greek cinema. Hepp was a man of artistic brilliance with a superb sense of style for mise-enscène, and his contribution is worthy of closer study. He arrived in Greece in early 1910, after an invitation from King George and bearing the conferred title of “Royal photographer and cinematographer.” His first film was the short journal From the Life of the Little Princes, which he shot in early 1911 with the King’s very many children and grandchildren. He later recollected: When I arrived in Greece, I fell in love with its lucid colors, its blue skies, the unembellished lines of its landscapes, but mostly with its people, their customs and way of living. I filmed them and I was the first who made images to represent Greece in other countries.4
Meanwhile, in 1905 in Macedonia, the brothers Yannakis (Ioannis) (1878– 1954) and Miltiadis (1882–1964) Manaki recorded rural scenes from the life of ordinary villagers.5 They made a number of reels, which established the genre of ethnographic documentary in the Balkans, despite their disputed political agenda. Macedonia was a contested area that still belonged to the collapsing Ottoman Empire, but Greece, Serbia, and Bulgaria aspired to annex it to their national territories. The Manaki brothers produced films that depicted the ethnic diversity of the region as well as the strange in-between minorities that had escaped
Early Greek Cinema: 1905–1945
the attention of the political rivals. These included work on the Aromanian Vlachs, Macedonian Slavs and the Romas. Christos Christodoulou has observed that, “The Manaki Brothers . . . recorded the Balkans at some of their most critical historical moments with both touching impartiality and a sense of documentary precision.”6 Within their work, films of special significance as the earliest visual records of an ethnographic nature from the region include Customs and Traditions of Macedonia (1906), The Visit of Sultan Mehmet V to Thessaloniki and Monastiri (1911), Turkish Prisoners (1912), Refugees (1916), and The Bombardment of Monastiri (1916). These early short reels are still very close to photographs; they are indeed moving pictures, and their photographic stillness can be detected in the decades to come as their enduring artistic legacy to Greek cinema. Miltos Manakis had some interesting ideas regarding photography: Photography is in essence an art form. We are artists/technicians of a sort, comparable to the painters of the past. They were not the only ones who could give beauty to what they painted; we do the same thing with our photographs. A good photograph depends on the play of light . . . And this is something only an artist can do, someone who knows what is attractive, divine and aesthetic . . .7
Manaki brothers, The Abvella Weavers (1905/6). Greek Film Archive Collection.
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A History of Greek Cinema Indeed, one can readily discern the continuity between still photographs and the cinematic representations in Greece and the Balkans at the time. Local artistic practices were based on the great, long, and venerable Byzantine tradition of religious iconography. The visual language of perspective that had dominated European painting since the Italian Renaissance was totally absent from the cultural optics of the country and, certainly, of the whole of Eastern Europe. The new tradition of painting, dominant in the late nineteenth century, was predominantly imported (it was even named the “Munich School”), and was still struggling to find its specific Greek expression and style. (It is interesting, however, that in his pioneer essay on cinema, Vachel Lindsay refers to the paintings of the main representative of the Munich School, Nickolas Gyzis, when he talks about “mood” in the cinematic image of Mary Pickford.)8 The face in Byzantine icons and frescos is self-illuminated, without shades or shadows; and space is depicted symbolically not “realistically” or “naturalistically.” That which interests the Byzantine tradition more is not the story but the “organization of space” and how the viewer experiences its “psychic content.” Its point of view is located within the iconographic space and through the special pictorial practice called “inverse perspective,” according to which the image and each of its components gaze at the viewer and not the viewer at the image.9 Similarly, the camera works with the interplay between light and dark, and with space, in a realistic, photographic sense by juxtaposing patterns, shapes, and forms in order to generate emotions through visual contrasts. The struggle to create depth, to explore natural space, and to understand perspective as the contrast between grades of black and white are visible throughout the early period of Greek cinema and were to be resolved only after the Second World War. Because of its specific iconographic sources and the prevailing visual cultures formed by shadow theater or folk painting, Greek cinema could not embark on the production of large historical epics as in Italy by Enrico Guazzone or Giovanni Pastrone. From its very beginnings, it focused on small-scale productions whose principal objective was to supplant the existing modes and genres of popular entertainment. The documentaries of the Maniaki Brothers do not belong to a single national cinema. They constitute the “primary foundational texts” of the whole cinematography that was to evolve with the collapse of the Ottoman Empire after the First World War. The lives of the two brothers are equally telling. One died poor and unknown in Thessalonica in 1954, while the other was celebrated as a national hero in Yugoslavia, with each of them opting for a different motherland, a different identity, and a different culture.10 In 1910/11, after the first recording camera was imported into the country, a number of short films on the lives of insects and reptiles were
Early Greek Cinema: 1905–1945
made by Harilaos Mavrodimakis, the first scientific documentaries to be produced in Greece. In 1912, Josef Hepp made two more short films on the life of the royal family, during the period of great optimism that followed the election of the new dynamic Prime Minister Eleftherios Venizelos, who was to play a crucial role in the development of cinema in the country, especially after 1928. Meanwhile, foreign films were extremely successful. Among them were The Crowning of the Tsar, Faust, The Life and Passion of Jesus Christ made by Louis Lumière; The Great Train Robbery by Edwin S. Porter; and Cinderella, The Dreyfus Affair and Journey to the Moon by Georges Méliès. These were so popular that they soon inspired local productions.
Production Begins In 1910, the first production company, Athene Films, made a number of slapstick comedies, which focused on the body of Spyros Dimitrakopoulos, aka, Spyridion, the owner of the company. His movies were filmed by imported technicians and were directed by the Italian Filippo Martelli. Spyridion modeled his acting on the American Roscoe “Fatty” Arbuckle and his film Ben’s Kid (1909), which Spyridion had watched in Paris. His cameraman was Erich Bumbach from Germany who was also to play a crucial role in the early period of Greek cinema. Spyridion himself was the scriptwriter, actor, producer and distributor. Spyridion, Quo Vadis (1911); Spyridion, Baby (1912); and Spyridion, Chameleon (1912) were comic skits based on the physical peculiarities of the actor, and his resemblance to the American comedian. They gained wide popularity throughout the country, since by then the number of cinemas had proliferated in many major cities, such as Piraeus, Patras, Volos, and Pyrgos. Unfortunately, none of these movies survive except in stills. Dimitrakopoulos himself was extremely aware of what he called the “demands of the screen.” In a sense, he was the pioneer of screen acting and managed to avoid one of the main disadvantages of most actors in the early period of Greek cinema: theatricality. In an interview in 1924, he recollected: I watched all movies and studied carefully the movements of screen actors, analyzing them, understanding their psychology and trying to find what I was missing, in order to add it. I also studied the ways in which directors arrange things on the screen and only when I became assured that I could pose in front of the camera, did I star in Quo Vadis and my other films.11
During these early years, Josef Hepp was the dominant figure, having by then become the Palace’s favorite cinematographer and, at the same time, the highest-paid professional in the country. He documented the Balkan Wars (1912–1913), the entrance of the Greek army into Thessalonica,
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A History of Greek Cinema and the defeat of the Bulgarian army. Meanwhile, he mentored his first student, Gabriel Loggos (1885–?), who would later make the earliest existing documentary on the criminal world of Athens by hiding the camera in places where the underworld people met—this was also the first attempt at creative script-free film-making. In 1914/15, the folk-costume rural drama Golfo was produced by Costas Behatoros in collaboration with Filippo Martelli, as the first feature film made in the country. Golfo, at 79 minutes, was a costly production (100,000 drachmas, an immense amount for the time) and inaugurated the characteristic genre of bucolic fustanella dramas, which maintained its appeal for many decades through its idealization of rural space and the pre-urban time of communal village innocence. Its story was derived from a popular love idyll in traditional rhyming verse written for the theater by Spyridon Peresiadis in 1893. However, beyond the ethnographic appeal of the story’s setting, were the themes of forced marriage and the position of women in society, especially poor women, and always according to the prevailing patriarchal imaginary. Its tragic conclusion, although somewhat primitive, was quite an emphatic critique of class distinctions and masculine mentality, as it ends with the implied message that every man has sacrificed a woman for his position and success. Stylistically, because of Martelli, it was very close to Italian films of the period, particularly those before the historical epics, which revolved around folk heroes. The actors were all from the theater, with the most prominent among them being Virginia Diamante (1896–1948) and Olympia Damaskou (1878–?), and it seems that their very theatricality contributed to the film’s failure at the box office. Despite this failure, as Dan Georgakas has noted, “the storyline continually intrigued Greek film-makers. A 1932 remake would be the first Greek talking picture. In 1955, there would be three more remakes, one being extremely successful and in 1974, Angelopoulos would feature the play as a central theme in The Travelling Players.”12 Behatoros left for Paris in 1916 and was lost to Greek cinema, as it seems was his fortune, after the failure of the film. Unfortunately, as early as 1931 the film was considered lost. The political unrest of the period, starting with the Balkan Wars and culminating in the tragic National Division (1916–1917), created a precarious environment for the consolidation of the new art form. In 1915, the first attempt to adapt a novel to cinema came with Constantinos Hristomanos’ The Wax Doll (I Kerenia Koukla) by Mihael Glytsos, the second feature film in the country; despite the money invested in the film, it had no commercial success and received vitriolic reviews. However, it is worth pointing out that these early feature films established a gendered visual discourse and took the feminine predicament as the foundation of cinematic language. Golfo was set in the
Early Greek Cinema: 1905–1945
village and The Wax Doll in the city, but in both cases the feminine presence was used as a gendered category, which, irrespective of space, embodied the socio-cultural tensions that prevailed in the public domain of the country. Screen adaptations of literary works caused quite a stir in the circles of an intelligentsia that privileged the culture of the word as the focal element of Greek tradition. On the basis of this film, a prominent intellectual of the period, Fotos Politis (1890–1934), denounced the new art as “a real plague, an artless wound, a superficial spectacle, not different from that of horse racing, which alienates people from the emotions of genuine art.”13 Politis changed his verdict much later, in the early 1930s, when sound was introduced and he saw cinema as potentially the “eighth art,” equal, if not superior, to theater. In 1916/17, Josef Hepp, with the financial assistance of supporters like Yorgos Prokopiou, established Asty Films but never completed their planned movie on The Passion of Jesus (O Aniforos tou Golgotha). Hepp introduced an important innovation then by devising a mechanism of his own to introduce inserts in Greek during a screening. He also managed to film one of the most notorious events in Greek history, the official “Anathema” of the Greek Orthodox Church against Prime Minister Venizelos in December 1916—this was the first political film ever made in the country and tainted Hepp’s reputation. The documentary was indeed just as extraordinary as the event itself—it didn’t escape the attention and reproach of the prominent British ethnographer Sir James George Frazer who saw in it “the indestructibility of superstition.” “In Europe,” he concluded, “such mummeries only contribute to the public hilarity, and bring the Church which parades them into contempt.”14 One year later, Dimos Vratsanos and Josef Hepp produced another drama, directed by Martelli, The Fate of Maroula (or, The Dowry of Annoula). Soon after, another company, the Anglo-Hellenic Company, which was established for the production and distribution of films owned by wealthy Greeks from Cape Town, South Africa, bought Hepp’s company following its huge financial losses. Yet their plans to build proper studios never materialized: the political instability of the period influenced Greek cinema production system in deeply adverse ways and compelled film-makers to make movies only in the open air and to shoot only on location. Meanwhile, Hepp’s films were confiscated and he was subsequently exiled to the islands of Skyros and Icaria for political reasons. (The government accused him of being a staunch royalist and pro-German, which he was.) His treatment prefigured what was to happen to other film-makers in the future. After King Constantine was deposed by French and British intervention in 1916/17, Greece, under the leadership of Eleftherios Venizelos, participated in the last phase of the First World War with the Allies; the war effort on many fronts was intense and film production ceased for two or three years,
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A History of Greek Cinema with the existing cameras used exclusively to record battles in Asia Minor, mainly, as we will see, by the Gaziadis brothers, whose father, Anastasios, was one of the greatest pioneers of art photography in the country.15 For its participation, Greece was rewarded at the Peace Conference in Paris (1919) with territorial gains in eastern Thrace and the area around Smyrna in Asia Minor. After the Conference, the pro-Western Prime Minister Venizelos proceeded with two controversial moves: first, he sent Greek troops to Smyrna, and second, he declared elections in order to renew his mandate by the people. Despite the celebrations after the landing of the Greek army in Smyrna, it soon became apparent that the situation was more complex than anticipated, with many international powers and interests involved. At the same time, the influence of Turkish nationalism and its charismatic leader Mustafa Kemal had been simplistically and fatally underestimated. Furthermore, in an extraordinary twist of history, Venizelos lost the September 1920 election. Consequently, the Western Allies abandoned Greece’s new royalist government which had sided with the Germans during the war and which had now restored the deposed King Constantine to power. After that, all Greek military involvement in Asia Minor was unsustainable and was indeed to end with a major catastrophe in August 1922. Smyrna—a city with a substantial Greek population for centuries—and the entire Asia Minor coastline were evacuated by all its Greek inhabitants in a forced exchange of populations that culminated in hundreds of thousands of casualties and more than 1,800,000 refugees. These displaced people flooded Greece and created a massive social problem that was to dominate the socio-political landscape of the country for many decades. Psychologically, the Asia Minor Catastrophe still remains the most traumatic event in modern Greek history. Its presence can be felt either implicitly or explicitly as the anxiety substratum of most Greek films, indeed of all cultural production, to this day. The fear of expulsion and of losing contact with one’s historic origins, imagined or real, can be detected in most Greek movies, and in most art forms of mainstream production, as a deep-seated anxiety, expressed on many occasions through a panic-stricken affirmation of national and personal identity. The only thing that remained intact after such great loss was the “unchanged” essence of “Greekness,” associated either with “racial” and “cultural” continuity or, in other instances, with the spirit of resistance and rebellion. Thematically, however, it was a trauma that was not effectively confronted and healed in the public arena for almost half a century; and consequently it caused a prolonged crisis of individual identity, confusion in cultural orientation, and finally, distrust towards the political system responsible for it. Even today, in order to affirm Greek identity and address the need for legitimacy and justification in contemporary adverse realities, most public
Early Greek Cinema: 1905–1945
intellectuals revert to pre-Greek state notions, such as the “purity” of the Orthodox faith, the “authenticity” of pre-modern life in the villages, or the glory of classical Greece. It is undeniable that the whole political establishment of the country was involved in the erroneous planning and the delusory execution of the Asia Minor campaign. Yet no one from either the political powers that had supported the campaign or from the high military officers was ever held accountable for the Catastrophe. Six officials, among them the former prime minister, Dimitrios Younaris, and five of his ministers, were executed under the fabricated accusation of “national treason,” as scapegoats for the monumental disaster—an act that only exacerbated the public feeling that the ruling elite was covering up the whole affair. (It is interesting that in 2009, when one of the descendants of the executed officials requested a re-examination of the trial, the Supreme Court declared all six innocent in closed-door proceedings—to ensure that state secrets would still not be revealed 80 years later!) During this period of crisis and collapse, many important film-makers, like Yorgos Prokopiou (1876–1940) and Gabriel Loggos, were filming the Asia Minor campaign (and their reels remain unique visual testimonies of the war effort; these were to be used quite extensively by successive generations of Greek cinematographers as parts of their films or documentaries). Nonetheless, several films were made during the ensuing period of chaos. A personality of special significance also emerged, Dimos Vratsanos (1873– 1944). Vratsanos was one of the associates who had helped Hepp to establish Asty Films; and by 1920 he was the first intellectual to take cinema seriously, establishing a private school for cinema acting. Meanwhile, the first Greek film reviews were published in Illustrated (Eikonografimeni), a journal founded by Vratsanos in 1904 and which was published sporadically until 1936. Furthermore, Vratsanos was the producer and Hepp the director of the hilarious comedy Villar in the Women’s Baths of Faliron (O Bilar sta Ginaikeia Loutra tou Falirou, 1920), which introduced Villar as the most successful comedian of the day. (His real name was Nikolas Sfakianos or Sfakianakis.) Twenty-six whole minutes from his second film The Adventures of Villar (Oi Peripeteies tou Bilar, 1926) have survived and were restored recently, making it the first Greek feature film to exist almost in its entirety. Villar was influenced by the American musicals of the period but more obviously by the “King of Comedy,” Mack Sennett, and especially by his productions involving chase gags and bathing beauties—and he faithfully followed Sennett’s axiom: “We have no scenario . . . the chase is the essence of our comedy.” Yet, as he was running up and down central Athens, his film offered a distinct depiction of the city, its main roads, people and landscape. Also, its subtle humor and its attempt to create a “comedy of manners” make this early film worth watching to this day.
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A History of Greek Cinema Another comedian of the period, Michael Michael of Michael (1895– 1944), also became very popular; his unscripted and director-less films earned him the nickname of the Greek Charlie Chaplin, and his personality gave rise to the first form of “media star” in the country. Between 1923 and 1925, he released five movies with Hepp as his principal cameraman—very few scenes survive from The Wedding of Michael and Concetta (O Gamos tou Mihail kai tis Kontsetas, 1923), Michael is Completely Broke (O Mihail den Ehei Psila, 1923) and Michael’s Dream (To Oneiro tou Mihail, 1923). The commercial success of these films also helped to establish the career of another important comedian in this early period, Ahilleas Madras (1875– 1966), whose movies, despite their shortcomings, can be seen as major social documents in a changing society, as well as filmic texts within a new understanding of cinema as cultural industry. A cosmopolitan wanderer, Madras made a number of interesting movies in a heroic attempt to tell a continuous story while desperately struggling with the camera in new angles, frame devices and perspectives. Most of his films have no script, no stable sets, and feature actors who could not act—with Madras the most prominent among them. His documentary The Refugees of the War (Oi Prosfyges tou Polemou, 1920/21), however, was immensely successful in the Greek diaspora of the United States and brought him considerable profits, which he used to fund
Michael Michael, The Marriage of Michael and Concetta (1923). Greek Film Archive Collection.
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such films as The Gypsy Girl of Athens (I Tsiggana tis Athinas, 1922), Maria Pentagiotissa (1928/29) and The Wizard of Athens (O Magos tis Athinas, 1931). They were failed, sometimes ridiculous, but bold and creative experiments with the medium. Maria Pentagiotissa, which survives in two versions (silent and talking), is an extraordinary film that is totally inaccurate, completely improbable and, despite its dramatically patriotic nature, extremely funny. It was aptly advertised as: “Maria Pentagiotissa is not a colossus! Not a 42mm Canon! Not a super–colossus! Not the miracle of the century! Not a superproduction! Not the first Greek movie! Not a Superfilm! Not an experiment! It is LOCAL STUFF!” The scene in which Maria, the Greek Calamity Jane, is fighting against the enemies of the nation up in rugged mountains and in spectacularly high heels, has been parodied endlessly by subsequent comedians. In the talking version, Madras impersonates the priest who christens Maria, reading the archaic liturgical texts with a perfect French accent! Madras’ last movie, The Wizard of Athens, which was a re-edited version of his first, showed a distinct search for continuous parallel storylines with many improbable twists and turns, and is deserving of closer study. Despite
Ahilleas Madras, Maria Pentagiotissa (1928/9). Greek Film Archive Collection.
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A History of Greek Cinema the fact that it was called a “masterpiece of bad cinema,”16 Madras’ attempt to add color to the movie shot by shot, to introduce double exposure or a form of primitive montage, and to constantly rework its plot in three different versions make it a strange bricolage experiment on stereotypes and clichés, a euphoric attempt at a carnivalesque comic treatment of a melodramatic motif. Despite their shortcomings, Madras’ films are interesting because they were constantly reworked by him in a way that makes the existing filmic text a palimpsest of different layers of stories, added progressively over each other, as the director improved his skills in representation, script and technical know-how. In 1923, Hepp released his poignant documentary The Exchange of Captives in Asia Minor, one of the most tragic documents of the Asia Minor Catastrophe. In the same year, Michael Dorizas, a visiting Greek-American professor from Philadelphia, produced his pioneering short documentary Meteora about the monasteries perched on tall rocks in the center of Greece. In 1924/25, Dimos Vratsanos filmed the sumptuous melodrama The Reject Child of Destiny (Tis Moiras to Apopaidi), which became so successful in Athens (it
Ahilleas Madras, The Magician of Athens (1931). 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). The film starred Kimon Spathopoulos, (1903–1989), who had just arrived from Paris, and highlighted the fact that a creative dialogue between local industry and the Hollywood tradition had already been established. Stathopoulos would later become one of the most important make-up artists for many Greek movies until the 1980s.
Organization and Challenges A turning point in the history of early Greek cinema came in 1927 with the establishment of Dag Films, the first systematized production company. Dag Films was founded by the Gaziadis brothers, who carried on the tradition of their father Anastasios, one of the most brilliant and innovative artistic photographers of the previous decades. Initially, the company made documentaries and journals as it had been doing since 1923; it also functioned as a distribution agency for imported films. In 1927, the Gaziadis brothers decided to transform it into a production company for feature films. In 1928, Dag Films established its own cinema school in order to mentor new actors and directors. The brothers’ background in photojournalism gave a distinct character to their films, making them moving images with strong black and white contrasts, and some brownish with deep-blue nuances. The austere photographic immobility of the camera itself remained initially but as the brothers gained experience in filming, it became possible to dispense with it entirely and to transform the camera eye into an active and meaningful participant in the cinematic experience. The Gaziadis brothers, Dimitris (1897–1961), Kostas (1899–1970) and Mihalis (1905–?) became the D. W. Griffiths of Greece in their attempt to establish a distinctly “national” cinematic style of storytelling through a unified stylistic presentation. Dimitris usually served as director of their films, Mihalis as cinematographer, and Kostas as editor. The brothers thought that their desired “national” style of film-making could be achieved by intercutting clips of documentaries into the storyline of the film, which was shot on location. In their persistent attempts to construct a grand visual narrative for the nation, they favored prolonged shots of the Greek landscape, having as their main opponent the strong and anti-cinematic glare of the sun, which hindered the depiction of inner conflicts and implied
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A History of Greek Cinema emotions; instead, actors had to pantomime their role in order to make its feelings understood by the audience. Dimitris Gaziadis’ unrealized master work The Greek Miracle (To Elliniko Thauma, 1922) was envisaged as immortalizing the recapture of Asia Minor, although using an all-Russian cast. The film was never completed, except in fragmented reels from the actual battles, which Gaziadis himself had filmed, especially the battles at the Sangarios River and in the city of Smyrna shortly before its disastrous fire.17 The devastating defeat of the Greek army forced him to substitute triumphalist narratives and national myths of military and patriotic glory with short and private folk stories of consolation, in an effort to compensate for the trauma of actual events and the death of the “Great Idea” of restoring imperial Byzantium which had dominated Greek politics for a long period. Dag Films’ first foray towards a systematic production was The Delphic Celebrations (Oi Delfikes Eortes, 1927), a pioneering cinematic effort to film ancient Greek tragedy in its natural space and on location. The celebrations were organized by the renowned poet Angelos Sikelianos and his wealthy American wife Eva Palmer and attracted international attention as the first attempt after antiquity to revive tragedy in its traditional environment. The filming was made in collaboration with the brilliant director of photography Dimitris Meravidis (1895–?), who had studied with the Lumière brothers in Paris. Despite their meagre technical means, Meravidis and Gaziadis managed to move the camera horizontally and to create visual effects similar to those on ancient Greek vases—one-dimensional figures in stylized gestures moving in linear sequence and foregrounding the character of ancient tragedy as sacred initiation. Their camera moved between deep-focus photography, longmedium shots and close-ups, alternating with shots of the depthless landscape and stressing the timelessness of tragic performance, the ritualistic slowness of the chorus, and the expressionless neutrality of the dramatic mask. Dimitris Gaziadis had worked with Ernst Lubitsch and Fritz Lang in Germany while his brother Mihalis had worked in Hollywood with Lubitsch
Gaziadis and Meravidis, The Delphic Celebrations (1927). Greek Film Archive Collection.
Early Greek Cinema: 1905–1945
and Griffith. In Dimitris’ most important works, we can clearly see both the influence of German expressionism and the allure of American narrative cinema in a successful fusion. The brothers tried to produce feature films with a continuous narrative story while using the camera to establish a single directorial point of view. Between 1927 and 1929 they produced three movies with uneven results and their final failure determined the fate of early Greek cinema and of silent movies in the country. 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. His second film, The Harbor of Tears (To Limani ton Dakrion, 1929) introduced actors who were to dominate the screen for the next 30 years. 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. Yet some spectacular shots by Gaziadis, especially of a storm around a lighthouse, were commended strongly by critics and were subsequently imitated by other cinematographers. The Harbor of Tears was about the Athenian underworld of smugglers, drug dealers, addicts, and petty thieves. It too was an immediate commercial success. The camera followed a number of characters without really creating a central story or identifying main protagonists. The critic Iris Skarabaiou pointed out that the movie was “a doubtful mixture of many episodes, and that confuses the plot asking for a deus ex machina to offer a favorable and yet improbable solution.”18 The movie also introduced a new representation of figures of the urban underworld as antiheroes, as victims of a social order beyond their grasp and control—a theme that was to dominate the melodramas of the 1950s and 1960s. In his next movie Astero (1929), Dimitris Gaziadis added dramatic intensity to the movement of the camera and made the audience “come into the movie itself.” For the first time, the camera seemed to change angle and follow the action, inviting the viewer to engage in a dialogue with what was happening on the screen. In this film, the camera empathizes with the actors and draws the viewer into the frame as an active participant rather than an
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A History of Greek Cinema indiscreet observer of an irrelevant story. Gaziadis seems to have understood that the camera is not simply the eye of the director, but the eye of the viewer. So, he moves along a horizontal axis, but in an ingenious and inventive way. There is an excellent scene where the camera rests on the head of a dog as it is barking over the dead body of its master: the camera rotates around the mountainous landscape, giving the audience the immediate sensation of an endless immensity of space and the human helplessness within it. The landscape acts as a megaphone to amplify the dog’s barking, as though nature is echoing the pain of human tragedy. In another scene, Gaziadis depicts the madness of Astero by shaking the camera and producing blurry, unstable, and indistinguishable pictures. Astero also introduced a new plot device—the happy ending—as the emotional closure to a story. Gaziadis’ movie consolidated the visual syntax and the framing devices that were to become an integral part of plot and representation in subsequent Greek cinema, especially in the genre of melodrama. The film could have been the first masterpiece of Greek cinema if Gaziadis had managed to work effectively with his actors: while the landscape and the story evoke an
Dimitris Gaziadis, Astero (1929). Greek Film Archive Collection.
Early Greek Cinema: 1905–1945
atmosphere of love and betrayal, most of the characters over-act and undermine the director’s attempts to create a distinct psychological aura around them. Also, Gaziadis avoided confronting or criticizing the patriarchal morality or the dominant conventions surrounding the representation of women. Set in the “innocent” landscape of a traditional village, which formed an organic continuity with the natural landscape, the film idealized an already lost way of living. Nevertheless, through the nostalgic recreation of an innocence lost and an authenticity sought after by the urban masses, Gaziadis implicitly criticized roles and institutions, which after the Asia Minor Catastrophe, had lost their legitimacy and moral authority. Greek “authentic” life was not a matter for the present but a thing of the past: Astero can be seen as a narrative of consolation set against the background of cities filled with refugees living in abject poverty. At the same time, Gaziadis constructed a gendered discourse for the nation, representing women as the most solid and steadfast core of moral probity, endurance, and stability. On this film, Gaziadis collaborated with Pavlos Nirvanas (1886–1937), one of the most well-known public intellectuals and popular writers of the period. Nirvanas wrote the scripts for both Astero and The Storm. In an interesting article which pointed out the urgent quest for good scripts, he noted that as screenwriter he had to obey conventions, write platitudes and satisfy the expectations of the audience by producing a movie “full of Greekness”: If it was successful, we would be able to prove that Greece was capable of establishing its own cinematic art and consequently a very significant national industry . . . Among so many concessions and compromises, I also had to deal with an art that follows convention, and my constant concern from the beginning till the end was: how the characters in the cine-drama were to be Greek, to feel Greek, to behave Greek, to speak Greek, even to fall in love—the great barrier of the screen—in a Greek way. Moreover, in moving within the environment of rural people, how was I to avoid the vulgarity into which there was always the danger of falling? I wanted to avoid vulgarity not by ennobling, through false devices, characters and situations, but by revealing in the depths of their souls genuine nobility, the same Greek nobility that found its most brilliant manifestation in our folk songs.19
Nirvanas’ testimony highlights another aspect of this project regarding the noble villager; its origins can be located in the cultural fantasies of the Athenian urban elite with respect to the countryside and its inhabitants. After the destruction of other cultural centers, Athens imposed a hegemonic view of Greek rural lands as a single homogeneous space with distinct ethical values, endurance, obedience, and respect for tradition by becoming the site which evaluated and privileged its “authentic” character. During Astero’s screening, songs were played on a gramophone in order to enhance the film’s emotional impact. Its achievement was extraordinary;
19
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A History of Greek Cinema 80,000 people saw it in the first week after its release. It was also screened regularly afterwards with such enormous success that a remake with sound was attempted in 1944.20 Although Gaziadis introduced the Hollywood practice of emotional empathy with the characters, he avoided introducing the star system that had started to dominate the studio system in the United States and which had to wait until the 1950s to be consolidated. Gaziadis achieved a more artistic effect with The Storm (I Bora, 1930). With occasional stylistic boldness reminiscent of German expressionism, he employed fading shots, intense close-ups, and soft focus to create an atmosphere of psychological tension and collective anxiety. In this strange film, he also entwined reels of the war in Asia Minor with scenes of a gripping human drama in order to reconstruct states of mind and to provide a continuous narrative sequence. But the film remained fragmented. Iris Skarabaiou notes that the actual reels were irrelevant to the story and were there simply because there was no script—which was only partly true. She also points out that, “the nightmare of the first shot” terrified most of the actors and so the film remained incomplete and disconnected.21 With Gaziadis’ movies, modern urban melodrama was born in Greece, while at the same time the predicament of refugees, of the poor and the dispossessed received its first visual representation. Despite technical difficulties, the Gaziadis brothers established the tradition in Greek cinema of intermingling actual events with fictional ones. After the failure of their artistic projects in 1932, however, the brothers produced only documentaries on current events, and here their camera recorded some of the most critical events of the 1930s. The success of the first organized film company gave birth to a competitor, Olympia Films (while Ahilleas Madras had established his own production company, Ajax Films, and another company Hellas Films appeared in 1930 with more being added during the 1930s, such as Nilo Films, Acropol Films, Astro Films, Foivos Films). The advent of talking pictures sparked intense competition between Dag Films and Olympia Films. Olympia Films produced its first film, Away from the World (Makria apo ton Kosmo, 1929), with the German cinematographer Erich Bumbach exploring the landscapes of Corfu and Mount Athos (unable as all companies were at the time to build their own studios). It was with this company that Josef Hepp made his first attempts to devise his own sound recording system, producing two short films in the process with a system of his own invention. Meanwhile, the challenges of the absence of organized studios and of confronting the rise of talking pictures were exacerbated by the policies adapted by the Greek state against the new medium. The historical context of this rivalry is very important to the development of cinema in Greece. The Asia Minor Catastrophe had been followed by the declaration of the
Early Greek Cinema: 1905–1945
First Greek Republic in April 1924. The Republic, supported by liberal army officers and ambitious generals, did not last long. One of them, General Pangalos, introduced the first legislation restricting the freedom of film-makers. Beginning in 1927, every kind of filming of public events required special permission from the police; furthermore, permission was not granted unless there was a detailed account of how the material was to be used. At the same time, the first strict rules about public conduct at the cinema were passed by the national legislature. Specific guidelines were introduced regarding behavior, dress codes, and the exclusion of minors. The age limit was determined to be 15 (rather than 18 or 21 as in other European countries), especially as the legislation stipulated “if the screened films were depicting criminal or erotic representations with provocative scenes . . .” The suspicion towards the new medium was expressed through public denouncements on the grounds of its promoting criminality, corruption, promiscuity, and immorality. In 1930, legislation defined as “proper” all those films “that have as their content the elevation of virtues, family values, love, maternal affection, and which inspire activity, positive spirit, kindness, and courage.” One of the main elements in police character profiling for petty criminals at that time was that, “during the interrogation it was revealed that the suspect was frequenting popular cinemas.” Such suspicions were also extended to the film-makers themselves, imposing upon them strict instructions about the “moral content” of their work, while at the same time allowing a police officer to inspect behavior at the movie theater during the screening. The Greek state, in utter confusion regarding the nature of the new
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Crystal Mountain Founders Club
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The Crystal Mountain Founders Club is a social organization, created at the time that the stockholders of Crystal Mountain, Inc. sold to the Boyne Corporation in March of 1997.
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https://irp.cdn-website.com/5133de90/site_favicon_16_1688303384254.ico
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https://www.crystalfoundersclub.com/timeline-1960s
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1961
William M. "Bill" Black becomes president of the board through 1968.
1962
The board launches second stock sale, $300,000 of additional Class A stock (at $5 5 per share instead of $50, but with the same lift privilege), $200,000 of which is slated to build the new Green Valley chairlift in 1963.
In April, the Forest Service issues Crystal's "Term Special Use Permit" for a period of twenty years (later amended to thirty).
Summer sees a hubbub of final construction. Newspaper headlines trumpet "Ski Area Is Readied at Crystal Mountain" and "Crews Rush Work at Crystal Mt. Ski Area."
On November 14, Governor Rosellini presides over "Official Dedication" and "Crystal Mountain Preview" at the junction of Highway 410 and the hardwon Crystal Mountain road, four miles of it completed, with a single lane of gravel and dirt the rest of the way to the Day Lodge.
Opening day is December 8. Crystal Mountain Ski Area starts operation with Miners Basin double (C-1), Iceberg Ridge double (C-2), seven rope tows, a T-bar on the Gold Hills slope, and the Day Lodge.
Jack Nagel moves ski school and racing program from Stevens Pass, setting up Crystal's resident ski school and ski shop with then-wife Donna and founding what would become the Crystal Mountain Alpine Club.
1963
Green Valley double (C-3) comes online in December.
1964
Silver Skis Chalet opens in February, the first condominium development in Washington State.
The legendary Silver Skis race from Rainer's Camp Muir to Paradise is revived at Crystal as part of the Pacific Northwest Ski Association's downhill championships. Silver Skis races are subsequently held at Crystal 1965-69, with a weather cancellation in 1967 and format change to giant slalom in 1969.
Alpine Inn and Snorting Elk open in early December.
Crystal Inn and restaurant open in mid-December, along with the pool and Bullion House built by the same development group (C-M Inn Co.). Crystal Inn offers condo units and hotel accommodations.
Summit House (a.k.a. "warming hut") opens at top of Iceberg Ridge lift (C-2).
1965
Quicksilver double (C-4) comes online in December.
National Collegiate Ski Championships event is held March 25-27.
National Alpine Championships and P-I Silver Skis International is held April 2-4.
1966
Chapel is built in spring and summer.
Crystal House (today's Quicksilver Lodge) is built.
Howard "Huck" Paulsen is named Crystal's area superintendent, taking over from General Manager Mel Borgersen. Paulsen is superintendent through 1968. Frank Webb is shop supervisor.
1967
Forest Service issues moratorium on condo development on federal land, which lasts until 1973. Silvers Skis and Crystal Chalets are two of only three condominiums on Forest Service land in the country.
Night skiing comes to Crystal with the illumination of Quicksilver, "one of the longest lighted ski runs in the world."
1968
National Alpine Championships and 15th P-I Silver Skis Downhill event is held March 8-10.
Day Lodge reconstruction in summer repairs damage from second-floor fire the previous February.
H. E. "Ed" Link takes over from Huck Paulsen, becoming president of the company and general manager for a long tenure that lasts until 1981. Don Christianson is his area superintendent.
Tedrowe Watkins becomes chairman of the board through 1975.
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Lectures at U-M
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A Conversation on the Bicentennial Celebrations of the Greek Revolution of 1821
Participants: Yannis Hamilakis (Brown University) and Vassilis Lambropoulos, with Artemis Leontis and Will Stroebel (University of Michigan)
October 25, 2021 | Watch Recording
18th Annual Pallas Lecture: Archaeologies of Contemporary Migration: Border Assemblages, Global Apartheid, and the Decolonial Potential
Speaker: Yannis Hamilakis, Professor, Brown University
Summary: Since 2016, I have been carrying out an archaeological ethnography project on contemporary migration, focusing on the border island of Lesvos. In this talk, I will report on some of the findings of this project, showing how a sustained and detailed attention to the materiality and temporality of the phenomenon, to the sensorial, affective, and temporal properties of things, can offer insights that elude other kinds of research. Objects, spaces, buildings and landscapes are essential components in the formation of border assemblages, together with border crossers, volunteers, as well as border guards and security apparatuses. I will explore how the attention to such assemblages can not only help us understand what some scholars have described as the new Global Apartheid, but more positively, allow us to imagine a decolonial present and future.
February 3rd, 2020 | Watch Lecture
17th Annual Pallas Lecture: Excavating Home: Archaeologies of the Greek American Experience
Speaker: Kostis Kourelis, Associate Professor of Art History, Franklin & Marshall College
Greek migration to the United States maintained two separate domestic environments, the Greek towns in urban America and the remittance villages in rural Greece. Both spaces played a central role in each country’s socio-economic modernization in the 1900s-1920s. Both spaces of this shared transformation were abandoned in the 1960s through urbanization, deindustrialization, suburbanization, white flight, and urban renewal. With the progressive passing of lived memories, archaeology must make increasingly important contributions in reconstructing the immigrant lifeworld of a century ago. By placing all of its archaeological resources into the idealized Classical period, the Greek diaspora has not yet fully embraced its own archaeological potential as a vehicle of self-understanding. The lecture presents recent fieldwork in the Greek towns of Philadelphia, Lancaster, and Harrisburg and in the villages of the Peloponnese, Phocis and Epeiros. It calls for a transnational perspective that provides comparative tools through which to address forced migration today.
Kostis Kourelis is an architectural historian who specializes in the archaeology of the Mediterranean from the medieval to the modern periods. He also investigates how medieval material culture has shaped modern notions of identity, space and aesthetics particularly during the 1930s. His recent fieldwork has focused on the archaeology of the contemporary world, labor, housing, and immigration. In Greece, he directs archaeological surveys of deserted villages and refugee camps; in the U.S., he directs projects on Philadelphia’s Greek town, North Dakota’s man camps and Japanese internment camps. He is Associate Professor of Art History at Franklin & Marshall College.
Publications include Houses of the Morea: Vernacular Architecture of the Northwest Peloponnesos (1205-1955), The Archaeology of Xenitia: Greek Immigration and Material Culture, Punk Archaeology, “Byzantium and the Avant-Garde: Excavations at Corinth, 1920s-1930s,” “‘If Space Remotely Matters: Camped in Greece’s Contingent Countryside,” and “North Dakota Man Camp Project: The Archaeology of Home in Bakken Oil Fields.”
March 21st, 2019 | Watch Lecture
16th Annual Pallas Lecture: Philhellenism and the Invention of American History
Speaker: Johanna Hanink, Associate Professor of Classics, Brown University
What does the landing of the Mayflower in Plymouth have to do with the Battle of Marathon? When the Greek revolutionaries declared independence from the Ottoman Empire in 1821, to which American citizen did they first send their proclamation? How did the Greek War of Independence shape American identity on the eve of the United States' 50th anniversary celebration in 1826? This presentation will explore intersections between philhellenism and nationalism, European and American identity, and ancient and modern Greece in early republican America. It will argue that the era's patriot-orators drew heavily on Greece, both ancient and modern,as they drafted new--and enduring--blueprints of U.S. patriotism.
Johanna Hanink holds a BA in Classics from the University of Michigan, an MA in Latin from the University of California, Berkeley, and an MPhil and PhD in Classics from the University of Cambridge (Queens' College). She works primarily on theater and performance, literary biography, the cultural life and afterlife of classical Athens, and the historical notion of an ancient "Greek miracle."
The Classical Debt: Greek Antiquity in an Era of Austerity (Harvard University Press 2017) is her latest book; it explores how Western fantasies of classical antiquity have created a particularly fraught relationship between the European West and the country of Greece, especially in the context of Greece's recent "tale of two crises." She is also author of Lycurgan Athens and the Making of Classical Tragedy (Cambridge University Press 2014) and co-editor, with Richard Fletcher, of the volume Creative Lives in Classical Antiquity: Poets, Artists, and Biography (Cambridge University Press 2016).
She is active in Brown's Program in Modern Greek Studies and is on the board of the Modern Greek Studies Association. She is also on the editorial boards of The Journal of Modern Greek Studies and Eidolon.
January 29th, 2018 | Watch Lecture
Translating Greek Poetry Under Crisis
Two events with Theodoros Chiotis, Editor of Futures: Poetry of the Greek Crisis
March 13 & 14, 2017 | Listen to Lecture at the Literati bookstore or to the Interview in the radio series "Living Writers" on WCB FM.
15th Annual Pallas Lecture: Speaking Greek at the American University Over the Last Two Centuries
Speaker: Yiorgos Anagnostou, Professor of Modern Greek, The Ohio State University
Celebrating the continuous presence of Greek as a language and a subject of learning on the Michigan campus since 1817 offers an opportunity to reflect on the meaning of "Greek." A host of questions arises: What do Ancient and Modern Greek studies have to say to each other? What kind of conversation have Modern Greek studies–where Modern Greek is spoken–and Classics–where Ancient Greek is read–been carrying on over the last couple of centuries? What tensions, silences, and mutualities have defined this relationship? The lecture traces the history of this relationship, and focuses on ways in which academic multiculturalism has fostered intellectual exchange among scholars of Ancient and Modern Greek. It discusses institutions, scholars, films, fiction, and poetry that bring Classics into conversation with Modern Greek Studies, and develops its own word play on this relationship. It concludes by proposing a framework for future collaboration between the two academic fields: cultivation of a particular ethos of citizenship among students and the wider public.
Thursday, January 26, 2017 | Watch Lecture | Read Lecture
The Rhetoric of Crisis and the Grammar of Resistance in Greek Wall-Writings and Spain’s Hologram Protest
Maria Boletsi, Assistant Professor in the Dept. of Film and Literary Studies, Leiden University
Wednesday, November 30, 2016 | Watch Lecture
History and Culture in Chinese and Greek Film
Presenters: Jing Zhang, New College of Florida & Vassiliki Rapti, Harvard University
The U-M Confucius Institute and Modern Greek Program at the Department of Classical Studies present its fourth joint exploration of modern Chinese and Greek cultures, comparing these two countries' rich cultures and histories in the global context. This unique collaboration is to compare the ways contemporary Chinese and Greeks engage with their respective histories, cultures, performing arts, and films. This year "History and Culture in Chinese and Greek Film" will be discussed via two lectures and two film screenings on March 31 and April 1 respectively.
5 - 5:50 pm: "Lost Child or Lost Fatherhood?: Confucian Structure of Feeling Reinterpreted in Contemporary Chinese Language Cinema" by Jing Zhang
Filial piety and the father-son relationship constitute the core of the "Confucian structure of feeling" in traditional China. While the last two decades saw a rapid economic growth and cultural globalization in China, they also witnessed a revival of traditional values, promoted through state propaganda and education, elite discourse, popular culture, and even legalization. It is in this context that I will discuss the theme of parental love in recent Chinese language films, examining it as an inversion or reinterpretation of filial sentiment pervasive in early modern Chinese literature. I will focus on two recent films of China and Hong Kong collaboration, Dearest (2014) and Lost and Love (2015), one made by the Hong Kong director Peter Chan and the other by novelist and television screenwriter Peng Sanyuan as her directorial debut. Both films base their stories in news reports of child abduction, focus on the parents' relentless search for their lost kids, and dramatize the multilayered tension between parental relationship, morality, and law. I will also trace the motif of "looking for a lost child/father" back to the early Modern Chinese narratives and its reincarnations in several films made at critical historical moments.
6 - 6:50 pm: "In Her Own Voice: History, Memory and Female Subjectivity in Greek Cinema" by Vassiliki Rapti, Harvard University
Within the male-dominated Greek cinema, several pioneering women directors made their appearance in the 1980s and distinguished themselves to the point that we can talk about a feminine Greek cinematic vision. This talk will focus on the distinct features of this powerful yet little known cinematic vision, and tackle female subjectivity as caught up in between History and memory. By analyzing several path-breaking films such as The Price of Love (1984) and Crystal Nights (1992) by Tonia Marketaki, Love Wanders in the Night (1981) andThe Years of the Big Heat (1991) by Frieda Liappa, and Hold Me (2006) and the documentary The Aegean in the Words of Poets (2003) by Loukia Rikaki, where the personal drama is conditioned by the larger circumstances, it will show how female subjectivity is shaped by desire nurtured by memory and agency against History.
March 31, 2016 | Watch Rapti Lecture / Watch Zhang Lecture
Greece & Eurozone: Where to?
Stathis N. Kalyvas, Yale University, Arnold Wolfers Professor of Political Science
In this lecture, Professor Kalyvas will review and discuss the various stages of the “Greek Crisis” from its eruption in 2009 to the present. He will consider its place in the broader context of Greek history and the process of European integration, both monetary and political, comparing and contrasting political and economic dynamics, as well as domestic, European, and international ones. This lecture will draw on the arguments of his recently published book, Modern Greece: What Everyone Needs to Know (Oxford University Press, 2015).
Stathis N. Kalyvas is Arnold Wolfers Professor of Political Science and director of the Program on Order, Conflict, and Violence at Yale University. He is the author of Modern Greece: What Everyone Needs to Know (Oxford University Press, 2015), The Logic of Violence in Civil War (Cambridge University Press, 2006), and The Rise of Christian Democracy in Europe (Cornell University Press, 1996), and the co-editor of Order, Conflict & Violence (Cambridge University Press, 2008). He has received several awards, including the Woodrow Wilson Award for best book on government, politics, or international affairs (2007), the Luebbert Award for best book in comparative politics (2008), the European Academy of Sociology Book Award (2008), the J. David Greenstone Award for best book in politics and history (1997), and the Gregory Luebbert Award for best article in comparative politics (2001, 2009, and 2011). He is the recipient of fellowships and grants from the European University Institute, the Harry Frank Guggenheim Foundation, the United States Peace Institute, and the Folke Bernadotte Academy; and a fellow of the American Academy of Arts and Sciences and the John Simon Guggenheim Memorial Foundation.
Sponsored by the Weiser Center for Emerging Democracies, Center for European Studies, & the Modern Greek Program
February 9, 2016 | Watch Lecture
Greek Art and Mythology; In the Making of Constantinople
Anthony Kaldellis, Ohio State University, Professor and acting Chair, Department of Classics
For centuries, Constantinople, the capital of the Byzantine empire, was the largest and most impressive open-air museum of classical art in the world. In the two centuries after its foundation in 330 AD, it was gradually endowed with imperial monuments and public spaces that made it the equal of ancient Rome. By looking at the forum of Constantine, the forum of Theodosius, the hippodrome, and others this talk will uncover the City’s cosmic symbolism: public spaces were designed to function syntactically as architectural maps of the cosmos and the whole empire, and their symbolic language was mostly that of ancient mythology.
Co-sponsored by the Department of History, the Modern Greek Program, and the University Seminars Program of the Alexander S. Onassis Public Benefit Foundation (USA)
February 3, 2016 | Watch Lecture
The Audacity of Truth: Aris Alexandrou's Modern Greek Antigone
Gonda Van Steen, Cassas Professor in Greek Studies, University of Florida
A talk on a little-known Greek Historical tragedy that takes place during the 1940s. Two theater stdents, John-Alexander Sakelos and Anastasia Zavitsanos, perform excerpts from the play. Co-sponsored by Contexts for Classics.
November 2, 2015 | Watch Performance
Visually Demolished and Textually Reconstructed: The Middle Ages in Contemporary Crime Fiction
Panagiotis A. Agapitos, professor of Byzantine literature, University of Cyprus
Despite the growing interest in medievalist (re)constructions of the Middle Ages (e.g. in film, theater, and fiction), the image of the “Middle Ages” in contemporary crime fiction has not been studied at all despite the immense popularity of this subgenre of crime writing. This talk will take a look at this production that, more or less, began in the late 1970s and has grown into a vibrant industry encompassing a variety of periods from the 7th to the 15th century, mostly placed in England, but also in France, Germany, and Italy. An attempt will be made to recognize the narrative mechanisms of “medieval mystery novels,” their literary models; their ideological approaches to various medieval societies; and their depiction of violence, sex, power, and friendship. A brief look will be offered to crime fiction dealing with cultures outside the conventional frame of the (Western) Middle Ages, such as, China, Japan, and Byzantium. Ultimately, it will be proposed that the “new” Middle Ages of contemporary crime fiction are an exotic locus of intertextual and intervisual fantasy, rather than an academic archeological recostrunction of a clearly defined medieval past.
October 12, 2015 | Watch Lecture
Civilization Gone Awry: Culture, Capitalism, and Conflict in Contemporary Europe
Assistant Professor Peter Bratsis, teaches political science at the City University of New York. He is a founding editor of the journal Situations: Project of the Radical Imagination; author of Everyday Life and the State (Paradigm, 2006; and editor, with Stanley Aronowitz, of Paradigm Lost: State Theory Reconsidered (Minnesota, 2002). His most recent publication is "Political Corruption in the Age of Transnational Capitalism: From the Relative Autonomy of the State to the White Man's Burden" in Historical Materialism (2013).
February 25, 2014 | Watch Lecture
13th Annual Pallas Lecture: How Greek was El Greco?
Speaker: Andrew R. Casper, Miami University
ABSTRACT: Born in Crete around 1541, there is no doubt about the ethnic origins of the painter Domenikos Theotokopoulos, better known as “El Greco” (“The Greek”). And yet the issue becomes much more complex when we take into consideration the painter’s artistic output and the multicultural path that he followed throughout his career. For an artist whose career spanned Crete, Venice, Rome, and Toledo (Spain), the issue of his “Greekness” results in something of a conflict between his own self-conception and the expectations of his audiences. This paper will examine the diversity of El Greco’s painting styles as well as the communicative goals of his signatures to explore the fraught issues of his Greek identity in late sixteenth- and seventeenth-century Europe.
BIO: Andrew Casper earned his Ph.D. at the University of Pennsylvania and is currently Assistant Professor of art history at Miami University in Oxford, Ohio, where he specializes in Renaissance and Baroque art in southern Europe. He is the author of numerous articles on sixteenth-century icons and the religious paintings from El Greco’s Italian period. His book Art and the Religious Image in El Greco’s Italy (Penn State University Press, 2014) uses El Greco’s early paintings to advance new ideas concerning the conception of religious imagery after the Council of Trent. His current research examines the sixteenth- and seventeenth-century artistic conception of the Shroud of Turin as a divine painting. His research and publications have been supported by grants from the American Philosophical Society, Art History Publication Initiative, College Art Association, Fulbright, Italian Art Society, National Endowment for the Humanities, and the Newberry Library. Professor Casper is the winner of the 2014 Miami University Distinguished Teaching Award.
January 22, 2015 | Watch Lecture
Media Represantation of the Greek Crisis
A Lecture by Maria Kakavoulia, Onassis Senior Visiting Scholar and Associate Professor in Rhetoric, Stylistics and Narratology, main coordinator of the Speech and Rhetoric Lab Panteion University of Social and Political Sciences, Athens Greece
This lecture discussed how the international and the Greek media have portrayed the Greek crisis over the last few years. How did the media represent the renegotiation of values involved in Greece's relation to Europe? Does the international press stereotype Greece, or does it contribute to the internationalisation of the crisis and the illustration of the social and humanitarian dimensions of the crisis often ignored by the European Union? How has the foreign representation of Greek crisis been received by the Greek media? The lecture also focused on the plurality of new and old media used by Greek citizens to report stories about the human impact of the austerity measures and the collective anger of the Greek people.
This event was sponsored by the University Seminars Program of the Alexander S. Onassis Public Benefit Foundation (USA)
October 9, 2014 | Watch Lecture
An Open Mic Event Celebrating the Year of C.P. Cavafy
On April 29 we celebrated the 150th anniversary of Cavafy's birth and 80th anniversary of his death with an open mic event.
April 29, 2013 | Watch Event
11th Annual Dimitris and Irmgard Pallas Modern Greek Lecture: Cavafy's Debt
Stathis Gourgouris, Columbia University
February 25, 2013 | PDF
Translating Echoes from the Past: Music-Making and the Politics of Listening and Relatedness in Turkey
Nikolaos Michailidis, a Ph.D. candidate in anthropology at Princeton University
October 8, 2012 | Watch Lecture
Between Two Patriae: Transnational Patriotism in the Adriatic, 1800-1830
Konstantina Zanou, Center for European Studies, New York University
This lecture is about the story of three poets who set off from the same island in the Adriatic Sea, Zante, and end up becoming the ‘national poets’ of two different countries, Italy and Greece. Ugo Foscolo, Andrea Calbo and Dionisios Solomos were born within years of each other (Foscolo in 1778, Calbo 1792, and Solomos 1798), but enough to inculcate in them different choices regarding language, poetry and, finally, national identity. Their divergent routes are seen as a metaphor for the dissolving Venetian ‘cultural continuum’ of the Adriatic.
November 7, 2012 | PDF & Poster
The Colonial Mediterranean and Its Place in European History
Sakis Gekas, Assistant Professor teaching Modern Greek and Mediterranean History at York University, Toronto.
Sakis Gekas is an assistant professor teaching Modern Greek and Mediterranean History at York University, Toronto. He has taught Economic History at the LSE and the University of Manchester and was a Max Weber Fellow at the European University Institute in Florence. He has published on the economic and social history of Mediterranean ports, and he is completing a history of the Ionian State and British colonialism in the Mediterranean.
November 1, 2013
Poster
Sam Karres Reception
Sam Karres, Urban Expressionist painter, Detroit
Urban Expressionist painter Sam Karres has spent his life deriving his inspiration from the city of Detroit. He captured Greektown before the casino, at a time when it was truely a Greek neighborhood and the known Greek hang out was the Macedonia Coffee house. This reception was to honor Sam Karres and his gift of sketchbooks dating from 1975-1996 to the Hatcher Graduate Library. The collection will support the study of both Greek America and Detroit.
October 24, 2012 | Photos & Poster
Athens, Notice Your Poet
Natalie Bakopoulos is a novelist; lecturer in English and affiliated faculty in Modern Greek, U-M. She holds an MFA in Fiction from the University of Michigan, where she now teaches. Her work has appeared in Tin House, Ninth Letter, and Granta Online, and received a 2010 O. Henry Award, a Hopwood Award, and Platsis Prize for Work in the Greek Legacy.
October 4, 2012 | Poster
Hellas Essentialized: Antiquity, the Greek Crisis, and Political Cartoons in the Global Marketplace
Dr. Lauren Talalay, Associate Director and Curator of the Kelsey Museum of Archaeology, University of Michigan,
Monday, February 20, 2012 |PDF
On the Clinical Picture of Nostalgia - and a Remote Literature
Prof. Maria Oikonomou, University of Vienna, Department of Byzantine and Modern Greek Studies
Monday, November 28, 2011 | PDF
9th Annual Dimitris and Irmgard Pallas Lecture in Modern Greek: On Greek Friendship
Professor Gregory Jusdanis, Ohio State University
Wednesday, January 26, 2011
The Balkan Sight of the Mediterranean
Gazmend Kapllani
Thursday, February 3, 2011 Video | Audio
Hellenism and Modernist Performance
Dr. Olga Taxidou, Reader in Drama, University of Edinburgh
Thursday, November 17, 2010
2nd Annual Demetrios and Demetra Partalis Kales Lecture in Modern Greek History: Memory and Religious Culture: Greek Orthodox Life in Ottoman Empire
Professor Tom Papademetriou, Richard Stockton College, New Jersey
Wednesday, December 1, 2010 | PDF
Archaeology and National Identity in the Greek Museum
Professor Dimitris Damaskos, University of Ioannina/Western Greece
Monday, October 4, 2010 | PDF
Alas we went bankrupt...again: The Greek Economy in Turmoil
Stefanos Delikouras, Ross School of Business, University of Michigan
Thursday, October 7, 2010 | Audio
Conversations on Europe: The Financial Crisis in Greece: Causes and Social Consequence
Harris Mylonas, Assistant Professor of Political Science, George Washington University
Thursday, September 16, 2010 Audio | Video
Past (Im)perfect or Present Continuous? The Greek and Spanish Democratic Transitions in Retrospect
Konstantinos Kornetis, Visiting Assistant Professor of History at Brown University
Thursday, March 11, 2010 Audio
8th Annual Dimitri and Irmgard Pallas Lecture in Modern Greek:Translations and Anthologies and their Critical Excess
Karen van Dyck, Professor of Hellenic Studies at Columbia University
Thursday, February 22, 2010 | Audio
The Inaugural Demetrios and Demetra Partalis Kales Annual Lecture in Modern Greek History - America’s Relations with Greece to 1945: From Aloof Soft Power to the Onset of Regional Hard Power
S. Victor Papacosma, Emeritus Professor of History and Director of the Lemnitzer Center for NATO and European Union Studies at Kent State University, Executive Director of the Modern Greek Studies.
Thursday, November 12, 2009 | PDF
Displaying Modernity: Cycladic Art as a 20th-Century Cultural Phenomenon
Dimitris Plantzos, Professor at the University of Ioannina
Wednesday, October 28, 2009 | weblink
The Least Ancient Greek Poet
Vassilis Lambropoulos
Traianos Gagos,
Yopie Prins
Tim Whitmarsh
George Economou
Monday, November 23, 2009
Fragments of Greek Desire
Tim Whitmarsh, Fellow and Tutor, University Lecturer (CUF) in Greek, EP Warren Praelector, at Corpus Christi College, Oxford University
Monday, November 23, 2009 | PDF
Reflections on a Changing Landscape: Rethinking 'Greece' in a Comparative Frame
Michael Herzfeld, Professor of Anthropology at Harvard University
Thursday, October 1, 2009 | Audio
Mediterranean Modernisms: Towards a New Mediterranean Identity
Marinos Pourgouris, Visiting Assistant Professor of Comparative Literature at Brown University
Tuesday, January 28, 2009 | PDF
Conversations on Europe: Mediterranean Entrepreneurial Diaspora Networks during the Long Nineteenth Century
Gelina Harlaftis, Associate Professor, Department of History, Ionian University, Corfu
Thursday, October 30, 2008 | Audio
The Modern Greek Devil: Cosmology or Rhetoric?
Charles Stewart, Department of Anthropology, University College London | PDF
Democracy as a Tragic Regime
Nathalie Karagiannis, Research Fellow in Political Sociology, University of Sussex | PDF
A Heretical (Orthodox) History of the Parthenon
Anthony Kaldellis, Associate Professor, Department of Greek and Latin, The Ohio State University | PDF
Enlightenment, Emancipation, and National Identity: Koraes & the Ancients
Ioannis Evrigenis. Prof. Evrigenis's lecture was delivered as part of the European Union Center's Conversations on Europe lecture series.
January 11, 2007 | PDF
The Restoration of the Athenian Acropolis (1834 - 2005)
Dr. Fani Mallouchou-Tufano, head of the Documentation Office at the Acropolis Restoration Service. Copyright 2006 Dr. Fani Mallouchou-Tufano
January 18, 2006 | PDF
The Moderns between the Greek and Romans: Tony Blair's Athenian Birthday
Sir Peter Stothard
2005
Haunting Europe: Some Modernist Uses of Hellenism
Vassiliki Kolocotroni, University of Glasgow, UK.
2005 | PDF
DOW CEO Andrew Liveris Talks to Class on Modern Greek Culture
Notes from talk and written text delivered on March 17, 2005 | PDF
The 3rd Annual Pallas Lecture
Kevin Featherstone of the London School of Economics and Political Science discusses the state of Greek governance
Feburary 17, 2005 | PDF
Interiority in Greek Rap, Television, and Film
Prof. Franklin Hess, University of Iowa. Copyright 2006 Franklin Hess
November 5, 2004 | PDF
Moderns between the Greeks and Romans Roundtable Talks
Compiled in this one pdf file are four talks recently given at a roundtable discussion of the Moderns between the Greeks and Romans series | PDF
The Now and Future Greek America Strategies for Survival
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Athens is loaded with museums. It seems like there are new museums and branches of old museums opening every week. You can check the Athens News for traveling exhibits and this page will give you information on the main museums that should not be missed. An excellent book to get is The Museums of Athens by Aristidis Michalopoulos which is the most complete guide to Athens Museums that I have found. It contains opening and closing hours, entrance fees, and maps and descriptions on how to get to museums in Athens and Pireaus, the suburbs and nearby islands. Be sure to visit my History of Greece which will make visiting these museums even more meaningful.
National Archaeological Museum
The National Archaeological Museum ranks among the top ten museums in the world. Its impressive collection is housed in a beautiful neoclassic building near the juncture of Alexandras Avenue on Patission Avenue. There is a gift shop, and a cafe in the sculpture garden. Children under 6 and EU students get in free. Be sure to see the Antikithira Device, an ancient computer that will change the way you think about the ancient Greeks.
The museum is a five minute walk from Victoria Station and a 10 minute walk from Omonia. The Trolly #'s 1,2,3,5,6,7,8,9,11,13, and 15 all stop there.
Hours:
Tue-Fri: 8am-7pm
Mon:12:30pm-7pm
Sat, Sun & Holidays:8:30am-3pm
See my Photo Tour of the National Museum of Archaeology
The Acropolis Museum
The new Acropolis Museum was designed to offer the best conditions for the exhibition of its exhibits. A walk through its galleries is a walk through history between the masterpieces of the Archaic and Classical periods, but also in the ancient neighborhoods of Athens whose city streets and buildings you can see below when you look through the glass floors of the museum. It was hoped that by building the Acropolis Museum, the British Museum would return the Elgin Marbles, but don't hold your breath. In the meantime there are copies of those pieces to go along with the thousands of ancient stones and statues that finally have a home, worthy of them. Don't miss this museum.
General admission fee: 5 euros.
Reduced admission fee: 3 euros.
Free admission
(Ask if you are entitled to free admission. You have to be a member of parliament, student from an EU country, a child under 5 and a few other types. If you are not allowed to get in free you may be able to get in for the reduced admission if you are a student from a non EU country or a senior citizen from an EU country).
Museum Hours:
Tuesday to Sunday: 8.00 a.m. to 8.00 p.m.
Last admission: 7.30 p.m.
Galleries cleared at 7.45 p.m.
The Museum is open every Friday until 10 p.m.
Monday: Closed.
Closed: 1 January, 25 March, Easter Sunday, 1 May, 25 December and 26 December.
To get here by metro just get off at the Acropolis stop on the red line. If you are walking it is right down from Dionysiou Areopagitou where it intersects with Makrianni Street on the south side of the Acropolis.
The Benaki Museum
Though the National Archaeology Museum gets all the press, in my opinion it is the Benaki which is the best museum in Athens and certainly the most important in terms of the history of both ancient and modern Greece as well as art and culture. I would also suggest that it is every Greek-American, Greek-Canadian, Greek-Australian and anyone who is of Greek origin or has an interest in Greece to visit the Benaki for a better understanding of the country which is modern Greece. Starting at the bottom floor with the ancient stuff and going up through the various periods of Greek history, my favorite part is the third floor and the heroes of the Greek Revolution and the birth of the modern state of Hellas. Just walk up Vass Sophias from Syntagma with the National Gardens on your right. Then you reach the end of the Gardens look to your left and that is it. The Benaki has opened two more branches in the area around Psiri on Agios Asamaton Street and on Pireaos Street. They also have an excellent gift shop with historic prints, many of which are on display in my home in North Carolina.
Vassilisis Sofias and 1 Koumbari street (between Kolonaki Square and the National Gardens).
Tel 367-1000
The opening hours are:
Weds - Friday - Saturday: 9.00 - 17.00
Monday and Tuesday closed
Thursday: 9.00 - 22.00
Sunday: 9.00 - 15.00 Herakleidon Museum of Art
Mr. Paul Firos and his wife Anna-Belinda, collectors and art lovers, were inspired to create this new private museum by their love of neoclassic buildings and their commitment to preserve such buildings. This is combined with their desire to share with others their enthusiasm for the fine arts and thus contribute to the artistic life of Athens. The museum's mission is to introduce visitors to the art of the exhibited artist, to show how the artist has evolved through the various important periods in his or her career, to explain the various techniques used by the artist to express his or her vision, and to help the visitors connect to both the artist's life and work. To accomplish this, not only will works of the artist be on exhibit, but also preparatory sketches, drawings, photographs and personal items.
See Herakleidon Museum of Art
16 Herakleidon St., Thissio
Tel.: 210 34 61 981
Fax: 210 34 58 225e-mail
The Hellenic Motor Museum
These cars are the collection of Theodore N. Charagionis and they are on display in a beautiful modern building just a couple blocks from the National Archaeological Museum. I may be criticized for saying this but if I had to choose one museum to visit this would be it. But after 45 years of looking at ancient artifacts I may be a bit jaded.
The Museum is open from Tuesday to Saturday from noon to 9pm and on Sunday from 11 to 6pm. The building that houses the museum, the Athenian Capitol complex, is a multi-activity center for the Athenian future, that combines retail, culture and leisure and is located strategically between the National Archaeological Museum and Victoria Station. The address is 3rd September, 33-35 Iouliannou & Patission Streets. If you are coming from the ArchaeologyMuseum turn to your right and walk down Patission Ave for 2 blocks and turn left on Iouliannou. If you are coming from the Victoria metro station, with the square behind you go right on 3rd of September Street and walk 4 short blocks.
See Hellenic Motor Museum (The car in the photo belonged to Robert Plant of Led Zeppelin.
The Goulandris Museum of Cycladic Art
The Museum of Cycladic Art is dedicated to the study and promotion of ancient cultures of the Aegean and Cyprus, with special emphasis on Cycladic Art of the 3rd millennium BC. It was founded in 1986, to house the collection of Nicholas and Dolly Goulandris. Since then it has grown in size to accommodate new acquisitions, obtained either through direct purchases or through donations by important collectors and institutions.
Hours:
Monday - Wednesday - Friday - Saturday: 10:00 - 17:00
Thursday: 10:00 - 20:00
Sunday: 11:00 - 17:00
Tuesday: closed
On Sunday May 6th, the Museum will remain closed due to the elections.
Public Holidays (museum is closed): 1 January, Easter, Easter Monday, Spirit Monday, 1 May, 25 December, 26 December, Shrove Monday, 25 March, 15 August.
4 Neofytou Douka St, Koloniki
Tel 722-8321 or 722-8323
Kerameikos Museum
148 Ermou
346-3552
Tues-Sun:8:30 to 3
Closed Monday
The ancient cemetery of Athens at the bottom of Ermou past the Monastiraki flea market has a nice little museum. The site itself though off the beaten path is one of my favorites. Lots of pottery and tombstones. See Kerameikos
Museum of Greek Folk Art
17 Kydatheneon St Plaka
Tel 323-1577
Embroideries, wood carvings, jewelery, and other traditional folk art. The museums not-to-be-missed collection of ceramics is housed in a beautifully renovated former mosque at 1 Areos Street on Monastiriki Square. Open daily except Mondays from 10am to 2pm.
Jewish Museum
39 Nikis street at Kydatheneon in the Plaka
Tel 323-1577
Before the Nazi occupation and the decimation of Greece's Jewish population, many of Greece's Jewish communities traced their roots back to the Spanish Inquisition and before to Classical Greece. Art and artifacts from Jewish communities through the ages, as well as documentation of the Holocaust makes this museum a cultural treasure. This museum was the creation of my 9th grade history teacher Nikos Stavrolakis. Opening hours: Daily 9.00-2.30, except Saturdays and Sundays 10.00-2.00
See Nikos Stavrolakis Short History of the Jews in Greece
National Gallery
50 vas Konstandinou street (opposite the Hilton)
Tel 723-5937
The permanent collection of modern Greek painters and international contempory artists includes large-scale sculptures. Open daily from 9am to 3pm. Open Sunday from 10am to 2pm. Closed Tuesday.
Municipal Gallery of Athens
Corner of Myllerou and Leonidou St (Avdi Square)
Metaxourgio
The Municipal Gallery of Athens is houses a rich collection of nearly 3,000 works from leading 19th- and 20th-century Greek artists. Its current building was designed in the early 19th century by prominent architect Hans Christian Hansen and is one of the oldest neo-classical buildings in Athens.
The gallery is open Tuesday through Saturday from 10:00 to 14:00 and 17:00 to 21:00 (10am-2pm and 5-9pm), on Sunday from 10:00 to 14:00 (10am-2pm), and closed Monday. Admission is free.
National Historical Museum
13 Stadiou street (in the old Parliament Building)
Tel 323-7617
This museum is perfect for those interested in the Greek War of Independence and it's artifacts. Open daily from 9am to 1:30pm. Closed Mondays. Free on Sunday.
The Gastronomy Museum
If you love food, (and who doesn't?) then this may be the museum for you. Located in a restored late-19th-century mansion off Athinas Street in Psiri, five minutes walk from the Central Market, the word museum does not tell the whole story since it is also a shop and a restaurant where you can have one of the most educational meals you have ever eaten.
The Gastronomy Museum is shut only one day a week, Monday, and serves coffee from 10 a.m., meals from noon to 9:00, and drinks until after midnight. Some of the activities planned include showings of films with a food theme, such as Babettes Feast or Politiki Kouzina (aka A Touch of Spice), cooking lessons for adults, food-related events for kids, talks and book presentations. They also plan to change exhibitions a couple of times a year, to highlight cooking from different periods or regions.
Agiou Dimitriou 13, downtown Athens
Telephone: +30 210 321 1311
Hours: 10am-late; kitchen open noon-9pm; closed Monday
Lalaounis Jewelry Museum
The Ilias Lalaounis Jewelry Museum is a unique museum devoted to the art of jewelry and the decorative arts. The museum was founded in 1993 and opened to the public, as a non-profit organisation. Today the Museums permanent collection includes over 4000 pieces of jewelry and micro sculptures from over 50 collections designed by the museums founder, Ilias Lalaounis, between 1940 and 2000. The permanent collection is enriched with donations including jewelry and decorative arts from around the world. The museum is located on Karyatidon and Kallisperi Streets, just off the esplanade of Dionysiou Areopagitou St. on the south side of the Acropolis, below the Theatre of Dionysos. Visitors can reach the museum by taxi, bus and the subway.
Opening Hours
Thursday, Friday, Saturday: 8.30 a.m. 4.30 p.m.
Sunday: 11.00 a.m. 4.00 p.m.
Wednesday: 9.00 a.m. 9.00 p.m.
Mondays, Tuesdays and National holidays the museum is closed.
General Admission: 5,00
Students, senior Citizens, and Groups: 4,00
Museum of Popular Musical Instruments
1-2 Diogenes St
Plaka
Tel 325-0198
This is my friend Groves Willer's favorite museum in Athens and I am inclined to agree with him. It is easy to find, right across from the Tower of the Winds in the Roman Agora. You can wander around listening to different instruments and styles of music through headphones at each exhibit.Open daily from 10am to 2pm. Wednesday from 12 to 6pm. Closed on Mondays. Admission Free. Visit John Marlowe's review at www.greecetravel.com/musicmuseum
Byzantine Museum
22 Vasilissis Sofias Ave
Tel 721-1027
A divine collection of Byzantine Icons, Mosaics, Sculptures, Bibles, Garments and more. Easy to find, just walk from Syntagma up Vasslissis Sofias Ave past the National Gardens and go another block. Open Tuesdays to Sunday 8:30am to 3pm.
War Museum
2 Rizari Street and Vass. Sofias Avenue (next to the Byzantine Museum
Tel 729-0543
War implements from ancient times to this century including armor, swords, torpedos, and fighter planes. Photographs of various Greek campaigns and battles. really cool museum if you like war stuff. Open Tuesday to Saturday from 9am to 2pm. Sunday from 9:30am to 2pm. Closed Mondays. Admission free.
Theatrical Museum
50 Acadamias st
Tel 362-9430
Greek theatre History. Photographs, programs, masks, costumes, posters etc. Open Monday to Friday from 9am to 2:30pm. Closed Saturday and Sunday. Admission free.
Greek Historical Costume Museum
362-9513
7 Dimokritou st, Kolonaki
Mon, Weds, Fri:10-1
Thurs: 5:30-8:30
Entrance Free
Frissiras Museum of Contemporary Greek and European Painting
3 & 7, Monis Asteriou str. (at the junction of Monis Asteriou and
Kidathinaion str), 10558 Plaka
tel. no. (00301)3234678, 3316027
Wednesday-Friday 11.00-19.00
Saturday-Sunday 10.00-15.00
The Museum is closed on Mondays and Tuesdays
The Frissiras Museum of Contemporary Greek and European Painting is the only museum of its kind in Greece. It houses a private collection of contemporary paintings and drawings as well as temporary exhibitions of Greek and European artists, in two fully renovated neoclassical buildings of the 19th century.
ATELIER SPYROS VASSILIOU
The home and studio of Spyros Vassiliou (1902/3-1985) is now open to the public as a museum and archive, hence becoming the principal authority on the artist. The Atelier recomposes the artistic progression of one of the most acclaimed, reputed and prolific exponents of contemporary Greek art by displaying a large number of his works in a wonderful setting just across from the Herodus Atticus Odeon, under the Acropolis . Furthermore, the Museum Shop offers a selection of original lithographs, prints, books, etc.
5a Webster St. Acropolis, Athens 1174
Metro Stop: Acropolis
Open Monday to Friday 10am-8pmand Saturday & Sunday 1 0 am-3pm
Admission 4 / 2
Tel: (+30) 210-923-1502
www.spyrosvassiliou.org
Battleship Averof Museum
The Averof is arguably the most important ship in Greek history since the Battle of Salamis. This dreadnought cruiser is one of the few left on the planet. The Averof was launched on the 27th February 1910 and arrived at Faliro Bay on the 1st of September 1911, where the Greeks welcomed it with enthusiasm. The ship saw its first action in the First Balkan War of 1912 under the command of Admiral Pavlos Kontouriotis. The ship ruled the northeast Aegean and was an important part in the liberation of Mount Athos and the islands of Limnos, Thasos, Samothraki, Tenedos, Aghios Eustratios, Mitilini, and Chios. The power of this ship and the success in the Aegean kept the Turkish Sultan from challenging the Greek Navy and kept the Turkish Navy out of the Aegean.
June-Sept
Open M-F 9-13:00
M-W-F 18:00-20:00
S-S and Holidays 10-14:00 and 18:00-20:00
Oct-May
M-F 9-13:00
M-W-F 15:00-17:00
S-S and Holidays 10:00-14:00
Nearby is the reconstructed ancient Greek Trireme Olympias built in 1987. The Averof and the Olympias are both in Palio Faliron Park-Flisvos Marina which you can reach by Coastal Tram or withGeorge the Famous Taxi Driver
The Vorres Museum
The Vorres Museum is a cultural foundation that was established in 1983, with the purpose of promoting Greek art and culture, through a broad spectrum of activities, from the organization of exhibitions in Greece and abroad, to educational programs for children.
The museum which sprawls over six acres, is divided into two main sections: the museum of contemporary Greek art and the folk art museum, both of which house collections that cover at least 2500 years of Greek history. The whole complex is laid out in a way that showcases the Greek spirit in a unique fashion. In the contemporary part, one of the most important and representative collections of its kind in the world is exhibited, comprising paintings, installations and sculptures by leading Greek artists, displaying a Greek interpretation of most of the international artistic currents of the second half of the 20th century.
The folk art section, is an extraordinary complex of 19th century buildings, courtyards and gardens or rather a re-adaptation and readjustment of traditional Greek architectural features housing antiquities, icons, ceramics, popular artifacts and objects used in daily Greek life centuries ago, in a manner, revealing their inherent beauty and their practical use.
The gardens, wild and consisting almost entirely of Mediterranean flora are an indispensable part.
Hours
Saturday & Sunday: 10:00 - 14:00
Weekdays by appointment only and for groups of twenty (20) persons or more.
1 Parodos Diadochou Constantinou St.,
Paiania, Attiki
Tel. Numbers: +30 210 6642520, +30 210 6644771
email: info@vorresmuseum.gr The Greek Reptile Center offers one of the largest collections of reptiles in all of Europe. The center hosts live snakes and lizards from all over the world including 6 types of pythons (up to 6 meters in length!), 3 types of boas, 7 types of rattlesnakes, 6 types of cobras and king cobras, black mambas, anacondas, iguanas, and dozens of other reptiles. The only poisonous snakes in Greece, vipers, are also on display. A trip to the Greek Reptile Center is a special treat for children. The center provides an opportunity for children to experience the world of snakes first-hand and learn from an expert who has been caring for the snakes for over 30 years. The center is located just outside of Athens in the in Antonis Tritsis Environmental Education & Sensitization Park and is open daily from 8am to 10pm. It is kind of hard to get to unless you take a taxi but you could do a half day trip with George the Famous Taxi Driver that goes here and the Attika Zoological Park. For more information and directions call 2102312057, 6937280427.
Antonis Tritsis Environmental Education & Sensitization Park
23 Spyrou Moustakli
13121 Ilion
Athens Greece Don't forget the Children's Museumson Kydatheneon street and Voulis streets. Especially if you have children. Also the Metro stations at Syntagma and the Acropolis have archaeological displays worth visiting. be aware that sometimes the hours change with the seasons. You can also find the hours in the Athens News.
The Athens Planetarium is billed as being one of if not the best digital planetarium in the world. I don't know what astronomers would say but the general consensus has been one of surprise that such an impressive planetarium is in Athens. Shows are presented from Monday to Friday from 9.30 until 14.30 and 10.30 until 16.30 on Saturday and Sunday. A normal ticket cost 6 euros. The Athens Planetarium is at the bottom of Syngrou on the left just before you get to the sea. You can email the planetarium for additional info on this address: public@eugenfound.edu.gr
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WOW2: Late July's Women Trailblazers and Events in Our History - 2019
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2019-07-27T00:00:00
|
Welcome to WOW2 — Late-July!
WOW2 is a sister blog to This Week in the War on Women. This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2...
|
en
|
Daily Kos
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https://www.dailykos.com/stories/2019/7/27/1874580/-WOW2-Late-July-s-Women-Trailblazers-and-Events-in-Our-History-2019
|
Welcome to WOW2 — Late-July!
WOW2 is asister blog toThis Week in the War on Women.This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2 into three posts this month.
This is an on-going, evolving project. So many women have been added to the lists over the past three years that even changing the posts from monthly to twice a month, the pages kept getting longer and more unwieldy – an astonishing and wonderful problem to have!
The purpose of WOW2 is to learn about and honor women of achievement, including many who’ve been ignored or marginalized in most of the history books, and to mark moments in women’s history. It also serves as a reference archive of women’s history.There are so many morephenomenal women than I ever dreamed of finding, and all too often their stories are almost unknown, even to feminists and scholars.
_________________________________
Many thanksto WOW2’s Assistant Editorlibera nos — not only for volunteering to be the proofreader for WOW2, but for also contributing to the research. Any remaining mistakes are either mine, or uncaught computer glitches in transferring the data from his emails to DK5.
_________________________________
For theentire previous LATE JULY lists as of 2018,
click HERE: www.dailykos.com/...
Otherwise, what you’re seeing on this LATE-JULY2019 pageare the newpeopleand events, or additional information and visuals,
found since last year.
These trailblazers have a lot to teach us about persistence in the face of overwhelming odds. I hope you will find reclaiming our past as much of an inspiration as I do.
This Week in the War on Women
has posted, so be sure to go there next to catch
up on the latest dispatches from the frontlines:
www.dailykos.com/...
Late-July’s Women Trailblazersand Events in Our History
Note: All images and audios are belowthe person or event to which they refer
_________________________________
July 23, 1721 – Anna Dorothea Therbusch born in Germany, Polish Rococo painter; elected to the Stuttgart Academy of the Arts, the Bologna Academy, the Académie Royale in Paris, and the Academy of Fine Arts in Vienna.
July 23, 1844 – Harriet Williams Russell Strong born, American agriculturist, inventor, and conservation activist; pioneer of innovations in water storage and flood control; music composer; a leader of the West Coast woman suffrage movement; first woman member of the Los Angeles Chamber of Commerce.
July 23, 1889 – Anna Akhmatova born, Ukrainian-Russian poet and author.
July 23, 1892 – Icie Macy Hoobler born, biochemist and physiologist, first woman to head a local section of American Chemical Society and to serve as its national president; Director of the Research Laboratory funded by the Children’s Fund of Michigan. After receiving her Ph.D. from Yale, she started working at Western Pennsylvania Hospital in Pittsburgh as an assistant chemist. Hoobler was not allowed to eat in the dining hall for doctors, as all the other doctors were male, and she was not allowed to eat in the nurses' dining hall for bureaucratic reasons, so she ate with the hospital employees.The hospital only had restrooms for men, and Hoobler had to use a restroom in a public building a half-block down the street. Due to this, she limited her trips to the restroom, and after a few months she developed acute nephritis (kidney inflammation), and was urged to take a year's leave of absence. Upon expressing her dissatisfaction to the chief of the laboratory, she was told that she would soon get used to the conditions. Hoobler resigned. A day after her resignation, the board of trustees president asked her why she decided to resign and why she didn't attend the annual staff banquet, which the chief of the laboratory had not invited her to because he didn't think she would want to be with "all those men." After the president chastised the chief of the laboratory, Hoobler's treatment at the hospital improved. In 1923, during her year’s leave to recuperate from nephritis, Hoobler taught at the University of California at Berkeley. She was offered the position of Director of the Nutrition Research Project of the Merril-Palmer School for Motherhood and Child Development, where she spent the next 31 years directing the laboratory and then served as a research consultant from 1954 to 1974. Under her direction, the laboratory published 300 journal articles and several books on subjects ranging from the metabolism of women during the reproductive cycle to the chemistry of the red blood cell.
July 23, 1900 – Julia Davis Adams born, American author, social worker, journalist and playwright, known for historical and biographical novels, young adult books, and dramas; used the pen name F. Draco for Murray Hill mystery novels.
July 23, 1900 – Inger Margrethe Boberg born, Danish folklore researcher and author; first woman in Denmark to earn a Doctor of Philosophy, in folkloristics; worked as an archivist at Dansk Folkemindesamling (Danish Folklore Archive) from 1932-1957, but it didn’t become a full-time position until 1952, so she also took on temporary work as a school teacher. Recipient in 1945 of the Tagea Brandt Rejselegat, awarded to Danish women who make significant contributions in the sciences or arts, which enabled her to travel and further her studies; co-editor with Stith Thompson of the Motif-Index of Folk-Literature.
July 23, 1907 – Elspeth Grant Huxley born, British writer, journalist, broadcaster, magistrate and environmentalist; author of 30 books, the best known are based on her childhood on a Kenyan coffee farm; The Flame Trees of Thika.
July 23, 1916 – Laurel Martyn born, Australian ballerina and choreographer; in 1935, she was the first Australian woman to be accepted into the Vic-Wells (later Sadler’s Wells) Ballet, and became a soloist in 1938. After returning to Australia, she performed with the Borovansky Ballet, taught dance, and created her own dance works inspired by Australian themes. She was a co-founder of the Young Dancers’ Theatre, and Classical Dance Teachers Australia.
July 23, 1917 – Barbara Deming born, influential nonviolent activist, writer and poet; she marched and wrote for peace, civil rights, women’s rights, and lesbian and gay rights.
July 23, 1928 – Vera Rubin born, American astronomer; studied with Maria Mitchell at Vassar; she was the only graduate in astronomy from Vassar in 1948, then was barred from enrolling in the graduate program at Princeton, which didn’t allow women until 1975. Rubin got her Master’s at Cornell, and her PhD at Georgetown, in spite of having to battle sexism at almost every step. When the men at the Palomar Observatory told her, ‘It’s a real problem because we don’t have a ladies room,’ she cut a piece of paper into a skirt and stuck it on the male figure on the door to one of the men’s restrooms. She said, ‘Look, now you have a ladies room.’ Rubin did the pioneering work on galaxy rotation rates, uncovering the discrepancy between the predicted angular motion of galaxies and the observed motion, by studying galactic rotation curves, which became known as the galaxy rotation problem, work that was compelling evidence of the existence of dark matter. Rubin’s results were met with great skepticism, but over subsequent decades, they were confirmed. She was a strong advocate and mentor of women in science; honored with numerous awards, including the Bruce Medal, the Gold Medal of the Royal Astronomical Society, and the National Medal of Science, but was never honored with a Nobel Prize.
July 23, 1928 – Ruth Whitney born, pioneering editor of Glamour magazine for 31 years (1967 – 1998), among the first editors to introduce relevant social topics to a woman’s magazine, and the first to feature an African American, Katiti Kironde (then an undergraduate at Harvard), on the cover of the magazine’s August 1968 issue.
July 23, 1931 – Te Arikinui (Paramount Chief) Dame Te Atairangikaahu born, Māori queen for 40 years, the longest reign of any Māori monarch; Te Atairangikaahu means ‘hawk of the morning sky’; in 1979, first Māori appointed a Dame Commander of the Order of the British Empire; she was a strong supporter of Māori cultural events, and a spokesperson on indigenous issues.
July 23, 1940 – Danielle Collobert born, French author, poet and journalist; she worked at the Galerie Hautefeuille, a major art photography gallery, in Paris in the early 1960s while writing what would become her novel, Meurtre (Murder), and her first published book, Chants des Guerres (War Songs). She became involved in 1962 with the Front de libération nationale (FLN), Algeria’s nationalist movement, and wrote for the Algerian magazine Révolution Africaine until it stopped being published in 1964; joined the Writers’ Union in 1968, and traveled in Czechoslovakia, writing about the Prague Spring and its aftermath; committed suicide on her 38th birthday; Collobert’s last work, Survie (Survival), was published just three months before her death.
July 23, 1942 – Sallyanne Atkinson born, Australian Liberal Party politician and journalist; Lord Mayor of Brisbane (1985-1991), the first woman to be elected to the position; worked for the Brisbane Telegraph (1960-1962) and the Courier Mail (1963-1964); Alderman on the Brisbane City Council (1979-1985); since 2017, she has been the Chair of the Museum of Brisbane, and Council President of the Women’s College at the University of Queensland.
July 23, 1957 – Jo Brand born, English comedian, writer and presenter, former psychiatric nurse, who began her comedy career doing stand-up at alternative comedy clubs in the mid-1980s billed as ‘Sea Monster.’ In 1993, she became a resident panelist on the BBC show, The Brain Drain. In 2010, she was one of the performers in Channel 4’s Comedy Gala, a benefit for the Great Ormond Street Children’s Hospital. She has written several books, including the novel The More You Ignore Me, which she adapted as a feature-film script. She was the presenter of The Great British Bake Off: An Extra Slice (2014-2017).
July 23, 1959 – Nancy Savoca born, American film director, producer and screenwriter; noted for True Love (which won the Sundance Film Festival 1989 Grand Jury Prize), If These Walls Could Talk, and The 24-Hour Woman.
July 23, 1970 – Thea Dorn born, German novelist and playwright; since 2004, also the TV host of Literatur im Foyer, a show featuring interviews with authors and book reviews.
July 23, 1976 – Judit Polgár born, Hungarian Grandmaster in chess, considered the strongest woman player of all time; achieved the Grandmaster title at 15 years, 4 months, breaking the Youngest Grandmaster record previously held by World Champion Bobby Fischer; she was also the youngest player to break into the FIDE Top 100 players rating list, ranking #55 in the world at the age of 12; in 2005, she became the first, and to date, only woman to qualify for a World Championship Tournament, to surpass a 2700 Elo, reaching a career peak of 2735, and to reach a world ranking of #8; she held the title of #1 ranked woman in the world from 1989 to 2014, when she was briefly overtaken by Chinese player Hou Yifan, but regained her #1 ranking in 2015, shortly after announcing her retirement from competitive chess; she is the only woman to win a game against a reigning World Champion. Polgár has also defeated eleven current or former World Champions in at least one game.
July 23, 1978 – Lauren Groff born, American novelist and short story writer; known for The Monsters of Templeton, Delicate Edible Birds, and Arcadia.
July 23, 1999 – Colonel Eileen Collins becomes first woman to command a US spacecraft, Space Shuttle mission STS-93. In 1995, she was the first female shuttle pilot.
July 23, 2001 – Megawati Sukarnoputri becomes first female president of Indonesia after the President Abdurrahman Wahid is removed from office. She is given day-to-day control of the government beginning in August 2000 and serves as President from July 2001 to October 2004, but loses in the 2004 election.
Every July 23 — National Women in Engineering Day.
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July 24, 1868 — Marie Goegg-Pouchoulin founds the Association Internationale des Femmes, the first women’s organization in Switzerland, advocating for women’s rights and peace; she later leads a successful campaign for women’s admission to the University of Geneva in 1872.
July 24, 1889 – Agnes Meyer Driscoll born, American cryptanalyst, mathematician and physicist, who was fluent in French, German, Latin, Japanese and English; she enlisted in the U.S. Navy during WWI as a chief yeoman (highest rank available to women then) in the Postal Cable and Censorship Office, then was reassigned to the Code and Signal section of the Director of Naval Communications, where she became a leading cryptanalyst, and stayed on as a civilian, except for a two year stint working for the Hebern Electric Code Company on developing an early cipher machine. She returned to the Navy in 1924, where she was an early supporter of machine support to code cracking. Driscoll was a major player in breaking the Japanese Navy manual codes – the Red Book Code in 1926, and the Blue Book Code in 1930; early in 1935, she was a leading member of the team cracking the Japanese M-1 cipher machine used by the Japanese Navy for encrypting messages to their naval attachés in embassies around the world. In 1940, she was doing critical preliminary work on JN-25, the Japanese fleet’s operational code, before she was transferred to a U.S. team working on the German Enigma cipher, but their approach proved fruitless. She was reassigned in 1943 to a team already working on the Japanese Coral cipher; however, the code was broken by others shortly after her arrival. Driscoll was in the U.S. Navy contingent which joined the Armed Forces Security Agency in 1949, and then the National Security Agency in 1952. She retired in 1959.
July 24, 1897 – Amelia Earhart born, American aviator; first woman pilot to fly solo across the American continent (1928) and across the Atlantic (1932); in 1931, became an official of the National Aeronautic Association, promoted the establishment of separate women’s records; member of the Ninety-Nines (named for the number of charter members), a women pilots organization which promoted women in aviation; her plane went missing in the Pacific en route to Howland Island during an attempt to fly around the world in 1937; there have been numerous searches and theories about what happened, but no trace of the plane, Earhart or her navigator Fred Noonan has been found.
July 24, 1900 – Zelda Fitzgerald born, American author, poet and socialite; she and her husband F. Scott Fitzgerald became symbols of the Jazz Age in the 1920s. Her only published novel, the semi-autobiographical Save Me the Waltz (1932), was poorly received, but F. Scott Fitzgerald had insisted she make major alternations prior to publication, as much of what she had written overlapped events he was using in his as-yet unfinished novel Tender is the Night. It has since been reevaluated somewhat more favorably. She spent much of her life from the mid-1930s until her death in and out of sanitoriums. In 1948, she was locked in a room awaiting electroshock therapy when a fire engulfed the Highland Hospital’s main building in Asheville NC, killing her and eight other women.
July 24, 1914 – Frances Oldham Kelsey born in Canada, Canadian-American pharmacologist and physician. She was hired in 1960 by the U.S. Food and Drug Administration, one of only seven full-time and four part-time physicians reviewing drugs for the FDA. One of her first assignments was to review an application by Richardson Merrell for the drug thalidomide (under the tradename Kevadon) as a tranquilizer and painkiller with specific indications to prescribe the drug to pregnant women for morning sickness. Even though it had already been approved in Canada and over 20 European and African countries, she refused to authorize thalidomide for market, and requested further studies. She resisted pressure from the drug manufacturer to approve the drug because of an unexplained nervous system side effect in an English study, and she insisted on a full testing of thalidomide. Her concerns proved justified when thalidomide began to be linked to serious birth defects in Europe. Kelsey’s insistence on full testing, backed by her FDA superiors, made headlines and helped to pass the 1962 Kefauver Harris Amendment to strengthen drug regulation, the same year she was honored with the President’s Award for Distinguished Federal Civilian Service by President John F. Kennedy. She was appointed by the FDA as deputy for scientific and medical affairs in 1995. In 2000, Kelsey was inducted into the National Women’s Hall of Fame. She retired from the FDA in 2005, at the age of 90, after 45 years of service. In 2010, Dr. Kelsey was presented by the FDA with the inaugural ‘Dr. Frances O. Kelsey Drug Safety Excellence Award.’
July 24, 1920 – Bella Abzug born, politician, lawyer, and outspoken feminist; Congresswoman (Democrat -New York, 1971-1977); co-founder in 1971 of the National Women’s Political Caucus, and in 1991, co-founder with Mimi Kleber of the Women’s Environment & Development Organization (WEDO). She was also a notable wearer of hats.
July 24, 1922 – Madeleine Ferron born, French Canadian author and radio show host; noted for her novels Le chemin des dames (The Way of the Ladies) and Le Grand théâtre (The Grand Theatre).
July 24, 1927 – Zara Mints born, Russian-Estonian literary scientist, Slavic philologist and lecturer at the University of Tartu in Estonia. She specialized in the works of Russian lyrical poet Alexander Blok, and Russian literature of the 19th and early 20th centuries.
July 24, 1936 – Ruth Buzzi born, American comedian, voice actress and actress, best known as a member of the cast of the comedy-variety show Rowan & Martin’s Laugh-In (1968-1973), for which she won a Golden Globe, and her voice work as Frou-Frou in the animated feature film The Aristocats. Buzzi supports numerous children’s charities including Make a Wish Foundation, the Special Olympics and a children’s art summer camp. She is also a supporter and fundraiser for the Utopia Animal Rescue Ranch.
July 24, 1953 – Claire McCaskill born, American Democratic politician; regarded as a “moderate,” she has frequently voted against her party’s positions, but has received a 100% favorable rating from Planned Parenthood on healthcare and abortion rights, and an “F” rating from the National Rifle Association; U.S. Senator from Missouri since 2007, and ranking member of the Senate Homeland Security Committee since 2017; served as Auditor of Missouri (1999-2007), Prosecutor of Jackson County (1993-1998), and in the Missouri House of Representatives (1983-1988).
July 24, 1960 – Catherine Destivelle born, French mountaineer; first woman to complete a solo ascent of the Eiger’s north face (1992).
July 24, 1966 – Aminatou Haidar born, Sahrawi (nomadic tribe of Berber-Arab heritage) human rights activist and advocate for the independence of Western Sahara, noted for non-violent protests; president of the Collective of Sahrawi Human Rights Defenders (CODESA); imprisoned by Moroccan authorities in 1987-1991 and 2005-2006. In 2009, she was returning from a trip to the U.S. when her passport was confiscated, and she was expelled by Morocco for refusing to state her nationality as “Moroccan” which a Moroccan official called an “act of treason.” She staged a hunger strike after being forced back to her previous stop, the airport in the Canary Islands. The UN, Human Rights Watch, and Amnesty International all called on Morocco to allow her to return to her home, resulting in global headlines. After over four weeks, she was near death, and Moroccan authorities finally allowed her return, but she was placed under house arrest, and blocked from speaking to journalists. A month later, she returned to Spain for medical treatment, and was found to still be in poor health. Amnesty International reported that Haidar and her family were under constant surveillance by Moroccan security forces and were being harassed and intimidated. She has continued her non-violent struggle for the rights of the Sharawi people in spite of death threats and even physical attacks on herself and members of her family.
July 24, 1968 – Coleen Doran born, American author, illustrator and cartoonist; noted for her artwork used along with work by others in Neil Gaiman’s The Sandman comic book series, and for her illustrations of his short story “Troll Bridge,” as well as her own space opera series, A Distant Soil.
July 24, 1969 – Jennifer Lopez born, American singer, actress and producer; the first Latina actress to earn over $1 million USD for a film. She is involved in political activism and philanthropy, including Amnesty International, the #MeToo and #TimesUp movements, Boys and Girls Clubs, the Children’s Hospital of Los Angeles, and the American Red Cross. She endorsed and made appearances for both Barack Obama and Hilary Clinton during their presidential campaigns. In 2017, she donated $1 million for humanitarian aid for Puerto Rico, and launched with her husband Somos Una Voz (We Are One Voice) to continue to raise funds for disaster relief to areas affected by Hurricane Maria. She is also a supporter of LGBT rights, and has raised millions of dollars for HIV/AIDS research.
July 24, 1971 – Patty Jenkins born, American film and television director and screenwriter; noted for directing Monster, for which Charlize Theron won an Oscar for Best Actress, and Wonder Woman (2017). In 2011, she won the Directors Guild of America award for Outstanding Directing in a Dramatic Series for the pilot episode of the television crime drama The Killing. Variety reported in late 2017 that Patty Jenkins closed a deal to direct Wonder Woman 2, and her paycheck is rumored to be in the $8 million dollar range, which would make her the highest-paid woman director in history. It is still less than half what A-list male directors make. She would also receive a substantial portion of box office grosses as part of her contract. The sequel is due to be released in 2020.
July 24, 1973 – Amanda Stretton born, English racing driver, and broadcast journalist; the first woman driver to compete in the ASCAR Mintex Cup, which she finished in 6th place, and was on the first women’s team in the British GT championships, as well as the first woman to race in the FIA Championships. She was the first British woman to win an international long-distance event at Spa-Francorchamps, and competed in the 24 Hours of Les Mans in 2006. She became a presenter on Channel 4’s Motorsport on 4, and went to work for Sky Sports, EuroSport and Silverstone TV.
July 24, 1987 – Hulda Crooks, 91-years-old, becomes the oldest person to climb Japan’s Mount Fuji.
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July 25, 1291 – Hawys Gadarn born, “the Hardy” Lady of Powys; Welsh noblewoman whose father had the forethought to insure she was a subject of the crown of England in his will. When her father died in 1293, her brother was the heir, but when he too died in 1309, he designated Hawys as his heir, but she was still 17, so her four uncles became her guardians. They disputed her claim on the grounds that women could not inherit under Welsh law, and sought take the land for themselves, and force Hawys into a nunnery. She went to the Parliament of Shrewsbury to petition King Edward II of England in person, as an English subject loyal to the Crown. He asked her to nominate a champion of her rights, and she named John Charleton, who was one of Edward’s knights. Charleton led a company of English knights escorting her back to Powis Castle. The knights ably defended the lady’s claim, capturing three of her uncles. Hawys and John Charleton were married shortly thereafter, and she became known for her support of monasteries, including the building of the Franciscan monastery in Shrewsbury.
July 25, 1806 – Maria Weston Chapman born, America abolitionist and editor of the anti-slavery journal Non-Resistant and The Liberty Bell, an annual gift book featuring works donated by notable writers and used as a fundraiser for the cause; served on the executive committee of the American Anti-Slavery Society (1839-1865).
July 25, 1840 – Flora Adams Darling born, American author, historian, organizer, instrumental in the founding of the Daughters of the American Revolution (DAR).
July 25, 1871 – Margaret Floy Washburn born, American psychologist, known for her work in animal behavior and motor theory, first woman granted a PhD in psychology in the US, second woman to serve as American Psychological Association President.
July 25, 1873 – Anne Tracy Morgan born, American philanthropist and author, spearheaded and supplied funds for relief efforts to aid France during and after WWI and WWII; first American woman appointed a commander of Ordre national de la Légion d’honneur (French Legion of Honor).
July 25, 1874 – Rose O’Neill born, American cartoonist, illustrator, writer and feminist; the first published American woman cartoonist (True magazine, 1896); creator of the popular comic strip Kewpies (debut 1909); she was the highest-paid woman illustrator of her day. Kewpies also became dolls, in several versions, first manufactured in 1912.
July 25, 1881 – Crystal Eastman born, American lawyer, suffragist, socialist and writer. Co-founder and co-editor with her brother Max of the radical arts and politics magazine, The Liberator. She was a founding member of the Women’s International League for Peace and Freedom, and of the American Civil Liberties Union. She managed the unsuccessful 1912 Wisconsin suffrage campaign, then joined with Alice Paul, Lucy Burns and others in founding the militant Congressional Union, which became the National Women’s Party. She was one of the few socialists to endorse the E.R.A., warning that protective legislation for women would mean only discrimination against women. Eastman said you could judge the importance of the E.R.A. by the intensity of the opposition to it.
July 25, 1896 – Josephine Tey born, Scottish author of mystery novels; wrote historical plays under the name Gordon Daviot like Richard of Bordeaux; noted for The Daughter of Time, and other books in her Alan Grant detective series.
July 25, 1898 – Kay Sage born, American Surrealist artist and poet.
July 25, 1900 – Zinaïda Aksentieva born, Ukrainian-Soviet astronomer, worked on mapping gravity and tidal deformation of the earth; Director of the Poltava Observatory (1951-1969).
July 25, 1901 – Ruth Krauss born, American author, known for children’s books such as The Carrot Seed and poems for adults.
July 25, 1901 – Welfare campaigner Emily Hobhouse begins addressing public meetings across Britain to raise money to improve the appalling conditions which are causing thousands of deaths in the segregated concentration camps during the second Anglo-Boer War, where the British held Boer women and children, and black African non-combatants. South Africa made her an honorary citizen for her humanitarian work there. When she died in Kensington in 1926, her death went unreported in the local press, but her ashes were ensconced in a niche in the National Women’s Memorial Monument at Bloemfontein, South Africa.
July 25, 1918 – Jane Frank born, American painter and sculptor, also known for work in mixed media and textile art.
July 25, 1920 – Rosalind Franklin born, British scientist, made contributions to understanding of the molecular structure of DNA which was foundational for work of Watson and Crick.
July 25, 1923 – Maria Gripe, Swedish author children’s and young adult books, recipient of the Hans Christian Andersen Medal.
July 25, 1925 – Jutta Zilliacus born in Finland, Swedish-language Estonian author, journalist and politician. Member of the Finnish Parliament for the Swedish People’s Party (1975-1986) and member of the Helsinki City Council (1968-1984). Among her books are Vägskäl (Crossroads), and Gå över gränser (Across Borders).
July 25, 1930 – Alice Parizeau born in Poland to Jewish parents who died in the Holocaust; French Canadian author, journalist, essayist and criminologist, associated with the sovereignty movement in Quebec.
July 25, 1944 – Sally Beauman born, English journalist and novelist; worked for New York magazine, and was an editor at Queen magazine and The Sunday Telegraph magazine; also worked as an investigative journalist for several leading British publications; author of eight best-selling novels, including The Visitors.
July 25, 1954 – Sheena McDonald born, Scottish journalist and broadcaster; producer and presenter for BBC Radio Scotland (1978-1981), then worked for STV (a Scottish television channel – 1981-1986), then worked on several different programmes until she was struck by a police van responding to an emergency, and seriously injured in 1999, and was out of broadcasting for almost five years; currently presents a news programme for the cable channel Teachers’ TV.
July 25, 1955 – Iman born as Zara Abdulmajid, Somali fashion model, founder of an ethnic cosmetics company, and philanthropist; Super model active from 1976 to 1990, she went on to start her own cosmetics firm in 1994, specializing in difficult-to-find foundation shades for women, and expanding into the home shopping fashion market in 2007. She is actively involved with several children’s charities, including Keep a Child Alive, Children’s Defense Fund, and Save the Children’s East African programs. She played a key part in the Enough Project’s campaign against blood diamonds, including terminating her contract with the De Beers diamond conglomerate over ethics conflicts.
July 25, 1964 –Anne Applebaum born, American-Polish journalist and author; 2004 Pulitzer Prize (General Nonfiction) for Gulag: A History; 2012 National Book Award Nonfiction finalist for Iron Curtain: The Crushing of Eastern Europe 1944-1956.
July 25, 1965 – Illeana Douglas born, American actress, producer, director and screenwriter; noted for writing and directing the comedy short The Perfect Woman, the documentary Everybody Just Stay Calm—Stories in Independent Filmmaking, and Boy Crazy, Girl Crazier. She also produced several projects for the Sundance Channel, including Illeanarama, for which she also has writing and acting credits.
July 25, 1966 – Diana Johnson born, British Labour politician; Member of Parliament for Kingston Upon Hull North since 2005, Hull’s first woman MP; Parliamentary Under-Secretary of State for Schools (2009-2010); Member of the London Assembly for the Labour Party (2003-2004); in 2014, she proposed a Bill that would require sex and relationships education, including discussions around issues such as consent, to be made a compulsory part of the National Curriculum.
July 25, 1967 – Ruth Peetoom born, Dutch Christian Democractic Appeal (CDA) politician, CDA Party Chair since 2011.
July 25, 1969 – Annastacia Palaszczuk born, Australian Labor politician; Premier of Queensland since 2015; Labor member of the Legislative Assembly of Queensland since 2006; as Leader of the Opposition of Queensland (2012-2015), the first woman Premier of a state from an Opposition party; first Australian premier to have a majority of women ministers (8 out of 14); served as Minister for Disabilities (2009-2011), and for Multicultural Affairs (2009-2012).
July 25, 1970 – Ariel Gore born, American author, editor-publisher of Hip Mama, alternative press publication covering the culture and politics of motherhood.
July 25, 1974 – Lauren Faust born, American animator, director, producer and screenwriter; known for creating the animated series My Little Pony: Friendship Is Magic.
July 25, 1974 – Nisha Ganatra born in Canada of Indian subcontinent ancestry, film director, producer, screenwriter and actress, best known for her films Chutney Popcorn and Cosmopolitan.
July 25, 1984 – Svetlana Savitskaya becomes first woman to perform a spacewalk as a cosmonaut aboard Salyut 7.
July 25, 2007 – Pratibha Patil sworn in as India’s first woman president (Indira Gandhi was India’s first woman Prime Minister).
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July 26, 1745 – First recorded women’s cricket match takes place near Guildford, England. It was a match “between eleven maids of Bramley and eleven maids of Hambledon, all dressed in white,” according to The Reading Mercury.
July 26, 1869 – Donaldina Cameron born, social justice advocate in San Francisco. At age 25, she became head of the Presbyterian Mission Home for Girls, and began her battle to end the illegal smuggling of Chinese girls and young women by the Tongs to be used as prostitutes or slave labor. She rescued over 3,000 Chinese women held by the traffickers, developing a network of informers to discover the brothels and opium dens where they were held, then leading police to raid them, sometimes carrying an axe and chopping down doors or panels hiding the victims herself. The traffickers called her Fahn Gwai, “white devil.” Enlisting support from church and civil groups, as well as working with lawyers and legislators, she is credited with breaking the back of the early 20th century Chinese slave trade in the city.
July 26, 1895 – Gracie Allen born, American comedian and vaudevillian, best known as part of the comic duo Burns and Allen, with her husband George Burns, on stage, radio, film and television. She always wore sleeves long enough to cover scars from a severe scalding accident in her childhood. Burns downplayed his own comic brilliance, crediting Allen with their success, “All I had to do was say, 'Gracie, how's your brother?' and she talked for 38 years.”
July 26, 1900 – Sarah Kafrit born in the Russian Empire, Israeli teacher and politician; member for Mapai of the Knesset (Israeli legislature) between 1951 and 1959; a founding member in 1927 of the moshav (farmers’ collective) Kfar Yehoshua; member of the secretariat of Women’s Councils.
July 26, 1906 – Irena Morzycka-Iłłakowicz born in Berlin, Polish 2nd Lieutenant of the National Armed forces, and an intelligence agent working with the Polish resistance movement during WWII. She lived separately from her husband under assumed names to make it more difficult for the Gestapo to find either one of them. She was fluent in seven languages: Polish, French, English, Persian, Finnish, German and Russian. Between 1941 and 1942, her section was systematically destroyed by the Nazis, and numerous other underground activists were arrested. Her husband arranged for a guard to be bribed to put her in a group of non-political prisoners being transported to the Majdanek concentration camp. A group of fighters dressed in Gestapo uniforms presented a falsified document claiming her for further interrogation in Warsaw. She moved from Lublin to Klarysek-Janówek, then returned to Warsaw to work with the Soviet intelligence network in Poland, while her husband was sent to London in 1943 as a representative of the National Armed Forces. He wanted her to come with him, but command decided she should go separately later. Nine days before she was to leave, she was summoned to a meeting, but was murdered in unknown circumstances. Her husband eventually found her body, and she was buried under an alias, as Barbara Zawisza. To prevent the Gestapo from capturing them, her husband was at the funeral disguised as a gravedigger, and her mother posed as a cemetery helper. She was posthumously decorated with the Krzyż Narodowego Czynu Zbrojnego, one of Poland’s highest honors.
July 26, 1918 – Emmy Noether's paper, which became known as Noether's theorem, is presented by a colleague at a meeting the Royal Society of Sciences (because she was not a member of the society), at Göttingen, Germany. Her theorem, from which conservation laws are deduced for symmetries of angular momentum, linear momentum, and energy, is regarded by many physicists as one of the most important mathematical theorems ever proved, which guided the development of modern physics. Even though the importance of her paper was recognized, Noether was not appointed to a paid position, as a lecturer, until 1923. Before that, her family was supporting her while she worked as an untenured professor without being paid.
July 26, 1923 – Jan Berenstain born, author and illustrator, co-author with her husband Stan of children’s book series The Berenstain Bears, and cartoons for magazines.
July 26, 1923 – Bernice Rubens born, Welsh novelist; noted for Madame Sousatzka, and The Elected Member, which won the 1970 Booker Prize for Fiction.
July 26, 1925 – Ana María Matute born, Spanish author and member of the Real Academia Española; honored with the prestigious Miguel de Cervantes Prize for lifetime achievement Spanish letters in 2010; Fiesta al noroeste (Celebration in the Northwest) won the 1952 Café Gijón Prize.
July 26, 1939 – Jun Henmi born as Mayumi Shimizu, Japanese author and poet; known for her fiction and nonfiction works about people affected by WWII. She won the Nitta Jirō Culture Prize in 1984 for her book Otoko-tachi no Yamato (published in English as Yamato: The Last Battle).
July 26, 1945 – Dame Helen Mirren born, notable English actress, began her career with the Royal Shakespeare Company in 1967; one of the few actors to achieve acting’s ‘Triple Crown’ – a 2007 Oscar and an Olivier Award for Best Actress as Queen Elizabeth II in The Queen; and a Tony Award for Best Actress in a Play, for the same role in the play The Audience, which inspired the film. In 2017, Mirren narrated Cries from Syria, a documentary film about the Syrian Civil War, directed by Evgeny Afineevsky. She has publicly stated that she is an atheist, and a naturalist, at her “happiest on a nude beach with people of all ages and races.”
July 26, 1950 – Anne Rafferty born, Lady Justice Rafferty, British justice; Lady Justice of Appeal of England and Wales since 2011, member of the Privy Council and the first woman Chair of the Criminal Bar Association of England and Wales; also Chancellor of the University of Sheffield since 2015. Her career began as Queen’s Counsel (1990-1991), then Recorder (1991-1999), Deputy High Court Justice (1999-2000), and High Court Justice (2000-2011) before being appointed to the Court of Appeal of England and Wales.
July 26, 1952 – Dame Glynis Breakwell, British social psychologist and an active public policy adviser and researcher specialising in leadership, risk management and identity process. She has been a Fellow of the British Psychological Society since 1987 and an Honorary Fellow since 2006. Appointed Dame Commander of the Order of the British Empire in 2012, and is also a Deputy Lieutenant of the County of Somerset.
July 26, 1964 – Anne Provoost born in Belgium, Flemish author of novels for young adults, and essays; noted for her novels My Aunt is a Pilot Whale, which deals with sexual abuse, and Falling, which examines the allure of Neo-Nazi rhetoric, and won Belgian, Dutch and French literary awards.
July 26, 1964 – Sandra Bullock born, American actress, producer and philanthropist; she was twice nominated for an Academy Award for Best Actress for The Blind Side and Gravity, and won the Oscar for The Blind Side. She is the founder of Fortis Films, and was an executive producer on the sitcom George Lopez (2002-2007). Fortis Films produced the movie All About Steve in 2009. Bullock is a supporter of the American Red Cross, donating $1 million USD each for least five different disasters, including the 2004 Indian Ocean earthquakes and tsunamis, the Haiti earthquake, and Hurricane Harvey in Texas. She did a public service announcement urging people to sign a petition for clean-up efforts after the Deepwater Horizon oil spill in the Gulf of Mexico. Bullock made a large donation to Warren Easton High School in New Orleans, which was heavily damaged by Hurricane Katrina. She is also a supporter of the Texas non-profit The Kindred Life Foundation, which assists struggling teen parents and their children.
July 26, 1969 – Tanni Grey-Thompson born, Baroness Grey-Thompson of Eaglescliff, British politician, and academic; born with spina bifida, she was a successful wheelchair racer (1984-2007), winning many gold and silver medals in the Paralympic Games and World Championships; after a stint as a BBC television presenter, she became Chancellor of Northumbria University (2015 to present); created a Life Peer in 2010, she took her oath of office for the House of Lords in English and Welsh.
July 26, 1980 – Jacinda Ardern born, New Zealand politician; Prime Minister of New Zealand, Member of the New Zealand Parliament for Mount Albert, and Leader of the Labour Party since 2017; Member of Parliament for the Labour Party List (2008-2017).
July 26, 2016 – Hillary Clinton becomes the first woman nominee for U.S. President by a major political party at the Democratic National Convention in Philadelphia.
July 26, 2017 – An investigation by USA Today reveals that the U.S. is the most dangerous developed county in which to give birth. Every year, over 50,000 American women are severely injured giving birth, and about 700 women die. An estimated 50% of these injuries and deaths can be presented if hospitals would provide better care. There is no tracking system for doctors to record childbirth issues, and doctors and hospitals alike regularly miss or ignore obvious signs of pre- and post- natal complications. The negligence has resulted in a sharp increase in maternal mortality rates, up from 17 deaths in 100,000 births in 1990 to 26.4 deaths per 100,000 in 2015. The rest of the developed world saw steady or improved death rates, with many below 10 deaths per 100,000 births, according to statistics kept by the World Health Organization (WHO). The average cost of delivering a baby without complications in the U.S. is also much higher than many other countries – almost $11,000, compared to about $3,200 in Canada, or just over $2,500 in Germany or France.
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July 27, 1202 – Battle of Basiani: during the Georgian-Seljuk Wars, the army of Tamar, Queen regnant (1184-1213) of the Kingdom of Georgia wins a decisive victory over the army of Süleymanshah II, Sultan of Rum (Selijuqid [Seljuk] ruler of Anatolia), north of Erzurum in what is now Turkey.
July 27, 1768 – Charlotte Corday born, Girondin assassin of Jacobin leader Jean-Paul Marat; Marat was a key figure in the mass execution of the Girondins, who tried to stem the Reign of Terror.
July 27, 1841 – Linda Richards born, American nurse and educator, one of the first nurses professionally trained in the U.S., at the New England Hospital for Women and Children in Boston, the first American nurse’s training school. Richards establishes training programs in the U.S. and Japan, and creates a system for hospital medical records.
July 27, 1853 – Elizabeth Plankinton born, American philanthropist who inherited a fortune and a tradition of giving from her father, businessman John Plankinton; she never married because her engagement was broken when her fiancé ran off with a dancer whom he married instead; she gave $100,000 (equivalent to over $2.5 million USD today) for the building of the first YWCA hotel in Milwaukee Wisconsin, to provide affordable housing to unmarried working women.
July 27, 1853 – Lucy Maynard Salmon born, American historian and educator; pioneered the use of artifacts from everyday life – laundry lists, advertisements, bulletin-board notices, architectural plans, ledgers, packing slips – in historical research and in the teaching of history; first woman member of the executive committee of the American Historical Association; professor and founder of the history department at Vassar College. She was active in the National College Equal Suffrage League and on the Executive Advisory Council of the Congressional Union for Woman Suffrage. She led the suffrage movement at Vassar, despite disapproval of the trustees and the college’s male president, James Monroe Taylor (1886-1914). His goals for Vassar’s graduates were characterized by his successor, Henry Noble MacCracken, as: “to be cultured . . . not leaders but good wives and mothers, truly liberal in things intellectual but conservative in matters social.” MacCracken continued, “Throughout Taylor’s term Vassar was a college for women developed by men.” Vassar students were finally given permission to form an on-campus suffrage club in 1914.
July 27, 1875 – Mary Olszewski Kryszak born, American educator and politician, Polish newspaper editor, librarian, and bookkeeper; served seven times as a member of the Wisconsin State Assembly; in spite of her impressive list of accomplishments, when running for office, the national press stated that “Mrs. Kryszak ‘takes in’ hemstitching work at home when not engaged in lawmaking.”
July 27, 1889 – Vera Karalli born, Russian ballerina, choreographer and silent film performer.
July 27, 1891 – Myrtle Lawrence born, sharecropper and labor organizer, worked within biracial Southern Tenant Farmers’ Union from 1936 to 1943, honored on the 1976 Bicentennial Freedom Train Exhibition.
July 27, 1904 – Lyudmila Rudenko born in the Russian Empire, Soviet chess player, second Women’s World Chess Champion (1950-1953), the first woman awarded a FIDE International Master title, and Woman Grandmaster (1976). During WWII, she organized a train to evacuate children from the siege of Leningrad.
July 27, 1906 – Helen Wolff born, editor and publisher, published many acclaimed translations under the imprint “A Helen and Kurt Wolff Book” at Harcourt Brace Jovanovich, founded Pantheon Books with husband in 1942.
July 27, 1907 – Irene Fischer born in Austria, American mathematician and geodesist; she and her family fled Nazi Austria in 1939; she worked on stereoscopic projective geometry trajectories for John Rule at MIT; she then began her career (1951-1976) in the Geodesy Branch of the Army Map Service working on what became the World Geodetic System, rising through the ranks to branch chief; her contributions to geodetic science gave scientists a more accurate picture of the size and shape of the earth, and helped determine the parallax of the moon, crucial information for NASA’s Mercury and Apollo moon missions; National Academy of Engineering Member; Fellow of the International Geophysical Union, Inductee of the National Imagery and Mapping Agency Hall of Fame, and the third woman to be honored with the 1967 Distinguished Civilian Service Award, given by the U.S. Army to civilians for outstanding public service which aids accomplishment of the Army’s mission.
July 27, 1916 – Elizabeth Hardwick born, American author and literary critic, co-founder of The New York Review of Books; Fellow of the American Academy of Arts and Sciences; noted for her novel The Simple Truth, and four collections of her criticism.
July 27, 1930 – Shirley Williams, Baroness Williams of Crosby born, British politician and scholar, one of the “Gang of Four” founders of the Social Democratic Party in 1981, served as Leader of the Liberal Democrats in the House of Lords from 2001 to 2004, still active in the House of Lords and Professor Emerita at Harvard University.
July 27, 1930 – Joy Whitby born, English radio and television producer, director and writer of innovative children’s programmes for the BBC (1956-1967), including Play School and Jackanory; produced dramas for London Weekend Television (1967-1969); founded her own company, Grasshopper Productions (1970-1975); Head of Children’s Programmes for Yorkshire Television (1975-1985); since 1985, has produced animated films based on quality picture books; first TV producer to win the Eleanor Farjeon Award for contributions to children’s literature.
July 27, 1940 – Pina Bausch born, German dancer and choreographer, leading influence in modern dance, creator of the company Tanztheater Wuppertal Pina Bausch.
July 27, 1948 – Betty Thomas born, American actress, director and producer of television and motion pictures. Known for her work on the television series Hill Street Blues (1981-1987), for which she won a Best Supporting Actress Emmy for the 1984-1985 season. She directed several episodes of TV series like Hooperman, Doogie Howser MD, and Arresting Behavior, then won a Best Director Emmy for her work on the series Dream On. Her feature film debut as a director was 1992’s Only You. Her second feature The Brady Bunch Movie, was a domestic box office hit, grossing almost $47 million USD, one of the highest grossing movies directed by a woman up to that time. She followed that with other successes, including Dr. Dolittle (starring Eddie Murphy), 28 Days, and 2009's Alvin and the Chipmunks: The Squeakquel.
July 27, 1951 – Roseanna Cunningham born, Scottish National Party politician, Cabinet Secretary for Environment, Climate Change and Land Reform since 2016; Minister for Community Safety and Legal Affairs (2011-2014); Depute (deputy) Leader of the Scottish National Party (2000-2004); Member of the Scottish Parliament for Perthshire South and Kinrossshire Perth (1999-2011).
July 27, 1955 – Cat Bauer born, American novelist; known for Harley, Like a Person (2002), which won an American Library Association Best Books for Young Adults award.
July 27, 1960 – Emily Thornberry born, British Labour politician and barrister who specialized in human rights law (1985-2005); Member of Parliament for Islington South and Finsbury since 2005; vice-chair of the All-Party Parliamentary Pro-Choice and Sexual Health Group; advocate for affordable housing, the environment and gender equality, and an opponent of detention of terrorist subjects without charge for 90 days, and renewal of the Trident nuclear weapons programme.
July 27, 1968 – Sabina Jeschke born in Sweden, German academic and mechanical engineer; professor at the RWTH Aachen University; member of the management board of Deutschen Bahn, a railway company, for digitalization and technology since 2017, and involved with building the think tank “Strong Artificial Intelligence” at the Volvo Car Corporation in Göteborg.
July 27, 1979 – Marielle Franco born, Brazilian PSOL (socialist party) politician, feminist, human rights activist, and an outspoken critic of police brutality and extrajudicial killings. She ran in 2016 as a black bisexual woman and single mother from the favelas (slums), and won a seat on the city council of Rio de Janeiro (2017-2018), where she fought against gender violence, for reproductive rights, and for the rights of favela residents. Franco chaired the Women's Defense Commission, and worked with the Rio de Janeiro Lesbian Front. She and her driver were shot to death in March 2018. Franco was 38 years old. In 2019, two former police officers were charged with her murder.
July 27, 2006 – Peruvian president-elect Alan Garcia makes good on his campaign pledge to draw talent from across the political spectrum by appointing six women to his cabinet, including Peru's first woman justice and first women interior ministers.
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July 28, 1347 – Margaret of Durazzo born, married at age 22 to the quarrelsome Charles III of Naples; when her husband was killed in 1386, she became regent (1386-1393) for her son, Ladislaus of Naples, who was 9 years old. Charles was assassinated on orders from Elizabeth of Bosnia, whose daughter, Queen Mary of Hungary, he had deposed, in spite of Margaret being much against toppling Queen Mary. During her regency, Margaret was able to make peace with Pope Boniface IX, who had excommunicated Charles (and Margaret too, just for being married to Charles) for plotting against the papacy.
July 28, 1609 – Judith Leyster born, Dutch painter during the ‘Golden Age’ of Dutch painting. She was one of the first women members of the Haarlem Guild of St. Luke, the local guild for artists. Within two years of her entry into the Guild, she had taken on three male apprentices. Ironically, her work received more recognition after she filed a lawsuit against the much better-known painter Frans Hals, who accepted a student who left her workshop without Guild permission. Hals settled by paying the fine, and keeping the student. Though her work was highly regarded during her lifetime, it was largely forgotten until 1893, when the Louvre purchased a much-admired painting, The Jolly Companions, purported for over a century to be a ‘Frans Hals’ which turned out to a Judith Leyster painting when the Louvre discovered Leyster’s distinctive monogram under the faked Hals signature.
July 28, 1819 – Louise A. Knapp Smith Clappe born, American teacher and author, came to California in 1849; her letters to her sister giving her impressions of life in the gold-mining camps, were published as a serial in The Pioneer periodical, from January 1854 to December 1855; taught in San Francisco public schools (1854-1878).
July 28, 1855 – Louisine Waldron Elder Havemeyer, American philanthropist, art collector and patron, feminist and advocate for women’s suffrage, supporter of Alice Paul and patron of Edgar Degas.
July 28, 1866 – Beatrix Potter born, beloved English author-illustrator of Peter Rabbit, and a total of 23 children’s storybooks. She was also a naturalist, especially noted for her studies and watercolours of fungi, and contributions to the understanding of fungi spore germination and hybridisation. Potter used the money earned by her books to purchase Hill Top Farm in the Lake District. She was also a pioneer in land conservation, buying hundreds of acres of farmland to preserve the unique landscape of the English Lake District, which she left in her will to the National Trust. The land she preserved is now a large portion of the Lake District National Park.
July 28, 1866 – By a vote of Congress, Vinnie Ream receives a commission from the U.S. government for a statue of Abraham Lincoln. She was only 18 at the time, making her the first and youngest woman to receive an artistic commission from the U.S. federal government.
July 28, 1874 – Alice Duer Miller, American author and poet, suffragist, known for satirical poems in her collection Are Women People? and the novel Come Out of the Kitchen.
July 28, 1879 – Lucy Burns born, American suffragist and women’s rights advocate, who formed the National Woman’s Party with Alice Paul; she attended Columbia University, Vassar College and Yale before becoming an English teacher at Brooklyn’s Erasmus High School (1904-1906), then, supported by her father, she continued her language studies in Germany at the Universities of Bonn and Berlin (1906-1909), and enrolled at Oxford to study English. It was during this time that she became involved with the woman’s suffrage movement after meeting the Pankhursts. She went to work for the Women’s Social and Political Union (WSPU – 1910-1912), and participated in organizing parades and demonstrations. She made numerous court appearances, charged with “disorderly conduct.” During one of her arrests in 1912, she met Alice Paul, also under arrest, at a London Police Station, and they decided to return to the U.S. and apply the tactics they had learned in England to the suffrage cause in America. Their partnership over the next eight years would make woman’s suffrage a national issue in the U.S., and pushed forward passage and ratification of the 19th Amendment in 1920. Burns would endure more time behind bars and harsher treatment than any other American suffragist, including repeated violent forced feeding, and being chained overnight to her cell bars by her raised arms. She was one of the first people to define the term "political prisoner." By the time Tennessee became the 36th state to ratify the Amendment, she was completely exhausted: “I don't want to do anything more. I think we have done all this for women, and we have sacrificed everything we possessed for them, and now let them fight for it . . . I am not going to fight anymore." She retired from political life, and devoted herself to Catholic charities and raising her orphaned niece.
July 28, 1896 – Barbara La Marr born as Reatha Watson, American silent film star and screenwriter. She appeared as an actress in 27 films between 1920 and 1926. She was originally hired as a screenplay writer for Fox Film, where she wrote several scripts which became successful movies before she was “discovered” by Douglas Fairbanks, who cast her in his 1921 film, The Nut, and then as Milady de Winter in his version of The Three Musketeers. But as La Marr ‘s fame and success grew, so did her partying and drinking. She was playing the flapper off-screen as well as on. In 1924, after a series of crash diets damaged her health, her attempts at restoring her career failed, and she died of pulmonary tuberculosis and nephritis in 1926, at age 29.
July 28, 1908 – Dame Annabelle Rankin, Australian politician, second woman member of the Australian Senate; first woman from Queensland to sit in the Parliament; first woman appointed as Opposition Whip in the Senate; first Australian woman to have a federal portfolio (cabinet position), and first to head a foreign mission, to New Zealand.
July 28, 1909 – Aenne Burda born, German publisher of the Burda Group, her family’s media company, which expanded into women’s magazines under her direction, including Burda Moden, which was launched in 1950, and is still being published. In 1977, she started Burda CARINA, a fashion and lifestyle magazine targeting younger women. She also started two charitable foundations, to support young academics and senior citizens.
July 28, 1929 – Jacqueline Bouvier Kennedy Onassis born, American cultural icon; American First Lady (1961-1963), started the White House Historical Association; widow of John F. Kennedy, then married to Greek shipping magnate Aristotle Onassis; book editor for Doubleday; advocate for historic buildings preservation.
July 28, 1929 – Shirley Ann Grau born, American novelist and short story writer; her multi-generational novel, The Keepers of the House, won the 1965 Pulitzer Prize for Fiction.
July 28, 1932 – Natalie Babbit born, American author-illustrator of children’s and YA books; Tuck Everlasting and The Eyes of the Amaryllis.
July 28, 1942 – Tonia Marketaki born, Greek film director and screenwriter; her first short film in 1967 resulted in her imprisonment by the Greek Military Junta (1964-1974); when released, she left Greece, and worked as an assistant editor in the UK, and director of educational films for farmers in Algeria. She came back to Greece in 1971, made three full-length films, Ioannis o Viaios (John the Violent), Krystallines Nyhtes (Crystal Nights), and I timi tis agapis (The Price of Love). She also directed a number of theatrical productions, and the TV series Lemonodasos. She died in 1994 at age 51.
July 28, 1946 – Fahmida Riaz born, Pakistani Urdu-language writer, poet, human rights activist, part of the progressive writers movement, and a feminist; she has published over 15 books of fiction and poetry, most considered controversial at the time, especially her second verse collection Badan Dareeda, regarded as too shockingly erotic and sensual for a woman poet. Founder and publisher of Awaz, a liberal and politically charged Urdu magazine, for which she was arrested and Awaz shut down. She was bailed out by a fan of her work, and sought asylum in India with her children and sister, where her husband, who had also been arrested, was able to join them after his release. They were in exile in India for seven years (1980-1987), before returning to Pakistan.
July 28, 1966 – Sossina M. Haile born in Ethiopia, Ethiopian-American chemist, whose family fled to America seeking asylum during the 1974 coup in Ethiopia, after her historian father was nearly killed. She is known for developing the first solid acid fuel cells, working in the field of sustainable energy technologies. Currently a professor of Materials Science and Engineering at Northwestern University and an editor for the Journal of Materials Research; previously at Caltech (1996-2015). NSF National Young Investigator Award (1994–99), Humboldt Fellowship (1992-1993), Fulbright Fellowship (1991-1992), AT&T Cooperative Research Fellowship (1986-1992), 2001 J.B. Wagner Award of the High Temperature Materials Division of the Electrochemical Society, 2000 Coble Award from the American Ceramic Society, and 1997 TMS Robert Lansing Hardy Award.
July 28, 1971 – Ludmilla Lacueva Canut born, Andorran author of fiction and nonfiction, columnist for the Catalan-language newspaper Bondia; her first published book, Los pioneros de la hoteleria andorrana, a history of the hotel industry of Andorra, won the Research Prize from the General Council of Andorra, and became a local best-seller for Saint George’s Day, when it is traditional for Andorran women to give the men in their lives a book
July 28, 2009 – Tanzania Women's Bank, under the leadership of Margaret Chaca, opens in Dar es Salaam. The idea started during the Dar es Salaam International Trade Fair in 1999. Women participants petitioned Tanzanian President H.E Benjamin Mkapa, asking that the government facilitate establishment of a women’s bank, so women could open checking and savings accounts, and apply for loans, more easily than at traditional banks, which were not geared for small accounts and microloans. It took eight years to get the bank listed as a Registered Financial Institution with the Tanzania Central Bank, and two more years before it opened its first office. It now has three more branches.
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July 29, 1742 – Isabella Graham born in Scotland, American philanthropist and educator, leader in founding the Society for the Relief of Poor Widows, the Orphan Asylum Society and the Society for Promoting Industry among the Poor.
July 29, 1862 – Belle Boyd, Confederate spy, the ‘Siren of the Shenandoah,’ arrested as an 18-year-old after the Union officer that she had been flirting with for information reported her. She aided General Stonewall Jackson the previous May by eavesdropping on the plans of Union General James Shield, and discovering the number of his troops, then riding through the night to deliver the news. After her arrest in July, she was taken to the Old Capitol Prison in Washington DC, held for a month, then released in a prisoner exchange. Boyd was arrested again in June 1863, but released after contracting typhoid fever. In 1864, she attempted to go to England, but her ship was intercepted by a Union blockade, and she was sent to Canada. There, she met a Union naval officer, and they were married in England. After his death in 1866, she became an actress on the English stage to support their daughter, but returned to the U.S. in 1869, settled in New Orleans, married and divorced, and then married again. In 1886, she began touring the country giving highly colored dramatic lectures on her life as a Civil War spy. She died in 1900 while on tour, of a heart attack in Wisconsin, at the age of 56.
July 29, 1846 – Sophie Menter born, German pianist and composer; one of Franz Liszt’s favorite students, a piano virtuoso noted for her electrifying playing style.
July 29, 1884 – Eunice Tietjens born, American author, poet, lecturer, WWI correspondent for the Chicago Daily News; editor at Poetry: A Magazine of Verse.
July 29, 1896 – Maria L. de Hernandez born, Latina activist, first Mexican woman radio announcer. Co-founder of Asociación Protectora de Madres in 1933, which helped expecting mothers, including providing financial aid if needed. She was a vocal opponent against injustice and inequality, speaking out for both the Mexican American and African American communities.
July 29, 1900 – Mary V. Austin born, Australian community worker and political activist; Regional Commandant of the Red Cross Society; National Vice President of the Australian Liberal Party (1947-1976); life member of the Victoria League for Commonwealth Friendship.
July 29, 1900 – Teresa Noce born, Italian labor leader, founding member of the Italian Communist Party, politician, journalist and feminist. Noce was editor of Il Grido del Popolo (The Cry of the People), where she called for better working conditions and the abolition of the Special Tribunals used to imprison anti-Fascists. In the 1950s, she served as a member of the Chamber of Deputies, where she was aligned with Unione Donne Italiane (Italian Women's Union), advocating for broad social legislation benefiting working women. Their efforts won the passage of a law in 1950 which protected the jobs of working mothers and gave five months of paid leave to working pregnant women.
July 29, 1903 – Diana Vreeland born, fashion icon, born in Paris, started as a columnist (1936), then was fashion editor at Harper’s Bazaar until 1962, when she became editor-in-chief at Vogue (1962-1971).
July 29, 1905 – Mary Roebling born, first woman president of a major bank, Trenton Trust Company(1937); the first woman American Stock Exchange governor (1958-1962); Roebling helped establish the first nationally-chartered bank founded by women (1978).
July 29, 1918 – Mary Lee Settle born, American author; won 1978 National Book Award for her novel Blood Tie; co-founder of the PEN/Faulkner Award for Fiction.
July 29, 1932 – Nancy Landon Kassebaum born, Republican Senator from Kansas (1978-1997), the first woman to represent Kansas in the U.S. Senate, instrumental in creation of Tallgrass Prairie National Preserve; noted for co-sponsoring the bi-partisan Kennedy-Kassebaum Health Insurance Portability and Accountability Act with Democratic Senator Edward Kennedy; was a strong supporter of anti-apartheid measures against South Africa in 1980s, and traveled to Nicaragua as an election observer.
July 29, 1936 – Elizabeth H. Dole born, American conservative Republican politician; first woman elected to the U.S. Senate from North Carolina (2003-2009), first woman to serve as U.S. Secretary of Transportation (1983-1987) under Ronald Reagan, and also served as U.S. Secretary of Labor (1989-1990) under George H. W. Bush, becoming the first woman to hold two different cabinet positions, in two different Presidents’ administrations. She served as president of the American Red Cross (1991-1999).
July 29, 1940 – Betty W. Harris born, African American chemist, noted for work on the chemistry of explosives at the Los Alamos National Laboratory; patented a spot test for detecting 1, 3, 5-triamino-2, 4, 6-trinitrobenzene (TATB) in the field. Harris was chief of chemical technology for Solar Turbine Inc., where she managed the technical laboratories and investigated cold-end corrosion of super alloys, which was caused by sulfuric acid and soot in gas turbine engines. She also worked on hazardous waste treatment and environmental remediation; American Chemical Society member.
July 29, 1940 – Solita Collas-Monsod born, aka “Mareng Winnie,” Filipina broadcaster, economist, academic and writer; Director General of the National Economic Development Authority (1986-1989); Professor Emeritus at the University of the Philippines School of Economics, where she has taught since 1963; member of the UN Committee for Development Planning (UNCDP – 1987-2000).
July 29, 1945 – Sharon Creech born, American author of children’s novels; first person to win both the American Newbery Medal, in 1996 for Walk Two Moons, and the British 2002 Carnegie Medal, for Ruby Holler; first American to win the Carnegie Medal.
July 29, 1946 – Ximena Armas born, Chilean painter, who lives in Paris; notable for the symbolism and mysterious quality of her artwork.
July 29, 1950 – Jenny Holzer born, American painter and author; noted as a neo-conceptual feminist artist, who works primarily on large-scale installations designed for public spaces. She won the Golden Lion at the 1990 Venice Biennale, and the Art Institute of Chicago’s Blair Award in 1982. In 2018 she was elected as a member of the American Academy of Arts and Letters.
July 29, 1951 – Susan Blackmore born, British writer, lecturer and broadcaster, whose fields of research include memes, evolutionary theory, psychology,parapsychology, and consciousness; best known for her book, The Meme Machine; PhD in parapsychology – her thesis was titled “Extrasensory Perception as a Cognitive Process,” but after years of experiments, she has become a skeptic, publishing in several humanist and skeptical magazines, as well as The Guardian newspaper.
July 29, 1952 – Marie Panayotopoulos-Cassiotou born, Greek politician; Member of the European Parliament (2004-2009) with the New Democracy, part of the conservative-centrist European People’s Party coalition; was Vice Chair of the EP’s Committee on Petitions, and seated on the Committee on Employment and Social Affairs, and the Committee on Women's Rights and Gender Equality.
July 29, 1958 – Gail Dines born in Britain, radical feminist and academic; Professor Emerita of Sociology and Women’s Studies at Boston’s Wheelock College; an outspoken leader of the anti-pornography campaign, founding member of Stop Porn Culture, and author of Pornland: How Porn Has Hijacked Our Sexuality.
July 29, 1963 – Julie Elliott born, British Labour politician; Member of Parliament for Sunderland Central since 2010; vice-chair of the All-Party Parliamentary Group on State Pension Inequality for Women; previously a regional organiser for the Labour Party (1993-1998) and for the National Asthma Campaign and the GMB Trade Union.
July 29, 1970 – Adele Griffin born, American young adult author, noted for her books The Unfinished Life of Addison Stone, Sons of Liberty and Where I Want to Be.
July 29, 1974 – “Philadelphia Eleven” deacons (Merrill Bittner, Alla Bozarth-Campbell, Alison Cheek, Emily Hewitt, Carter Heyward, Suzanne Hiatt, Marie Moorefield, Jeannette Piccard, Betty Schiess, Katrina Swanson, and Nancy Wittig) ordained as the first women Episcopal priests.
July 29, 1978 – Bidisha, born as Bidisha Bandyopadhyay, daughter of Indian emigrants; British filmmaker, broadcaster and journalist, covering international affairs, social justice issues, arts and culture, and international human rights; contributor to The Guardian and The Huffington Post, presenter for the BBC on Woman’s Hour, The Word and other programmes; author of Beyond the Wall and other nonfiction; does outreach work in UK detention centres and prisons for the English affiliate of PEN International; she launched her filmmaking career in 2017, directing the short, An Impossible Poison.
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July 30, 1751 – Maria Anna Mozart born, nicknamed “Nanneri,” older sister of Wolfgang Amadeus Mozart, she was trained from the age of seven by their father Leopold to play the harpsichord and the fortepiano. She and her brother were taken on tour. She was a talented player, and sometimes received top billing in the early days, but her career was cut short when she reached the age of 18, the age her parents considered her marriageable. She was no longer permitted to perform in public. Dominated by her father, she was forced to turn down a marriage proposal from the man she loved, and was married instead to a magistrate, already twice a widower, with five children from his previous marriages. When she gave birth to her first child in 1785, she had returned to the Mozart home. Her father Leopold, for whom the boy had been named, took over the infant, raising him in the Mozart household until Leopold the elder died in 1787, and her son was finally returned to his mother. After her husband died in 1821, she returned to Salzburg, with her two children and four of her stepchildren, to work as a music teacher. In 1825, she became blind, and died in 1829 at the age of 78. Though she and her brother had been close in childhood, their last visit was in 1783, and she received the last letter from him in 1788, three years before he died.
July 30, 1818 – Emily Brontë born, poet and author of Wuthering Heights.
July 30, 1852 – Emma Gillett born, American lawyer and women’s rights activist, co-founder of the Washington College of Law, the first law school founded by women.
July 30, 1893 – Fatima Jinnah born in British India, dental surgeon, biographer, stateswoman and one of the founders of Pakistan; she was a close advisor of her older brother Muhammad Ali Jinnah, who would become the first Governor General (1947-1948) of the new nation, and was a leading member of the All-India Muslim League; after independence in 1947, she co-founded the Pakistan Women’s Association which did much to help the resettlement of women migrants. But after her brother’s death in 1948, she was banned from speaking on the radio until 1951, and her radio address to the nation then was heavily censored by Liaquat Ali Khan’s administration. She wrote a biography of her brother in 1956, but it wasn’t published until 1987 because of censorship, and accusations that she had written ‘anti-nationalist material.’ Even when it was finally published, several pages were left out. She came out of political retirement in 1965, to run for president against the military dictator Ayub Khan, but the military rigged the election. When she died in 1967, rumors spread that it was not a natural death, and her family demanded an inquiry, but the government quashed any inquiry. Honored by the people for her support of civil rights, her funeral was attended by almost half a million people. She is often referred to as Māder-e Millat (Mother of the Nation).
July 30, 1939 – Eleanor “Ellie” Smeal born, women’s rights activist, co-founder and president of the Feminist Majority Foundation (1987) and publisher of Ms. Magazine, president of National Organization for Women (1977-1982 and 1985-1987).
July 30, 1940 – Pat Schroeder born, Democratic politician, U.S. Representative from Colorado (1973-1997), first woman to serve in U.S. Congress from Colorado; first woman on the House Armed Services Committee. She was a prime mover behind the Family and Medical Leave Act of 1993, and the 1985 Military Family Act. She briefly ran for U.S. President after Gary Hart dropped out of the 1987 race, but was derailed when she teared up during a speech, instantly branding her as “weak,” even though male candidates doing the same thing were praised for showing their feelings. She was an advocate of stronger copyright laws, and after leaving the House of Representatives, she became President and CEO of the Association of American Publishers (1997-2008). Now retired in Florida, she is on the board of the League of Women Voters of Florida. Schroeder was named to the National Women’s Hall of Fame in 1995.
July 30, 1942 – Pollyanna Pickering born, English wildlife artist and environmentalist who went on expeditions to study animals in their natural habitats.
July 30, 1942 – President Franklin Roosevelt signs bill creating a women's auxiliary agency in the Navy known as Women Accepted for Volunteer Emergency Service (W.A.V.E.S.).
July 30, 1947 – Françoise Barré-Sinoussi born, French virologist and Director of Unité de Régulation des Infections Rétrovirales (The Regulation of the Retroviral Infections Division), and a Professor at the Institut Pasteur in Paris. Best known for her pioneering work identifying the human immunodeficiency virus (HIV) as the cause of AIDS. She and Luc Montagnier jointly received the 2008 Nobel Prize in Physiology or Medicine for their work in the discovery of HIV. She travelled to Africa with colleagues in the mid-1980s, and, astonished by the magnitude of the epidemic, she committed to fighting thedisease in resource-limited countries. In 1986, she helped organise the International AIDS Conference in Paris, and two years later, she and her colleagues formed the International AIDS Society. She has served a consultant for the World Health Organization (WHO) and UNAIDS, initiating collaborations with developing countries and multidisciplinary networks to pool resources and share information. In 2012, she became the president of the International AIDS Society.
July 30, 1948 – Julia Tsenova born, Bulgarian composer and pianist. Noted for symphonic and chamber music, as well as choral works. Her interest in ancient Eastern philosophies, particularly Indian philosophies, has been an influence on her compositions. She died of cancer in 2010.
July 30, 1949 – Dame Sonia Proudman born, judge of the High Court of England and Wales in the Chancery Division (2008-2017); Deputy High Court Judge (2001-2008); became a Bencher in 1996, and was a Recorder in 2000. Proudman was called to the Bar in 1972, after being one of the first women to win an Eldon Law Scholarship to study for the English Bar, awarded to University of Oxford students who earned either a first class honours degree in the Final Honours School, or a distinction on the BCL or MJur (academic degrees in law).
July 30, 1950 – Harriet Harman born, British solicitor and Labour Party politician; Member of Parliament for Camberwell and Peckham since 1982; Harman holds the current record for the longest continuously-serving woman MP in the House of Commons. She was Deputy Leader and Chair of the Labour Party (2007-2015); Acting Leader of the Opposition in 2015.
July 30, 1956 – Anita Hill born, American lawyer and academic, professor of social policy, law, and women's studies at Brandeis University and a faculty member of the university’s Heller School for Social Policy and Management. She became a national figure during the 1991 U.S. Senate hearings on Supreme Court nominee Clarence Thomas when she testified that he had sexually harassed her as her supervisor at the U.S. Department of Education and the Equal Employment Opportunity Commission (EEOC). Though initially pilloried for her testimony, public opinion began to shift in her favor as time passed. Congress passed a bill later in 1991 that gave harassment victims the right to seek federal damage awards, back pay, and reinstatement, signed into law by President George H. W. Bush. By 1992, harassment complaints to the EEOC were up by 50%. Private companies started training programs to deter sexual harassment. The manner in which the all-male Senate Judiciary Committee challenged and dismissed Hill's accusations of sexual harassment angered woman politicians, lawyers and feminists. According to D.C. Congressional Delegate Eleanor Holmes Norton, Hill's treatment by the panel was a contributing factor to the large number of women elected to Congress in 1992. "Women clearly went to the polls with the notion in mind that you had to have more women in Congress," she said. In their anthology, All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave, editors Gloria T. Hull, Patricia Bell-Scott, and Barbara Smith described black feminists mobilizing "a remarkable national response to the Anita Hill-Clarence Thomas controversy.”
July 30, 1956 – Soraida Martinez born, American abstract expressionist painter and designer of Puerto Rican descent, creator of the art movement, Verdadism, which juxtaposes figurative abstract paintings with written social commentaries.
July 30, 1960 – Jennifer Barnes born, American-English musicologist, university administrator, opera singer, and a leading authority on composers Gian Carlo Menotti, Thea Musgrave and Ethel Smyth. In 1999 Barnes established a Leverhulme research partnership between Imperial College, Manchester University and the Royal College of Music. Seeing the potential in wireless EEG biofeedback, she designed a program to analyze the role of alpha, beta and theta waves in musicians and dancers under performance stress. Subsequent findings have been integrated into the curricula of performing arts institutions worldwide.
July 30, 1964 – Laine Randjärv born, Estonian Reform Party politician; Vice-President of the Riigikogu (Estonian Parliament) since 2011; Minister of Culture (2007-2011). She was Mayor of Tartu (2004-2007), after serving as Deputy Mayor (2002-2004).
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July 31, 1811 – Jane Currie Blaikie Hoge born, American nurse, welfare worker; fundraiser for the Union war effort; Chicago Home for the Friendless founder; Chicago Sanitary Commission co-administrator during U.S. Civil War; her Civil War memoir is The Boys in Blue.
July 31, 1816 – Lydia Moss Bradley born, businesswoman and philanthropist, managed her own fortune after the death of her husband, successful in real estate and banking, endowed the Bradley Polytechnic Institute, and became the first woman member of a national banking board. Bradley is the first American woman known to draw up a prenuptial agreement to protect her assets.
July 31, 1831 – Sarah J. Thompson Garnet, American suffragist and educator, first African American woman school principal in the New York City public schools, founder of the Equal Suffrage League in Brooklyn.
July 31, 1833 – Amelia Stone Quinton born, American social activist, advocate for Native American rights, a founding member of the Women’s National Indian Association.
July 31, 1858 – Marion Talbot born; when she had difficulty gaining admission to Boston University in spite of her father being the dean of its School of Medicine, she became a tenacious supporter of higher learning for women, and campaigned against efforts to restrict equal educational opportunities. She was Dean of Women at the University of Chicago (1895-1925); established the first Midwestern regional meetings of college deans in 1902, and then Midwestern regional meetings for deans of women, beginning in 1911; co-founder of what became the American Association of University Women, and served as the organization’s president (1895-1897).
July 31, 1860 – Mary Vaux Walcott born, American painter and naturalist, known for her watercolors of wildflowers, president of the Society of Women Geographers; her illustrations were often published by the Smithsonian.
July 31, 1879 – Margarete Bieber born, art historian and professor of art and archaeology, second female university professor in Germany (1919) before immigrating to the U.S., taught at Barnard College and Columbia University, published numerous academic texts, named to the American Academy of Arts and Sciences in 1971.
July 31, 1923 – Stephanie Kwolek born, American chemist whose career at the Dupont company lasted over forty years; best known as the inventor of Kevlar, for which she was awarded the company’s Lavoisier Medal for outstanding technical achievement, the first woman employee to receive this honor; also won numerous awards for her work in polymer chemistry, including the National Medal of Technology, and the Perkin Medal, given by the Society of Chemical Industry “for innovation in applied chemistry resulting in outstanding commercial development.”
July 31, 1924 – Geraldine Hoff Doyle born, probably the model for the WWII “We Can Do It” poster which came to symbolize Rosie the Riveters, women who became factory workers to support the war effort.
July 31, 1929 – Lynne Reid Banks born, British author of The L-Shaped Room, The Indian in the Cupboard, Dark Quartet, and Path to the Silent Country: Charlotte Brontë's Years of Fame.
July 31, 1940 – Carol J. Clover born, American academic and author, authority on gender in films; author of Men, Women, and Chainsaws: Gender in the Modern Horror Film.
July 31, 1944 – Sherry Lansing born, American film studio executive; she went from mathematics teacher to actress (in two films) to script reader, then head script reader, at MGM, where she worked on The China Syndrome and Kramer vs. Kramer; she moved to Columbia Pictures; became a partner with Stanley R. Jaffe in 1979 in Jaffe/Lansing Productions; in 1980, Lansing was appointed as the first woman president of 20th Century Fox; in 1992, she became chair of Paramount Pictures Motion Picture Group, but left in 2004 when Viacom, after taking over Paramount, decided to split the company into two parts.
July 31, 1952 – Faye Kellerman born, American author of mystery novels; noted for her Peter Decker/Rina Lazarus series, especially its first book, The Ritual Bath, which won the 1987 Macavity Award for Best First Novel.
July 31, 1956 – Lynne Rae Perkins born, American author and illustrator of books for children and young adults; her novel Criss Cross won the 2006 Newberry Medal.
July 31, 1958 – Suzanne Giraud born, French contemporary music composer and academic; recipient of the Prix Georges Enesco, and the Prix Georges Bizet; her work is often inspired by poetry, paintings, or architecture.
July 31, 1965 – J.K. Rowling born as Joanne Rowling, British author of the best-selling book series in publishing history, the Harry Potter fantasy series; film and television producer; and philanthropist; in 1990, she was a researcher and bilingual secretary for Amnesty International, and the Harry Potter concept was born while she was stuck on a train which was delayed for four hours; during the next seven years, she persisted in writing through the death of her mother, birth of her first child, divorce from her first husband and surviving on state benefits, before the runaway success of the first Harry Potter book in 1997; the series made her the world’s first billionaire author, a status she quickly gave up, donating much of her fortune to charity, including Comic Relief, One Parent Families, Multiple Sclerosis Society of Great Britain, the Shannon Trust, the English PEN Charity auction, and her own charity, the Lumos Foundation, which rescues children in orphanages separated from a living parent because of poverty or discrimination, and enables them to be reunited.
July 31, 1981 – Arnette Hubbard is installed as the first woman president of National Bar Association.
July 31, 1991 – U.S. Senate votes to allow women to fly combat aircraft.
_________________________________
Sources
http://www.nwhp.org/events/july/
http://www.scholastic.com/teachers/article/important-dates-us-womens-history
http://www.historyplace.com/specials/calendar/july.htm
http://www.onthisday.com/day/july/
Women Trailblazers of California: Pioneers to the Present,© 2012 by Gloria G. Harris and Hannah S. Cohen — The History Press
todayinsci.com
A Book of Days for the Literary Year,edited by Neal T. Jones
The Music-Lover’s Birthday Book, Metropolitan Museum of Art
www.sahistory.org.za
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About Crystal Cove – Project CRYSTAL: A Community Science Project
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Crystal Cove is now a state park, but it has a unique history which helped shape the lives of many as well as the community and environment around it.
Before becoming a State Park:
Crystal Cove is a beautiful stretch of coastline. Some of the first real crowds here were Hollywood filmmakers in the 1920s. (Fun Fact: The first documented movie filmed at Crystal Cove was an early version of “Treasure Island”) The first residents were people who set up tents here and others gradually began to build cottages. The Pacific Coast Highway officially opened in 1926, which created public access to the cove. At this time, this spot was becoming known as a recreation area. Land was also leased by Japanese farmers who planted hundreds of crops on the hillsides in the surrounding area. During WWII, the US Military acquired the land from the Irvine ranch for coastal defense systems. During the 1950s Crystal Cove experienced its peak through the recreational community, cottage tenants, and the tent cabiners. The “El Moro Beach Trailer Park” was established into a permanent mobile home facility in 1956.
Present:
Crystal Cove became a California State Park in 1979. In the late 1990s, Crystal Cove’s iconic Historic District was in danger of being turned into a luxury resort. Crystal Cove Conservancy (formerly the Alliance to Rescue Crystal Cove; Crystal Cove Alliance) was founded in 1999 by former resident Laura Davick to preserve the cottages in the Historic District and restore them for educational and overnight usage. Since then, the Conservancy has restored 29 of the 46 original cottages, and has evolved to become Crystal Cove State Park’s cooperating association and concessionaire. Today, the Conservancy has become known for its innovative educational programs, and also oversees overnight cottage rentals in the Historic District through its subsidiary, Crystal Cove Beach Cottages.
Crystal Cove Conservancy’s unique STEM (Science, Technology, Engineering, Mathematics) education programs use authentic field science and monitoring to immerse students and the public in the practice of conservation and managing open spaces. One standout program, the Marine Protected Area (MPA) Citizen Science Cruise, involves junior high and high school students in important monitoring in Crystal Cove’s Marine Conservation Area. The data that students collect will be used by Crystal Cove resource managers to inform the five-year MPA adaptive review process, which is due to take place in 2017.
The MPA Citizen Science Cruise has been nationally recognized; in 2014, it was featured in a statewide environmental conference and became the focus of an episode in a PBS television series. In the 2015-2016 school year, the Conservancy anticipates that the MPA Citizen Science Cruise program will grow to include 2,000 students from 50 classrooms, including a large majority drawn from Title 1 schools.
Crystal Cove State Park invites students to participate in a variety of interpretive educational programs. These programs are available for school and other organized groups throughout the year in the park. All programs are curriculum-based, fun, and interactive and can be adapted to any grade level. These programs can be found here.
Historic District:
One of the most popular features of Crystal Cove State Park is its historic district. Some facts about the historic district:
The historic district encompasses a 12.3-acre coastal portion of Crystal Cove State Park
It includes 46 vintage rustic coastal cottages (built originally in the 1930’s and 40’s)
It is located next to Los Trancos Creek
Phases I and II of its restoration have been completed by California State Parks and the Crystal Cove Conservancy.
Visitor amenities:
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Crystal Ballroom History
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Ballroom History Our Venue House Rules Box Office Tech Specs FAQ Ballroom History Still Grooving After All These Years… About Lola’s Room Want to learn more about the historical namesake…
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Crystal Ballroom
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https://www.crystalballroompdx.com/crystal-ballroom-history/
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The Crystal Ballroom enjoys national recognition for a reason. No local venue, and indeed few in the nation, can challenge this elegant ballroom’s more than 100 years as a premier place to hear live music, dance and have memorable experiences. The hall has seen countless first loves unfold, police raids, visits by silent screen idols and Beat poets, psychedelic light shows, narrow escapes from fire, demolition, and neglect, and a listing in the National Register of Historic Places. Today, it is a vital, thriving McMenamins owned and operated live music palace that hosts everything from rock ’n’ roll and country, to hip-hop and big band swing.
Tales about the grand hall at N.W. 14th and Burnside cover myriad topics and time periods. The Crystal opened its doors as a ballroom in 1914 (as World War I began), in the days when frisky Portland residents could still be arrested for dancing the Tango. During the Great Depression, “Dad” Watson staged popular old-time dance revivals here as a way to raise people’s spirits. African-American formal dances at the Crystal, because of segregation, were as rare as they were special. Other local folks can regale you with romantic tales of how their dance partner at the Crystal eventually became their spouse.
In the 1960s, the Crystal was the ultimate rock palace. People still argue about whether it was really Jimi Hendrix whom Little Richard fired in the middle of a performance at the Crystal. It is agreed, however, that bands like the Grateful Dead (twice), Ike & Tina Turner, Country Joe & The Fish, and Buffalo Springfield (with Neil Young and Stephen Stills), and a hundred others thrilled audiences at the big ballroom. The procession of legends and legends-to-be has continued since McMenamins reopened the Crystal’s doors in 1997. The ballroom has been honored to host celebrated artists such as George Clinton, Dick Dale, James Brown, Michael McDonald, Marvin Gaye, Billy Idol, Gregg Allman, the Wailers, and Robert Cray, as well as contemporary favorites including Medeski, Martin & Wood, Liz Phair, Steve Earle, Nick Cave, the Indigo Girls and Ween.
While the action on the stage has always thrilled, one thing everyone remembers about the Crystal is its astounding “floating” dance floor. “Like dancing on clouds,” is how people describe cutting a rug here. At the time of its construction, the Crystal’s mechanical dance floor (now fully restored to proper working order) was said to be unique on the Pacific Coast. Today, it may be the only one left in the United States. You will also appreciate our gorgeous decor: flamboyant wall sconces and light fixtures, grand paintings and gigantic windows everywhere. People who come to the Crystal seem to be inspired by an energy emanating from the site itself, a phenomenon social scientists call “the power of place.”
McMenamins is proud to welcome a whole new generation of fun-lovers and repeat offenders to the renovated, always-happening Crystal Ballroom, and its sister venue, Lola’s (one flight down). The Crystal is the only place we know where you can enjoy national, regional, and local bands live while dancing the night away on air. So grab your tickets now and be part of the excitement. Your next unforgettable adventure awaits!
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Full text of "New York Magazine"
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See other formats
CULT OF THE CRYING GAME' Chasing the Hottest Movie Ticket in Town BY RICHARD DAVID STORY THE BABY BUSI Why More and More Obstetricians Are Refusing to Deliver By Aimee Lee Ball DIVORCE, ORTHODOX STYLE Playing Hard to Get In Manhattan Beach BY PETER HELLMAN $2.95 "JANUARY 25. 1995 ibr years, fa- class travelers have been upgrading to our business class. And now wire offering you 40,000 new reasons to fly Virgin. Join Virgin Freeway,™ Virgin Atlantic's new frequent flyer program, and earn 40,000 miles the first time you fly round-trip to London in Upper Class* between now and March 31, 1993. And then earn double miles for every Upper Class trip after that. In Upper Class, you'll enjoy our renowned British hospitality and award-winning service aboard spacious 747s. Amenities like large, comfortable sleeper seats with 15" more legroom than most other airlines to London. Individual armrest video screens. And complimentary door-to-door limo service. Virgin Atlantic Airways' Upper Class to London and Virgin Freeway. Now you have even more reasons to Take Us For All We've Got. Virgin Atlantic flies to Heathrow from JFK and LAX, and to Gatwick from Newark, Boston, Miami and Orlando. For more information, call your travel agent or Virgin at 1-800-862-8621. Chill (out!) We have a sale that will take the chill out. With a cool 25% to 75% off everything! Keep the chill out in Mink, Sable, Sheared Furs, Shearling, Fur-Lined Leather, Outerwear and more. on now through January 24th. Only at Goldin Feldman r GOLDINFELDMAN- FINE FURS SINCE 1909 345 Seventh Avenue 12th Floor 212 594 4415 Hours: Monday to Friday 10 am - 6 pm Saturday 9 am - 4 pm Sunday 12 pm - 4 pm Major credit cards honored. Intermediate reductions may have been taken. AH furs subject to prior sale. All sales final. Fur products labeled to show country of origin. C SURGEON GENERAL'S WARNING: Quitting Smoking Now Greatly Reduces Serious Risks to Your Health. Flavor Extra Smooth Lights. Rich Ultra Lights. Copyrighted materi; VOL. 26, NO. 4 IANUARY 25, 1993 CONTENTS 9 O The Baby Bust O BY AIMEE LEE 2 THE CRYING _ CAME W 1 » Ji BALL Throughout the city — and across the country — obstet- rics is in critical condi- tion. One out of every six ob- stetricians in New York State has stopped delivering ba- bies. More than half of the obstetrics residents who train here practice somewhere else. They can't afford mal- f I practice insurance. And this -fMRSl .1 OB is Sue City. T The Cult of The Crying Game' \j BY RICHARD DAVID STORY Have you seen it? Were you shocked? Why can't you stop talking about it? New York is obsessed with The Crying Game — just try finding a ticket. On the subway, at Papaya King, everyone's got an opinion. Neil Jordan, who wrote and directed the film, begs you to keep its secrets. Good luck. AC\ Playing Hard toGef I V/ BY PETER HELLMAN By ancient Jewish law, when a marriage fails, a husband hands his wife a bill of divorce. But not vice versa. Without the bill, called a get, a woman is trapped. She can't remarry (or even date) in the Ortho- dox world. Here, two mar- riages Edward Albce could have invented — and how New York State intervened. Unhappily ever after. Af\ Design: Juan's Way I Vj BY MARILYN BETHANY For a decade, Juan Portela was the king of curios. His Madison Ave- nue antiques shop was a second home to people who matter. Now, with Portcla's blessing, Christie's will auction it. A preview. A Q Food News: The Big Chili I C3 BY BARBARA COSTIKYAN Surf, turf, and friendly fire. Such are the mysteries of chuck- wagon chili — with seafood. 1 • DEPARTMENTS 12 THE CITY POLITIC By lohn Taylor Dinkins moves from grievance to symbolism in the parade mess. 16 ON MADISON AVENUE By Bernice Kanner Armani by a nose in the per- fume games. 2D MEDIA By Edwin Diamond The truth about the new Mur- doch biography. 52 THE INSATIABLE CRITIC By Gael Greene Delicious Thai fantasies at Vong, lunch at One Fifth. 62 THE UNDERGROUND GOURMET By Fran Schumer Try some boccie and a banquet in ruins. THE ARTS 54 MOVIES By David Den by In Body of Evidence. Madonna is skin deep. 56 TELEVISION By John Leonard The folly and the ivy of the Class of 96. m 58 MUSIC By Peter G. Davis Man overboard: John Astin in H.M.S. Pinafore. 60 BOOKS By Rhoda Koenig Scoring various attempts at fiction. 69 THEATER By lohn Simon Two (and only two) wonderful performances in Anna Christie. MISCELLANY ,9 Fast Track ...24 Hot l ine ...27 Best Bets ...50 Sales & Bargains 71 TS New York Competition, 1 14 London Times Crossword .116 Cue Crossword, bv Maura B. facobson .... 116 MM Cover: Photograph by Tohru Nakamura. Model: leff Loader from Bookers Inc. Hair and makeup by Betsy Lyn. Doc- tor's wardrobe from O.K. Uniform Co. Medical equipment from Benner Medi- cal Productions. Special thanks to Drs. Richard Marfuggi and Alexander Weingarten. Top illustration by Alan Reingold. IANUARY 25. 1993 — VOL. 26. NO. 4. The following are registered trademarks, and the use of these trademarks is strictly prohibited: Best Bets, Best Bids. Between the Lines. The Bottom Line. Brief Lives. The City Politic. Cityscapc, Cityside. Cue. Cue New York. In and Around Town, Intelligencer, Legal Aid. The National Interest. New York. New York Intelligencer, New York Journal, The Passionate Shopper. The Sporting Life. The Underground Gourmet, and The Urban Strategist. New York (ISSN #0028-7369) is published weekly (except for combined issues the last week of lune and the first week of luly and the fast two weeks of December) by K-lll Magazine Corporation. 755 Second Avenue. New York. New York 10017-5998. Copyright ' 1993 by K-lll Magazine Corporation. All rights reserved. Reproduction without permission is strictly prohibited. Officers of K-lll Magazine Corporation: William r. Reilly. Chairman: Charles G. McCurdy. Vicc-Chairman: Beverly C. Chell, Vice- Cnairman. Second-class postage paid at New York. New York, and additional mailing offices. Editorial and business offices: 2 1 2- 880-0700. POSTMASTER: Send address changes to New York. Box 54661. Boulder. Colorado 80322-4661. Subscription rates in the U.S. and possessions: 50 issues. $39.98. For subscription assistance, write loscph Oliver, New York Magazine, Subscription Depart- ment. Box 54661. Boulder. Colorado 80322-4661. Or call (800) 6784)900 or (212 ) 447-4749. Photographs: top left. Tohru Nakamura: center left. Ted Hardin: center bottom. Simon Cherry. courtesy of Christie s: top right, ludd Pilossof. Illustration by Alan Reingold. IANUARY 25, I9O/5/NKW YORK 3 R I S T O L PLAZA Luxury suites, elegantly furnished with daily maid &: linen service. Complimentary membership for Pool &: Health Club. Available on long or short term leases. BRISTOL PLAZA 210 EAST SIXTY'FIFTH STREET. NEW YORK. NY 10021 TELEPHONE 212.826.9000 FAX 212.753.7905 WE'VE FINALLY ENTERED THE TWENTIETH CENTURY. INTRODUCING ARCHITECT-DESIGNED, SCANDINAVIAN MODERN. (CIRCA 1939-1960) t DENMARK, 1946 (SET OF 10| EVERGREEN FINE ANTIQUES ">*1249 THIRD AVE. AT 72ND, NEW YORK (212) 744-5664 4 new york/ianuary 25, 1993 Editor and President Edward Kosner Managing Editor Peter Herbst Design Director Robert Best Assistant Managing Editors Tony Fuller, Deborah Harklns Photography Director Jordan Schaps Senior Editors Bob ickes. Bern ice Kanner, Clare McHugh, Ouita McUath Tom Prince, Joyce Rubin (Copy), Richard David Story Contributing Editors Martha Baker, Julie Baurngoid, Alexis Bespaloff Marilyn Bethany, Peter Blauner, David Blum Christopher Byron, Barbara Costikyan. Michael Daly Peter G. Davis, Andrew Decker. David Denby. Edwin Diamond Gael Greene, Michael Gross, Pete Hamill, Peter Hell man Phoebe Hoban, Maura B. Jacobson, Jeenie Kasindort Rhoda Koenig. Kay Larson, John Leonard Mary Ann Madden, Patricia Morrisroe Nicholas Pileggi, Corky Pol Ian, Eric Pooiey Tony Schwartz, John Simon, Christopher Smith, Dinitla Smith Michael Stone, Janice Hopkins Tanne, John Taylor, Tool Tobias Jeannette Walls, Lally Weymouth, Carter Wiseman, Linda Wolte Sales & Bargains Editor Leonora Fleischer Associate Editors Stephen Dubner. Gillian Duffy Melissa Morgan. Edith Newhell, Robin Ralsfeld Assistant Editors Elizabeth Allen. John Dioso Phoebe Eaton, Claire Perrault, Anna Walker Assistant to the Editor* Fran Kessler Editorial Assistants Joanne Chen, Eileen Clarke, Jan Geiman Kate O'Hara. Robert Patronite. Anya Sacharow Whitney Scott. Norman Vanamee, Alex Williams Art Director Syndl C. Becker Art Production Manager Eugene Tooman Associate Art Directors: Kathryn Del Vecchio, Flamur Tonuzi Assistant Art Production Manager: Barbaralynn Aftorfer Art Department Manager: Leah Weston Art Siaii Steven Davis Picture Editor Susan Vermazen Associate Picture Editor Margery Goldberg Picture Assistant Suzanne Cheruk Operations Director David White Assistant Operations Director Matthew McCann Fenton Operations Assistant: Martha E Bula Torres Publisher Richard Kinsler Advertising Direclor Beth Fuchs Brenner Business Director: Betsy Cronen Advertising Manager: Alan Katz Director, Special Sections and International Travel: Jacqueline Johnson Beverage Advertising Manager Judith R. Fields Sales Representatives Conn Angel. Denise Fkwo, Mary K. McCarty. Alison Pollard Sarah Reynolds, Jill Seelig. Hilary Van Kleeck Staff Karen Botte, Amanda Brokaw. Lillian Clulla Lisa Cohen. Patricia Considine. Sasha Mayor as, Nina Tiger Advertising Coordinators: Eleanor Huang, Sharon Y. Oufnn Chicago Manager: Jerry Brennan, 312-616-1895 Detroit Manager Danielle Wolf, 313-353-2684 California SO Media. 310-551-1067 Atlanta and Florida Quenzer Stiles, 404-491-1419 Texas: Ttemey A Company, Inc., 214-960-2883 France Marilyn Winters Canada: Chris Brown Hilly Carta Villa Mexico: Towmar Hong Kong Pamela Choy Marketing Direclor Beverty Hood Allen Promotion Art Director Laurie Berger Director. Special Advertising Sections Allan Ho ring Promotion Manage' Gerry Napoli Merchandising Manager Patty Ma say Associate Merchandising Manager: Klmberty Styler Special Projects Manager: John Kempa Senior Designer Brands Lee Promotion Coordinator Amy Asch Research Director Eileen Ronan Senior Research Analyst: Karen Norberg Research Assistant: LuAnn O'Rourke Production Director David Bysrs Production Manager: Carl E. Ward Jr. Associate Production Manager Ann Kennedy Staff Watston C. Bobb-Semple Jr., Frances Carver Group Classified Direclor Nancy J. Feddar Department Manager Teresa Taylor Sales and Marketing Manager John Mkreii Production Manager: Manuel Gomes Sales Representatives: Iris Agar. Mark Brlstow, Kendra Callahan Michelle Miller, Christina Post. Wendy Pusey, Denise Slsto Staff Theresa Bunce, Denise Fowler, Greta Turk en, Gaye Whyte Circulation Direclor: Craig Reynolds Associate Circulation Director, Marketing: Amy V. Lam Associate Circulation Director. Planning Charles Lung Managers Iris S. Blumenthai, John L. Brown, Barbara E. Wilck Special Protects Melissa A. Grossman Controller Mark Schulman Assistant Controller Carmine Hero Accountants Patricia Hsu, Sandra Rabeno, Jeffrey Wallace. CPA A.P. Supervisor: Antoinette Brody Collections Manager Patricia Adiletta Financial Services Coordinator Deborah L. Toney Staff: Barbara Broughman, BLanca Coronado Joan Garcia, Patricia Smith Office Services Manager Mary Ann McCarthy Benefits Coordinator: Mary O'Connor Information Services Manager: Valeria Taylor Staff: Paul Abrams, Venus Brown, Prisclita Hood John Ma bra. Rodney Madden. Joseph Maridefder George Pogue. Erik Rodriguez, Virginia Spraggins, Sarah Wlgfall K in Magazines Chairman William F. Reilly President Harry A. McQuillan Vice Chairman: Charles G. McCurdy Vice-Chairman Beverty C. Chell Executive Vice-President Richard R. Hawkes Vice-President, Finance Christina B. Wagner Vice-President and Controller: Linda C. Jenkins Vice-President Curtis A Thompson Vice-President Douglas P. Miscoll Vice-President. Circulation: Brian T. Beckwlth Vice-President, Manufacturing' Edward J. Egan Vice-President. Group Sales: Nan L Elmore Vice-President. Information Systems Barry Mechanic Director, Corporale Research Kenneth Meltsner LETTERS Privates' Lives AT THE RISK OF BEING TAGGED AS "EITHER deluded or disingenuous" by |ohn Taylor, I think it is essential to clarify the distinc- tion between the remedies for illegal dis- crimination and the implementation of af- firmative-action quotas when it comes to allowing homosexuals into the armed services ["The National Interest: Sex Isn't the Issue," November 30]. Taylor asserts perniciously that "one leads to the other" and cites as evidence of this the inevitabil- ity that gays denied promotions will seek relief in court. But the pursuit of redress in court — and getting it — is not, as Taylor seems to imply, affirmative action. Many states, including California, New Jersey, and Massachusetts, have some sort of em- ployment- or housing-based anti-discrimi- nation law regarding sexual orientation, but 1 defy Taylor to locate in any of these states a mandated quota program or re- cruitment apparatus for gays. Moreover, Taylor's statement that "activists will de- mand the promotion of gay officers, the naming of a gay general, gay-sensitivity courses during boot camp" is offensive. There are undoubtedly gay generals in the armed forces who have achieved their sta- tus on the basis of merit and would proba- bly bristle at the suggestion that anyone might advance a quota system to give as- piring gay generals extra push. If at every level gays in the military had legal protec- tion and therefore the possibility of even- tual acceptance, they would neither de- mand nor require affirmative action. Taylor thinks he has the inside track on what "gay activists" would "demand." But activists as well as Taylor know that if discrimination ended, the composition of the military wouldn't change much — only the lying would. Drew Limsky Livingston, N.|. IN |OHN TAYLOR S COLUMN "SEX ISN'T THE Issue," he writes that "gay grievance groups will demand protections and privi- leges and freely resort to litigation when they feel frustrated." But doesn't every U.S. citizen have the right to do that? If a black person in the military gets beaten up because he or she is black, doesn't that person have the right to sue? Joseph Cosentino Manhattan )ohn Taylor's ignorance about the mili- tary's justice system is evident when he Letters for this department should be ad- dressed to Letters to the Editor, New York Magazine, 755 Second Avenue, New York, N.Y. 10017-5998. Please include a daytime phone number. says that once gays are allowed into the military, "it is virtually inevitable that an openly gay soldier passed over for a pro- motion will sue, claiming discrimination" and there will be "increased violence against gays by soldiers whose identity as straight warriors is threatened. ... In re- sponse, gay grievance groups will demand protections and privileges and freely re- sort to litigation when they feel frustrat- ed." The Uniform Code of Military )ustice does not have provisions allowing officers to sue the government for discrimination, harassment, or abuse. In the worst, prov- en cases, the officer is subject to court- martial and is sent to prison at Fort Leavenworth. Karen Kaye Captain, U.S. Air Force Tyndall Air Force Base, Fla. John Taylor replies: Captain Kaye is simply incorrect. According to the Penta- gon, members of the military can file dis- crimination complaints up through the chain of command, or with the equal-op- portunity offices that exist at virtually ev- ery military installation, or with the in- spector general. Furthermore, they can file lawsuits if they feel they've been un- fairly discharged and then have the courts reinstate them until the litigation is re- solved, as Petty Officer Keith Meinhold has done. Two Two Two Much I WOULD LIKE TO KNOW WHAT COMPELLED Gael Greene, in her December 7 review of Restaurant Two Two Two ["The Insa- tiable Critic: Eminent Domani"], to re- peat the following offensive remark her dining companion made about jews while observing a trio at another table debating the fate of Israel: "That proves we're on the West Side. On the East Side, if you're Jewish, you discuss nursery schools or chintz." First, how did Greene's friend know the trio was Jewish? Comments like these do nothing but reinforce negative stereotypes of Jewish people — passionate, intellectual Jews on the West Side versus shallow, materialistic Jews on the East Side. Would Greene compare the values of African-Americans living in Harlem with those living in, let's say, Crown Heights or Bed-Stuy? You can bet your family jewels she wouldn't! R. Marlowe Manhattan Parish When It Sizzles I HAVE BEEN AN OCCASIONAL LISTENER TO Howard Stern for the past eight years and find him to be absolutely harmless ["Bad Mouth," by Jeanie Kasindorf, November 23]. He is often amusing when he says those politically incorrect things that many of us would like to say but dare not (though it's true that he focuses too much on his genitals). Why doesn't the FCC raise its sights instead to the entertain- ment industry as a whole, which spews out films celebrating sex, violence, and dysfunctional families of one sort or an- other? Or what about MTV, which glories in explicit sex, or the publishing industry, which is responsible for binding pornog- raphy in the form of Madonna's recent picture book? Why pick on Howard Stern and ignore the real culprits in the issue of public morality? The Reverend Walter B. Funk The Valley Forge Presbyterian Church King of Prussia, Pa. HOW CAN SO MANY PEOPLE BE HOWARD Stern fans if he is so awful? Guests and friends of the show include Senator Al- fonse D'Amato, Mayor Ed Koch, Gover- nor James Florio, Arnold Schwarzeneg- ger, Sylvester Stallone, Sally Kirkland, Richard Simmons, and many, many more. Bridget Burke Queens Fall From Grade? |OHN TAYLOR IS TO BE COMMENDED FOR HIS most excellent and insightful column, "The Politics of Grievance" ["The City Politic," December 7]. Persons lacking the necessary job skills too often get im- portant jobs because of the value politics places on image over substance. David Dinkins seems to be a nice man who wants to do the right thing, certainly not at the expense of Jews. The problem is that as a city administrator, he lacks the vision, organizational skills, balance, and perspective to accomplish this. Conse- quently, his judgments impact disastrous- ly on institutions, agencies, and citizens in general. Dinkins believes he can right past wrongs done to blacks and allows this to affect his judgment and administrative style. By indulging his prejudice, he fails to become bigger than the problem, again denies justice, and becomes benevolently guilty. A mayor chosen on the basis of qualifications and not as the lesser of two evils should ideally possess the manage- ment skills to maintain efficient and effec- tive operations, the ability to lead the city to his vision, and, finally, the confidence and capacity to relate to all his constitu- ents. Taylor summed it up perfectly when he said that Dinkins could not connect with Jewish rage and was therefore unable to defuse it. Marilyn Kurland Newark, N.J. IANUARY 25, 1993/NEW YORK 5 Children have become so sophisticated. Today's five-year-olds always want the next big thing— and it always has to be more and more complicated. They come along and they say, "I gotta have." "If I don't get, I will dieT They are our salespeople and their grandparents are our best customers 6i about how they grow up and what they play with. I think that's terrific. It makes for one world. I love to visit our stores and listen to our customers— just to find out what they want. I was on a trip last week and I probably spent $50 out of my pocket. Thaf s because Five-year olds make ruthl ss custo ers. They can refuse their child anything— they can refuse a grandchild nothing. We now sell virtually the same toys all over the world. So it stands to reason, if all these kids are playing with the same toys, how could they ever possibly fight with each other? There's a common thread everything works with the American Express® Card. Hotels, restaurants, car rentals— they all accept the Card. So I don't have to walk around with much money in my pocket. And ifs a great record of my trip. Charles Lazarus C.E.O. & Founder, Toys "fl" Us NEW YORK INTELLIGENCER BY IEANNETTE WALLS NEW DIGS FOR DAN7...F0NZ TO FILL US IN...GORDON GOES WITHOUT.. .TALE OF HOFFMAN DUSTIN DOESNT DO D.C. Dustin Hoffman doesn't want to join all the president's men. The actor turned down an invitation to participate in Quincy lones's inaugural salute to President-elect Bill Clinton, says a Washington insider. "Dustin is good friends with Quincy," says the source, adding that people are wondering if the notoriously crowd-shy actor may have wanted to avoid inaugural mobs. The free three-hour event, on January 1 7 at the Lincoln Me- morial, begins the week of inaugural events and is to feature Tony Bennett, Michael Bolton, Diana Ross, L.L. Cool |, and Aretha Franklin. Jack Nicholson is also scheduled to read "his- toric passages" along with Ted Danson, Whoopi Goldberg, Sid- ney Poitier, Harry Belafonte, and others. An inaugural-committee spokeswoman says, "You have to take up why [Hoffman] didn't want to do it with his publicist." Hoffman's spokesman did not return calls. DUSTIN HOFFMAN QUAYLE TO HIT ROCKY VAIL TRAIL? Dan Quayle isn't listening to Hollywood. A source says the departing vice-president has been talking about buying a vacation home in Vail, Colora- do, and is undaunted by the celebrity call to boycott the state because of recent legisla- tion limiting gay rights. "[Quayle] says that he thinks gays have enough rights, and that he believes Colorado made the right deci- sion with the amendment," says the source, who adds that the Quayles are avid skiers and have been vacationing in Vail for years. The White House didn't re- turn calls. THIS IS HIS LIFE: D'AMATO'S AUTOBIO Al D'Amato is betting that readers will pay to hear his side of the story. The controversial U.S. sen- ator — who was recently re- elected after a bitter battle with State Attorney General Robert Abrams — has been talking to publishers around town about writing a book. In a proposal, D'Amato says he would "like to start off by re- calling the emotional ups and downs of the 1992 Senate campaign" and also promises to "explore the political charges leveled against me . . . and the personal price that my family and I have had to pay as a result." "Originally, I wasn't that keen on the idea," says Carol Publishing's Steven Schragis, "but we had a great three-and- a-half-hour lunch. I was im- pressed, and I'm bidding on it." "It's both autobiographical and political — and, 1 expect, exciting and controversial," says agent Kay McCauley. "I don't want to say much about it yet. 1 feel we're fairly close to doing something with it." THEY'RE LESS THAN ZEALOUS FOR ZUCKY Not everyone is eager to take the helm of Mort Zucker- man's newest ship. The real -estate mogul, who recently bought the belea- guered Daily News, tried to lure the editor of the Boston Herald to head up the New York tabloid. Ken Chandler, who worked as an editor at the New York Post from 1978 to 1 986, turned him down, says a source. "I had a couple of meetings with Mr. Zucker- man," says Chandler. "They were good meetings, but after | the second one, I decided I I GORDON LISH IANUARY 25, 1993/NEW YORK 9 Copyrigh MINIMALISM HOLDS NEW MEANING FOR LISH Gordon Lish's court victory isn't quite what it seemed. The Knopf editor sued Harper's Magazine for reprinting parts of a letter he had sent to students interested in his infa- mous fiction-writing course. Lish had argued in the highly pub- licized case that the letter was not meant for publication. Some members of the media were surprised last November when the judge ruled that Lish's copyright had been violated and ordered Harper's to pay him $2,000 in damages. Now the judge has amended his own ruling and decided that the Harper's excerpt didn't devalue the letter, and that the magazine doesn't have to fork over any money. "This is very gratifying and exciting," says Harper's publisher John R. MacArthur. "Not only for us, but for journalists and publishers in general." When asked if he was surprised by the move, Lish said, "I've lived enough years to be surprised by nothing on the surface of this Earth. ... I think I must say this undertaking was never engaged for acquiring any kind of monetary punishment from Harper's but rather a public accounting of the wrongdoing they committed, and that indeed was accomplished." Much of the trial testimony con- cerned the way Harper's had edited down the lengthy Lish letter. associate: Jan Gelman Photographs: lop. Michael Ferguson/Globe: center, ludie Burslctn/Pholorcportcni; bottom. Bill Hayward. INTELLIGENCER MORT'S SORT?.. .CLUB USA SNUB.. .A SNAKE QUAKE...GAY FRAY... EDITORS' NOTES LARRY KRAMER LASHES OUT AT MACNEIL Larry Kramer has taken on Robert MacNeil. The aids activist and playwright, who wrote The Normal Heart and The Destiny of Me, sent a letter to the co-anchor of The MacNeil/Lehrer NewsHour, accusing him and the show of slighting gay issues: "I state — with- out any hesitation or equivocation or caveats — [your show] has the worst record on gay and aids coverage of any news program." Kramer went on to mention that MacNeil's son is openly gay. "Are you that ashamed of him that you cannot bear for your program to deal with issues that remind you of him? Do you not ever worry that he might come down with aids? Or be fag bashed?" "[Co-anchor] Jim Lehrer and [correspondent] Judy Woodruff join me in saying that your letter is intemperate and insulting to a program that has been conscientious and responsible in covering gay and aids issues," MacNeil wrote back. "I am also offended by your charge of hypocrisy regarding my son. ... I am very proud of him personally and professionally." MacNeil also included an ex- tensive list of segments that have dealt with aids and gay issues. TREACH, FROM NAUGHTY BY NATURE 10 NEW YORK/lANUARY 25, 1993 didn't want to pursue it any further." Chandler is rumored to be leaving for Fox Televi- sion, but he says, "There are no moves contemplated." One source points out that Zuckerman has apparently nixed the increasingly popular idea of installing a British im- port to run the paper. Al- though Zuckerman had re- portedly considered hiring Martin Dunn from the British tabloid Today, everyone on his new "shortlist" has New York experience. Says the source, "I guess he didn't want his editor to run into the newsroom next Christmas all excited because someone was putting up a big tree in Rocke- feller Center." Tabloid insiders are also buzzing that Zuckerman wants to woo Pete Hamill away from the New York Post — as a columnist or even as a top editor. A spokeswoman says Zuck- erman wouldn't comment un- til a decision had been made. Hamill didn't return calls. BEYOND THE VELVET ROPES AT CLUB USA Club USA [New York, January 18] was the death of the party recently. Bill Coleman, a dance-music coordinator for the Pow Wow record compa- ny and a manager for Deee- Lite, was invited to throw a party for his new compilation record at the West 47th Street club. But when the guests on his list arrived, many were turned away at the door. "Here I was, going to have a good time on a Saturday night and support someone 1 work with," says a Pow Wow staffer. "I came with a carload of peo- ple, and everyone got thrown out. Even the head of the label had trouble at the door, and the artists themselves couldn't get in, and they are part of the rec- ord. 1 don't know what the door policy is, but I think it is hell-bent on making everyone feel horrible." The club's promotions direc- tor says, "There were a lot of young guys on that list that we felt didn't warrant complimen- tary entry on a Saturday night." WASHINGTON POST PONDERS 7MWARP Some top editors at the Wash- ington Post aren't impressed by the editing at Time. Post executive editor Leon- ard Downie Jr. and managing editor Robert Kaiser are among the journalists who wrote to Time in defense of former Post reporter Dusko Doder. In a De- cember 28 article. Time ques- tioned whether Doder had been recruited by the KGB. Time printed their letter, but Downie and Kaiser aren't pleased with what was deleted and have written another: "We write to take issue with the way you altered, without any consultation with us, the substance of our letter. . . . You deleted our passage that would have informed your readers of Time's decision to ignore the finding of the FBI . . . that there was 'no evi- dence that Doder had done anything improper or had any connection to the KGB.' " A Time spokesman says the magazine plans to run the fol- low-up letter and, possibly, a response. RAPPER RELEASES 'RATS' AT RECORD LABEL The lead singer of Naughty by Nature is living up to the band's name. Hot rap artist Treach, who has been on the cover of Vibe and whose hits include "O.P.P.," was unhappy with some of his co- workers at Tommy Boy, his Manhattan-based record label, headed up by Monica Lynch. "He got upset and said they were all a bunch of rats and snakes," says one insider. "And he came into the office with a cage full of rats and snakes and let them go." "That's not quite what happened," says a spokeswoman for the company. "He was just having fun. They weren't snakes and rats. They were just field mice and a little pet-store garter snake." There was no commotion, she added, and a posse was formed "to round up the mice." Photographs: lop. Ion Lcvy/Gamma-Liaison; center. Carol Halebian/Gamma-Liaison; bottom. Eddie Malluk/Rctna. welcome hillary and tipper the women for whom we design. with their eyes on the stars and not their feet. with their energies directed towards improving the world and not their shopping. for the women who dare to do and the partners who encourage them. we are with you. the joan of joan and david and david and bijou. JGM\| & DAVID 816 madison avenue 104 fifth avenue world financial center the americana at manhasset riverside square fhe mall at short hills Copi The City Politic/John Taylor P.C. MARCHES ON 'ENFORCED DIVERSITY': Gay protesters at the 1992 St. Patrick's parade. THE MAYOR AND ST. PATRICK'S DAY THE PROPONENTS OF COLORADO'S NOTORI- OUS Amendment 2 insist that they do not want to discriminate against homosex- uals. Instead, they say, they are simply op- posed to the institutionalization of yet an- other special-interest group hoping to acquire privileged status and benefits. This argument has been dismissed by most people as an utterly transparent and cynical rationalization for a bill that will in fact legitimize the persecution of homo- sexuals. After all, discrimination and vio- lence against homosexuals occurs regular- ly — and who is arguing that homosexuals deserve special privileges? Unfortunately, that is in effect what Da- vid Dinkins has done in his dispute with the Ancient Order of Hibernians over the inclusion of the Irish Lesbian and Gay Or- ganization in the Saint Patrick's Day pa- rade. The mayor's constitutionally insup- portable exercise in political symbolism has alienated Irish Americans and Roman Catholics and threatened to ruin one of the city's most famous, if occasionally rambunctious, annual events. The flap over the Saint Patrick's Day parade is only the most recent example of the mayor's policy of "enforced diversi- ty," to use the phrase of Cooper Union ur- ban-affairs professor Fred Siegel. As he did with the Children of the Rainbow cur- riculum (though he let schools chan- 12 NEW YORK/lANUARY 25. 1993 cellor )oseph Fernandez bear the brunt of criticism for it), Dinkins is trying to use his political office to impose on the citi- zenry social values about which the soci- ety at large is still ambivalent. The mayor's intentions are good — ev- eryone's in favor of greater tolerance — but the methods with which he pursues his doctrine of inclusion are authoritarian. As a result, they're also counterproduc- tive: Promoting tolerance, he incites an- ger. "The intent may be inclusion, but the result is division," says Henry Stern, the president of the Citizens Union and the former parks commissioner. "The mayor thinks he's bringing people together, but in truth he's driving them apart." For more than 150 years, the city has granted the Ancient Order of Hibernians — a fraternal organization founded in 1836 whose members must be male, of Irish de- scent, and practicing Catholics — a permit to hold the Saint Patrick's Day parade. But in early January, after Dinkins declared that he was in favor of giving the permit to sponsors who would allow the Irish Lesbi- an and Gay Organization to march with a banner, police commissioner Raymond Kel- ly awarded the permit to a new group — led by Paul O'Dwyer and Charles Hynes — formed for the express purpose of allowing fringe organizations to participate. The mayor's decision — virtually no one believes Kelly acted of his own volition — I seems to represent a blatant violation of the right to free association enshrined in the First Amendment. Cardinal O'Con- nor, always eager to inject himself into the political arena, denounced the mayor, asking during a Sunday talk if, by the same principle, parades held by Greeks, Turks, Poles, Germans, Hispanics, and blacks would "be required to become open forums for political expression." But it's not just the Catholics who are up- set. The New York Civil Liberties Union has weighed in on the side of the Hiberni- ans, arguing, as nyclu director Norman Siegel put it in a letter to Dinkins, that "city officials would clearly violate [the] neutral- ity principle if they were to deny a parade permit to an organization because they dis- agree with the group's views or beliefs, no matter how unpopular, controversial, or politically incorrect those beliefs may be." The outraged Hibernians are now threat- ening to discourage the countless Emerald societies and the 80 school bands (from around the country and as far away as Ire- land) from attending. "If the Hibernians say, 'The hell with it all,' and the average citizen doesn't march, the parade will just have a tiny group of gay activists and IRA bomb throwers, and that will sound a very sour note about the city," says John Hale, a lawyer representing the Hibernians. To argue that the Hibernians should be deprived of their permit, City Hall has had to execute some rather complicated gym- nastics. As the Hibernians point out, the parade does not actually discriminate against homosexuals, who are free as indi- viduals to march with any group of which they are a part. Furthermore, they insist, they have the right to "shape the mes- sage" of their parade by excluding groups with whose agendas they disagree or to whom they do not want to give the semi- official seal of Irish-American approval that marching confers. The list of excluded groups is, in fact, rather extensive. The IRA has been re- fused permission to march on several oc- casions, even though many of the Hiberni- ans support independence for Northern Ireland. Anheuser-Busch's offer to lend its Budweiser Clydesdales to the parade was rejected. Both Bobby Kennedy and |immy Carter were denied permission to march when they were candidates for president because the organizers wanted to avoid the appearance of endorsing them. Most significant, the Hibernians rejected a re- quest by an anti-abortion group to march because, while virtually all Hibernians subscribe to the church's teachings against abortion, they did not want to give Photograph by lor Lcvy/Gamma-Liaison. Co Go to Citibank without leaving your home* * 'irect Access lets you do almost all your banking by , ^ computer. Now you can connect your desktop computer directly into all your linked accounts at Citibank. So almost any- thing you can do at a branch, you can now do from your home or office. 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To avoid ad- mitting that this is in essence their position, the mayor's aides have had to argue that the religious views that preclude the Hiberni- ans from giving their endorsement to a gay group are irrelevant because the parade is not a religious event. It is instead, as the city's Human Rights Commission declared in October, a "secular . . . celebration of a broad range of values surrounding Irish heritage." Anyone, the report went on, who wanted to celebrate "Irish heritage" must be allowed to march. But the claim that the event is not reli- gious in character is patently disingenu- ous. While the drunken, raucous crowds it attracts are hardly models of piety and devotion, the parade is held on the Roman Catholic Church's feast day celebrating the saint who converted Ireland to Chris- tianity. It is preceded by a special mass for the leading participants at Saint Patrick's Cathedral. The cardinal reviews the pa- rade from the steps of the cathedral, and marching dignitaries stop to shake his hand or, if they're Catholic, kiss his ring. As it happens, the Irish Lesbian and Gay Organization, in a lawsuit against the Police Department for permitting the pa- rade, described it in a brief last spring as an "annual religious parade." And the city's own corporation counsel, in a re- sponding brief, argued that "the police department has no control over who may or may not participate in the parades for which it issues permits, nor may it consti- tutionally exercise such control." That position seems to be diametrically opposed to the one the mayor now takes, only instead of dictating who can march in the Hibernians' parade, he has encour- aged his newly appointed police commis- sioner to issue the permit to an organiza- tion that will include the groups Dinkins wants to have included. Why go through this entire charade, embroiling the city in a prolonged dispute that most people find tedious and irrele- vant? No one can question that Dinkins is sincerely devoted to promoting social tol- erance. But a number of political analysts point out that he will also need the gay vote in virtual bloc form in the upcoming mayoral election, because the dispute over the Children of the Rainbow curriculum has alienated elements in the black and Hispanic communities, and his reaction to Crown Heights, both during the riot and after Lemrick Nelson's acquittal, did not exactly strengthen his support among lews. In other words, as is so often the case in such situations, the rhetoric of multiculturalism is in part a calculated po- litical tactic. ™ 14 NEW YORK/IANUARY 25, 1993 aterial c I -o c N H •J • to S g 0 c 5 E to C « 00 Z, 00 B U W U 0 0 — i/i c B y — a u FT! y a. is .S u a J I w 3 II to — c If ir\ c (N -3 a q U u i - OJ — Q B — «J — (/5 • - Q > E r cx U * C U s I 4_i U 3 £ c u D 1 1 D.T3 < 3 _c rt T3 E c 3 rt C -c -a 5 U If < 1 1 S .2 — — I o E g oj a. -5 ni .9 _D 8 2 S 1 o 3 | & _c o (« u <u 3 >. O >, v> _C 55 * E c o Q On on • • o u Q 5 -as >j 3 55 W < % o H Q D CO c/3 On Madison Avenue/Bernice Kanner SCENT OF A WOMAN assistants' mustard coatdresses. Last year, while the fashion industry was more hobbled than haute, Armani's revenues topped $700 million. Around the world, the upwardly mobile spent $1.4 billion on Armani's luxurious, un- derstated, slightly androgynous clothing and accessories. A med-school dropout, Armani was a department-store buyer in Milan before spending six years as an assistant designer to Nino Cerruti. He left to free-lance, and in 1974 teamed with longtime friend Ser- gio Galeotti to design under his own name. Armani tore apart the traditional men's suit, killed the padding, and made something soft and drapey. Then he tack- ARMANPS NEW FRAGRANCE HOW DOES DAVID LYNCH SELL PERFUME? Like everyone else in adland: with a sleek limousine, a star in dark glasses, and — yes — paparazzi. All for Gio, the hot new scent from Giorgio Armani. Lynch's spot, due soon, recalls the odd little dramas of Obsession, Society, and other women's fragrances. But here, the impresario of Twin Peaks and blue Velvet restrains him- self. Nothing grotesque or hallucinatory, lust haunting music, a touch of eccentrici- ty .. . and beautiful people. Gio, short for Giorgio and pronounced "|oe," "is the perfume expression of the principles that govern my life," Armani says. And, he adds, Lara Harris, the Isa- bella Rossellini look-alike who stars in the spot, has the "charm, beauty, and risks" Gio emits. And Lynch? Ar- mani had admired his brooding tone, his surrealism and sleepy pace. Not to mention the weird imagery and garish lighting. (Lynch has been called, among other things, a "psy- chopathic Norman Rockwell"; he pho- tographed Rossel- lini naked and bruised in Blue Vel- vet.) Besides, Ar- mani's two other candidates were CURIOUS GIORGIO: In the latest perfume psychodrumu, the look is Lynch. busy. The campaign is silent, so it can run globally. Lynch filmed it in a sixties style; it's another of his cryptic mood pieces. The heroine, unpredictably, glides through time and space — from a black-tie affair to a jazz club. This is Armani's second attempt at a women's perfume. Since 1982, the com- pany has marketed Armani for Women, but that fizzled here. And it sells a men's fragrance, Giorgio Armani for Men, which has been more successful. Though Cosmair — one of the world's largest fra- grance distributors — licensed the new product. Armani himself orchestrated every last detail. He chose the scent, the shape of the bottle, the parchment pack- aging, the display ads, and the sales led peacockish women's clothes, invent- ing a comfortable, self-assured, elegant look. When Galeotti died, in 1985, Ar- mani took over the business side of the company. Armani's philosophy is elitist; he will close boutiques that don't flourish. The most accessible line, Collezioni, sells in just 160 American stores. Even A/X, or Armani Exchange, where shoppers can stock up on jeans for $78 to $ 1 20 and T- shirts for $23 to $38, has but 32 branches — not exactly the Gap. Gio, however, will hit 500 stores by spring, a leap for Armani (but still less than half the number of outlets that usual- ly carry a new scent). That's Cosmair's doing. For years, the distributor urged Ar- mani to market a new woman's perfume. "All our attention was concentrated on clothing," says Gabriella Forte, Ar- mani's second in command. "Now we see the need to widen the net." His golden rules have been "eliminat- ing the superfluous, emphasizing the comfortable, and acknowledging the ele- gance of the uncomplicated." "Luxury," Armani has said, "is knowing how to live in harmony with oneself and with others. The first step toward serenity and simplicity is to overcome the super- fluous." Adds Forte, "We're following the traditional route of major fashion houses. Every fashion house must have a serious beauty business for longevity." (Another women's fragrance is set for 1995, to be fol- lowed by Armani cosmetics.) As for the TV spot, "a lot of what's going on, viewers bring to the story," says Robert Cassou, general manager of Europe- an designer fra- grances at Cosmair. "They put them- selves in the picture." And Cosmair is giving them ample opportunity, by spending at least $20 million to ad- vertise and pro- mote Gib. Print ads, from one-page teasers to seven- page inserts, will run in dozens of life-style and fashion magazines and daily newspapers. Bus shelters here will heighten the mystery. And if you live in New York or Southern Florida (the second-largest market for designer fragrances), you'll see plenty of the TV tale. Plus, you'll sample the scent, at Gio counters and from magazine strips galore. Prospective customers — affluent, sophisticated working women — will be invited to stores for a large trial gift. "It's a carnival when you launch a fragance," says Cassou. Gio smells like hyacinth, orange blos- som, and tuberose. But in a world where what's in the bottle is less important than the bottle itself, it's likely the Armani im- 16 new york/ianuary 25, 1993 Co age will be what attracts buyers — just as Elizabeth Taylor's glamour first sold White Diamonds. Gio will appeal to "Ar- mani loyalists as well as those curious about the legend," says Forte. "Imagery will initially persuade. The 'juice' will bring them back." But there are obstacles. Over the past decade, some 30 new women's scents a year fought for a piece of the $3.5-billion market. Last year, according to Annette Green, president of the Fragrance Foun- dation, 28 women's fragrances were launched; in 1990, there were more than 40. And 1993 began with a bang: En route are Thierry Mugler Parfum's Angel, Giorgio Beverly Hills's Wings, Krizia's Krazy Krizia, Parfums Nina Ricci's La- lique, Shiseido's L'Eau D'lssey, and Ni- cole Miller's fragrance, which will bear her name. The journey from launch to success is perilous. Big companies routinely spend as much as $75 million to introduce a scent worldwide, says Cassou. "Some 60 percent die in the first year, and perhaps 90 percent don't meet the aggressive goals set for them." Talk about aggressive: Cas- sou expects Gio to be among the top three fragrances in department stores, where it will be sold beside some 70 other scents. While Armani's marketing is usually low-key, Gid's launch won't be. A dinner and fashion show in New York on Febru- ary 4 for 500 customers, the press, and the fabulous should be a hot ticket. Even the reclusive billionaire will show up — Armani's first business appearance in America since 1990, when Made in Mi- lan, Martin Scorsese's documentary about him, premiered. (Scorsese filmed Ar- mani's earlier spots. And Lynch, it turns out, shot four — for Calvin Klein's Obses- sion. Armani claims he never saw the spots, set to quotes from F. Scott Fitzger- ald, Ernest Hemingway, D. H. Lawrence, and Gustave Flaubert.) Armani print ads have largely resem- bled the Gap's: Their black-and-white photos sell the models' serenity and con- fidence more than their clothes. The ex- ception: the literally nuts-and-bolts ads for Armani Exchange. Unlike most ads created by Armani and his in-house agency (run by his sister Rosanna), the A/X pieces were developed with Weiss, Whitten. Carroll. Stagliano. "With Gio we have Armani's aspira- tional life-style and Cosmair's accessible price and distribution," says Cassou. (A half-ounce flacon of the perfume costs $150, while 1.7 ounces of the eau de parfum sells for $47.) "We believe we have the right name, packaging, retail outlets, direct mail, advertising, and models," Cassou adds. "Let's face it — this is a will-o'-the-wisp world. In the end, if we don't succeed, it can only be that there's something wrong with the scent." ™ Josef Hoffmann: Designs Selections from the Austrian Museum of Applied Arts (MAK), Vienna IBM Gallery of Science and Art Madison Avenue at 56th Street November 24 - January 23, 1993 Tuesday-Saturday, 1 lam -6pm Free Admission Support for the exhibition was provided by: Austrian Cultural Institute, New York Federal Ministry for Foreign Affairs of the Republic of Austria, Vienna The American Austrian Foundation. Inc. Al/STX/AN jt/flim£S techline ! modular furniture and cabinetry tor home and office ■ manhattan 35 east 1 9th st off broadway 212-674-0551 ■ westchester scarsdale 590 central ave 914-725-2064 ■ secaucus new jersey 1000 castle rd 201-864-8787 IANUARY 25, 1993/NEW YORK 19 Copyrighted material Media/Edwin Diamond GOOD RUPERT, BAD RUPERT FINALLY, THAT SHAWCROSS BOOK WILLIAM SHAWCROSS'S NEW BIOGRAPHY OF Rupert Murdoch arrives with the kind of prepublication chatter authors dream of. Soon after Tina Brown became editor of The New Yorker last fall, the magazine ran a short item about the Shawcross book, then just out in London, claiming that Shawcross had perpetrated a piece of hagiography after being "beguiled" by the crafty press lord. Brown is married to Random House chief Harold Evans, fired by Murdoch as editor of The Times of London, who comes across in the Shaw- cross book as a less-than-competent exec- utive — and a bit of a fawner and whiner in the bargain. A great hoo-ha ensued. Novelist |ohn le Carre accused Brown of turning the once-revered New Yorker into a partisan sheet; Brown retorted that it was "sexist" to accuse her of banging "some drum for my husband." Manicured hands were wrung and capped teeth grit- ted on both sides of the "issue" for a cou- ple of news cycles; then journalism's ever quavering attention span skipped on to the elections, Somalia, and Amy Fisher. Now American readers can judge for themselves whether Shawcross in fact conferred sainthood on Murdoch in Mur- doch (Simon & Schuster, $27.50). This is certainly the best biography yet written of the media magnate. Shawcross is no fawner; rather, he proves himself a thor- ough, clear-eyed, and exquisitely even- handed biographer. (Murdoch agreed to be interviewed, but when Shawcross sent him the finished manuscript to check on accuracy, Murdoch returned it with a "no comment.") Yet Shawcross falters where previous biographers also fell short: He never quite explains why Murdoch's News Corporation became such a dominant force in the new Information Age, and why Murdoch himself emerged as the sole indi- vidual to control one of the giants of international me- dia. There is no Rosebud here. The "real" Rupert Murdoch remains some- what elusive to Shawcross. Along the way, though, Shawcross takes readers on Murdoch's rollicking journey from schoolboy in the backwaters of Ade- laide, where his father, Sir Keith Murdoch, was a newspaper editor and man- HOME ALONE: Emperor of the airwaves. MAKING BOOK: Evenhanded. ager, to Citizen Rupert, lord of the media global village. Shawcross suggests, but doesn't really develop, the idea that being combative is part of Murdoch's nature. Wellborn himself, Murdoch constantly takes on establishments of all sorts. He's fought, at one time or another, the en- trenched media powers of Australia and England; the labor barons of the London newspaper unions (the battle of Wap- ping — his plant in East London — brought computer production to the English dai- lies, years after it had arrived everywhere else); senators Ted Kenne- dy and Fritz Hollings; and most recently, through his Fox TV and studio hold- ings, the three old-line net- works and the Hollywood entertainment hierarchy. "My past," Murdoch told Shawcross, "consists of a series of interlocking wars." As an Englishman, a lib- eral intellectual, and a critic of the irresponsible use of power — Shawcross demol- ished Nixon and Kissinger in Sideshow, his 1979 ac- count of American involve- ment in Cambodia — the au- thor might have been ex- pected to savage his sub- ject. Previous biographers attacked Murdoch for his Tory politics, his blatant slanting of the political coverage in some of his papers, and his uncom- moner's claims to under- stand what the common man wants. Shawcross's Murdoch, however, is an unmalign, even admirable, figure. His pursuit of pow- er has a natural symmetry: People want information and entertainment, and he intends to be their leading supplier, everywhere at once. At his worst, the Mur- doch of Murdoch moves through the pages as a predatory entrepreneur, constantly cruising — when the right opportunity ap- pears, he bites. Sometimes he gets bitten himself by other capitalist sharks. Re- flecting on the $3 billion he paid to Walter Annenberg for Triangle pub- lications, publisher of TV Guide, Murdoch told Shawcross. "Maybe I was a bad buyer, too keen." His closest associates thought TV Guide was past its prime. More often, though, Shawcross's Mur- doch turns out to be the smartest of the capitalist sharks. In the spring of 1985, he ran into John Kluge, the owner of Metro- media, a group of independent TV sta- tions in major American markets, includ- ing New York, Chicago, and Washington. Kluge thought the era of over-the-air broadcasting was over, laid to rest by ca- ble, VCRs, and pay-per-view channels. Murdoch figured otherwise; he saw Me- tromedia as the core of a fourth U.S. net- work and a worldwide communications empire. Television, moreover, could be a prime outlet for the film library Murdoch had already acquired along with 20th Century Fox's studios. Murdoch didn't think a group of choice stations would come on the market again. He paid $1 .85 billion for Metromedia. His associate Barry Diller called the price ab- surd. Murdoch acknowledged he had paid a premium price, but "it was the one time in life when wholesale is more important than retail." The rest is already media leg- end — The Simpsons, as well as Studs. When Shawcross's Murdoch is good, 20 NEW YORK/|ANUARY 25, 1993 Photograph by Max Aguilera-Hellweg/Onyx. Co Einstein Moomjy presents the Ocelot in its natural habitat. It could be Park Avenue or Park Slope; Victorian England, French country or Memphis; formal or casual. The 100°o wool Ocelot is at home in any setting. In velvet or boucle'. It's this very adaptability that's kept it alive in fashion circles for centuries. And with an optional 9" border, a continuous floral SlEinstein Moomjy. The Carpet Department Store' AM Stores Open Sunday Noon - 5PM (except Paramiu.) 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Presenting The Valentine's Day Buffet Brunch Featuring a Champagne Buffet Only s 38" per person Sunday, February 14, 1 1 a.m. - 3 p.m. Le Trianon Room Special Valentine's Day Four- Course Gourmet Dinner 5:30 p.m. - midnight $75* per couple, includes champagne Friday, Saturday & Sunday February 12, 13 & 14 The Gold Room English Afternoon Tea, 2 - 5 p.m. daily Cocktails daily from 5 p.m. Harry's Bar & Hunt Bar Cocktails and complimentary buffet with live piano entertainment. Monday - Saturday, 5 - 8 p.m. Please call (212) 888-7000 for reservations. Madison at 50th Street New York, NY 10022 (212) 888-7000 'Formerly Tbt Hrlmslcy PcthiLt" one of ThtfJpxiintfHotds of thffWorid 9 * Tax and aratuitics not included. A he's very good. In 1988, Cond6 Nast fired Grace Mirabella, the longtime editor of Vogue. Murdoch asked her if she would like to start a new high-fashion magazine. She agreed, and Mirabella was born — without benefit of memos, planning com- mittees, or test issues. A Current Affair, the first of the tabloid TV shows, came about in the same just- do-it way. Murdoch called Maury Povich, host of a local Washington talk show, and told him Fox was going to produce a daily TV magazine, starting in the New York market and then proceeding to national syndication. A child of the old-think TV, Povich was astounded by the "sheer au- dacity of it all." "Good Rupert" and "Bad Rupert" show up most conspicuously in Shaw- cross's accounting of the Murdoch years at the New York Post. Shawcross says Murdoch was "besotted" with the Post and with romantic New York, "the hub of world media." But Murdoch didn't be- have like a man crazed by love. With cool, Fleet Street smarts, he boosted the Post's circulation above 900,000, printing as many as eight editions a day while offer- ing Wingo cash-prize games. "Up yours" headlines also helped: headless body in topless bar became a classic. Nonethe- less, the Post remained the third paper in a three-paper market; it was also a Repub- lican paper — the Post endorsed Ronald Reagan twice — in a Democratic town. Once again, Murdoch was cocking a snoot at the local establishment. Murdoch's downmarket approach didn't attract the readers he needed the most, in middle-class Queens and other neighborhoods where the Daily News was the tab habit. One of Murdoch's best edi- tors, Frank Devine, summed up the Post 's dilemma: "Rupert was trying to run a lumpen proletarian paper in a country where there is no lumpen proletariat. He hid this from even himself, because he is such a good salesman." Yet when Murdoch acquired the Metro- media station in New York and the govern- ment's media cross-ownership rules meant he would have to relinquish the Post, he de- layed and delayed. He thought his Reagan- administration friends could find a way to exempt him from federal law; but Ted Ken- nedy and Fritz Hollings, in a bit of legisla- tive sleight of hand in the U.S. Senate, closed off that chance. Even then Murdoch tried to hold on. He mused about turning the Post into a national daily — the USA To- day he always wished he had started before Al Neuharth and Gannett did. None of Murdoch's associates, including his wife, Anna, believed he should keep the Post. When the paper was finally sold to Pe- ter Kalikow in March 1988, Murdoch went into a deep depression. So he embarked on what he called his "expansionary lunge": the Triangle acquisition, the start-up of a British satellite channel, and ventures into 22 NEW YORK/IANUARY 25, 1993 Co aterial the crumbling Communist bloc. It was a "cure" that almost cost him his empire when the worldwide recession hit. Mur- doch's creditors insisted that he sell olf some assets (among ihcm. New York, which he owned from 1977 to 1991, and eight other Murdoch magazines). Shawcross generally avoids the slippery slope of psycho-journalism. But the biog- rapher can't resist the game of Who Is Ru- pert Murdoch and Why Is He So Intent on Running Everything? Shawcross likens Murdoch to Richard Nixon (guarded and shy, restless, possessed of "a global vi- sion . . . and ruthless in pursuit of it") and, yes, to Bart Simpson ("cantanker- ous, aggressive . . . with a charming side that could manipulate people"). In the end, though, Rupert Murdoch is Sir Keith's son. He is also the grandson on his mother's side of Rupert Greene, a half- Irish gambling man, and on his father's side of the Reverend Patrick Murdoch, minister of the Free Church of Scotland. Punter and prelate, roisterer and estab- lishmentarian, "Bad Rupert" and "Good Rupert." The analysis works to a point. Shaw- cross is on less firm ground when he tries to explain why Murdoch has been so suc- cessful. He argues that with the Evil Em- pire gone, the world is now entering the era of the Video Empire and Murdoch is uniquely positioned to benefit, with his hands on newspapers, TV stations, book publishers, satellite channels, movie stu- dios, and information services. But why Rupert? There are other charming, aggressive, disciplined vision- aries. One explanation might be that Mur- doch is smarter than eight out of ten of his fellow entrepreneurs. (Perhaps ten out of ten: TV Guide may be turning around, and Fox has become the fourth network.) Who wouldn't have an up-yours attitude toward establishments — as well as a taste for combat — if so many fights ended in victory? Also, Murdoch may be the right man for a right time: Capitalism won the Cold War, Western ideals about free- flowing information have prevailed. Mur- doch's business interests and his (genu- ine) conservative views go hand in hand, all the way to the bank. Murdoch is now 61. Running through Shawcross's book is the Murdoch litany: He doesn't want to lose control of News Corporation to public stockholders or to partners because he doesn't want to dilute the family holdings. But nowhere does Shawcross, or for that matter Murdoch, give any hint of a real succession. Murdoch is illustrated with sixteen pages of photographs. In the last plate, Rupert Murdoch looks straight at the camera, his brow furrowed, one hand thrust in his trouser pocket. He stands in front of a satellite dish, symbol of the new world media order. There's no one else in the picture. They've all moved a few bars to the right on your AM dial Nat King Cole-Tony Bennett-Glenn Miller-Peggy Lee Frank Sinatra-Judy Garland-Benny Goodman Bar bra Streisand -Ham Con nick Jr. Fred Astaire-Harry James-Vic Damone Ella Fitzgerald-Count Basie-Carmen McRae Jo Stafford- Joe Williams-Tommy Dorsey Rosemary Clooney-Patti Page-Bing Crosby Mel Torme -Johnny Mathis- Doris Day Natalie Cole -Sarah Vaughan Duke Ellington-Dionne Warwick Dinah Washington-Perry Como Michael Feinstein- Margaret Whiting Steve Lawrence -Eydie Gorme Louis Armstrong -Les Brown Liza Minnelli-Lena Home and all of your other favorites. C'mon along and listen to... 156C WQEW-' Its The Authority on Selecting an Interior Designer I f ! IS if I v i \ i i i r vr <* f j C 1 1 v. " II SK ••Wonderful matchmaker." — Cmnoinrur \tagazmt "START BY CALLING KAREN FISHER OF DESIGNER PREVIEWS." — ,V(tf York Magazine For further information or a brochure (212) 777 • 2966 or (800) 367 • 4816 Designer Previews lets you shop for an interior designer the same way you'd shop for an Armani. We'll show you the work of oi<er 100 lop designers, architects and landscaping experts to help you find the perfect fit. Si IS ■ r it 5 » ii Or ii Or it IANUARY 25, 1993/NEW YORK 23 BRIEF LIVES FLY GIRLS ON FILM SO, HOW DID A 32-year-old filmmaker from Cleveland manage to capture the life of a teenage Brooklyn fly girl? Leslie Harris hung out on the streets, drew on her own inner-city childhood, and, naturally, rode a lot of subway. The end product: lust Another Girl on the IRT, which Harris wrote, directed, and co-produced, making her the first black American woman to release what is practically her own feature film. fust Another Girl follows Chantel, a smart and brassy 1 7-year-old whose plans to get out of the projects by becoming a doctor are wrecked when she gets Harris: Telling the story by any means necessary. pregnant. "It's a story that needed to be told," says Harris. Hollywood wasn't so sure. When studio executives read the script, they wondered where all the violence, drugs, and guns were. That story, Harris insisted, had already been told. So she scrapped the advertising career that had lured her to New York and recruited such noteworthy backers as writer Nelson George, Roger & Me creator Michael Moore, and author Terry McMillan. Using rented equipment, which she stored in her Fort Greene apartment. Harris filmed for seventeen grueling, unpredictable days, facing threats, expulsions, even a fistfight. Like the project, its creator existed hand-to-mouth. "I didn't have food in my fridge," Harris remembers, "I had film canisters." The earliest screenings were held in her kitchen. But after three years of hustling, Harris has finally won an audience for her provocative, unsettling, and captivating tale: It is currently being shown at Robert Redford's Sundance Film Festival and opens in New York on February 26, with Miramax distributing. Harris gratefully recalls how hundreds of actors showed up for the casting call. "I'm blessed to have had a chance to give young black actors an outlet," she says. One of them, a dancer and actress named Ariyan lohnson, came in with enough sass to take home the lead role. "We were blown away by the talent out there," says co-producer Erwin Wilson. "There isn't enough product for young black actresses right now." With filming done, it's time to wait for the reviews, which are hardly foremost in Harris's mind. "I made this movie for young black women who haven't seen themselves represented on film," she says. "I made a movie / wanted to see." Mark Healy GRUNGE WATCH RUBE CHIC FRIENDS VISITING FROM Paris wanted to go dancing to see for themselves the hip New York club scene I've bragged about. We decided on Webster Hall. Dress to be seen, I told them. I expected the usual crowd at the door — club kids, transvestites, and people draped in Gaultier. Instead, it seemed as if I had taken my European friends to a dance at my old suburban high school. The line was full of 24 NEW YORK/lANUARY 25, 1993 men — straight men, in battered leather jackets and ragged jeans. I got the bouncer's attention. "What's going on tonight?" I asked. "Psychedelic Thursday. Five levels, three dance floors. Five eras of rock and roll, from the Rolling Stones to Pearl Jam." 1 turned to apologize to my friends but was greeted instead by their knowing, enthusiastic response: "Ah, le grunge, e'est cesoir!" Once inside, surrounded by Aerosmith and flannel, I had the feeling I was back in Redford, Michigan, or, 1 guess, Seattle. I realized, after years of working on my New York attitude, that rubes are all the rage. From now on, when I go clubbing, I'll wear my biker boots and that old shirt I usually scrub the kitchen with. Quel dommage. Leah Weston Photograph by Robin Holland. Illustration by Marc Rosenthal- IANUARY 19 9 3 NEW YORK JOURNAL Union Blues ORT ZUCKERMAN S court victory over a typographers' union . . 7 .last month did more than just clear the way for his purchase of the Daily News — it also jettisoned memories of the union's Rubber Room. Located just off the sixth- floor composing room in the News Building, the Rubber Room is yet another legend in the newspaper's protracted — and increasingly bloody — labor war. Long the domain of the New York Typographical Union No. 6, the room began life as an ordinary break lounge to which union men retreated from the grinding task of setting type in molten lead. In 1 974, the union won a contract guaranteeing lifetime employment, in exchange for which the News was allowed to automate. By the late seventies, computerized typesetting had eliminated many of the typographers' tasks, yielding countless idle hours. The Rubber Room was in its heyday. "They called it the Rubber Room because guys used to bounce off the walls," says one former News reporter. (Others see bridge-pkying connotations in the name.) "It was really Hoffa, full of all these united we stand WILD KINGDOM The Greatest Show on Earth SINCE 1975, IUMBO THE ELEPHANT'S ELEVEN- foot-tall skeleton has stood far from his adoring public, in a dark nook on the third floor of the Museum of Natural History's mammalogy department. The place is part laboratory and part Teddy Roosevelt's big-game-trophy room: |umbo stands guard near a cold-storage vault in which stuffed Bengal tigers are lined up against one wall ; on to P. T. Barnum, who paraded him around America. |umbo became a phenomenon; he was so loved that even his name, which probably derives from a Bantu word for "elephant," found its way into our language. But in 1885, as )umbo climbed aboard his own railroad car, he was struck by a freight train and killed. His skeleton was preserved and exhibited by Barnum, who later presented it to jumbo in 1865 and today: As ambassadorial in death as he was in life. the shelves are neatly folded elephant and rhinoceros hides from the turn of the century. Now, jumbo, who was a star practically before there was such a thing, will travel downstairs for the biggest role of his life. Captured in 1861 as a calf in French Sudan (now Mali), |umbo was raised in the London Zoo. He was admired for his extraordinary size, his gentleness, his floppy ears. But he grew violent — perhaps, according to |umbo- ologists, because of an impacted wisdom tooth. Deemed unfit for zoo life, he was sold the museum. Now, he is being paraded once again. "|umbo: The World Famous Elephant," the exhibit opening January 22, is about both a remarkable life and the need for conservation of the wild African elephant and other animals. It makes a lot of sense: Jumbo, one of the animal kingdom's earliest and best ambassadors, is being called upon to persuade the human race to help his modern brethren survive. Adam Reingold posters. It was like a union museum." "A lot of guys talked about bringing in their weights," says one longtime News writer. Another recalls stumbling across more than twenty men playing poker. While some marveled at this testament —. to union clout, ^2iiJii- many blamed management for not retraining the workers. "There were a million other jobs these people could do, but rather than have management reassign them, they sat around," says a News employee of nearly two decades. (Management says it did try some retraining but ditched the effort, fearing that employees would exercise their right to refuse a transfer.) One by one, union members accepted buyouts or retirement, their number dwindling from 937 in 1974 to 167. Then, last month, a three-judge appeals panel allowed Zuckerman to buy out 50 of the remaining typographers for now (he may ultimately trim to just 18). This left Zuckerman free to take over the paper and, as was widely feared, fire 1 70 additional News employees. The panel's ruling also rendered the Rubber Room officially obsolete. "The room is still there, but it's empty," says one News reporter who was lucky enough to survive Zuckerman 's sword. "Which is, I guess, a pretty good metaphor for this place." Alex Williams OVERHEARD )UST BEFORE CURTAIN TIME AT last Saturday's matinee of Someone Who'll Watch Over Me: first woman: Oh, this is the show with the Gershwin music. second woman: No, this is the show with the hostages in Lebanon. Photographs: left, courtesy of Ihc American Museum of Natural History Photo Collections: right, Peter Freed. Illustration by Robert Neubeckcr. IANUARY 25, I993/NEW YORK 25 FAST TRACK BOOKSHELF Getting to the Marrow THINKING ABOUT THE TEN years she devoted to her first novel, Bone, Fae Myenne Ng shakes her head. "I never thought I'd finish it," she confesses, nursing a cup of cappuccino in a West Village cafe. "It took a long, long time for it to fall into place." Ng, 36, recalls when, as a child in San Francisco, she helped her mother in a sweatshop. "One of my duties was to write the little code number of my mother's sewing machine onto the laundering tabs. I used to sneak out on weekends and go to the department stores and look for the dresses she'd sewn. I never found her dresses, but somehow, finding my book in the bookstore was like that — finally finding something that belonged to me." An impressive addition to the growing list of novels by Asian-American women, Bone (Hyperion; $19.95) is a spare and moving portrait of a family in San Francisco's Chinatown coping with the suicide of the second of three daughters. Like Leila, the book's narrator, Ng is thoroughly rooted in Chinatown traditions. She, too, is the daughter of immigrants with whom she can't fully share her life; Ng's parents, in fact, will have to wait until Bone is translated to read it. "This is a world 1 know very well, but it's important for me to respect personal lives," Ng offers, addressing the resemblance of Bone to her own life. "My test as a fiction writer was to create a whole landscape — a place and people that express everything I learned growing up in that world." Ng, a passionate reader who names Tillie Olsen, Eudora Welty, and the Chinese poets she memorized as a child among her literary influences, completed her Novelist Ng: Making home wherever a writer, led an itinerant life, which included a trip to China in 1 985. A few years ago, they finally settled in their apartment on the edge of Park Slope. "It wasn't easy leaving Chinatown," Ng admits. "But to be home or to be a family is just a feeling. It's something I picked up from the old-timers. They made home wherever they were. Traveling a lot | the last few years really gave me a sense of how to live — taking everything with you that you needed." If writing Bone was a struggle, coming up with the title was easy. "The whole ritual of sending the bones back to China was fascinating to me," Ng says, referring to the desire of many early she is. Chinese immigrants to be buried in their M.F.A. from Columbia in 1984. Supported by grants and various teaching and temporary jobs, she and her husband, Mark Coovelis, also homeland. "Bone is what lasts. And I wanted to honor the quality of endurance in the immigrant spirit." Abby Tannenbaum EIGHTH WONDERS WEIRD SCIENCE FIRST, YOU CAN SMEAR your hands with simulated Hudson River sand that feels like oily cake batter. Next comes a television screen that makes faces dissolve into hundreds of digitized squares, like a Chuck Close portrait. There's also a movie that shows lung mucus filtering out air pollution. And if that's still not enough raw science, well, the kindly staff at Liberty Science Center might even let their Hissing Madagascar cockroaches, about the size of playing cards, crawl up your arms. While the $67-million center may never rank with the world's most wonder-inducing science museums, it's certainly the best this area has ever seen. It opens lanuary 24 in New lersey's Liberty State Park (the center can be reached from Manhattan by path trains, which connect with Liberty Science Center: Hands on, please. shuttle buses; there are plans for a ferry.) Even the building's exterior — geometric shapes in white aluminum with red accents — is intriguing. Inside, the 250 hands-on exhibits avoid the most common science-museum plagues: chaos and pedantry. "We want to present reality in all its complexity," says exhibits coordinator David Hupert, "but not pretend it will lie down and play dead for us." The enigmas begin just beyond the front door: Every few seconds, an "expanding globe" by inventor Chuck Hoberman swells from a four-foot-wide ball of aluminum elbows to an eighteen-foot-wide lacy sphere, and then contracts again, like a moody sea anemone. Downstairs is the invention floor, with do-it- yourself truss bridges and a long tube of foam pellets, driven by sound waves, that jitter anxiously. Upstairs, there are floors focusing on the environment (aquariums, glow-in-the-dark rocks) and health (machines that inform patrons of worn-out reflexes). During previews, all this has gone over big with those harshest of critics — elementary-school students. In the museum's comments book, they have scrawled such lofty praise as "max facanating" [sic], "impressing," and "I like the cockroaches." Eve M. Kahn 2b new york/ianuary 25. 1993 Photographs: lop. lavne Wcxler; bottom, Ted Hardin. Copyrighted m THE TOPS IN TOWN THIS WEEK ©BOOKS Inside Oscar, Mason Wiley and Damien Bona: Dicey inside info, fashion victims, who was fighting with whom — it's all here in this extremely gossipy ycar-by-year account of the movies. (Ballantine; $20.) Black and Blue: The Life and Lyrics of Andy Razaf, Barry Singer: Ever find yourself singing "Honeysuckle Rose" or "Ain't Misbehavin' "? Then you're reveling in the lyrics of Andy Razaf, who worked with fellows like Fats Waller and Eubie Blake. A vivid portrait of Tin Pan Alley, early Broadway, and Harlem nights. (Schirmer; $28). THEATER The last Yankee: Arthur Miller, who hasn't opened a new play here in BY RICHARD DAVID STORY years, is back with this shortish work starring John Heard and Frances Conroy. Opening January 21 at the Manhattan Theatre Club. The Sisters Rosensweig: The Heidi Chronicles was just a touch too politically correct. In Wendy Wasserstein's latest comedy, all is well. Three sisters celebrate the birthday of the oldest. TASTINGS BY ALEXIS BESPALOFF Australia's Wolf Blass winery offers a pair of appealing, ready-to-drink wines — the 1991 Chardonnay balances |j fruit and oak; the 1989 Yellow Label Cabernet Sauvignon is rich and supple (about $1 1 each). MUSIC Contemporary nightlife doesn't come more elegant than the Modem Jan Quartet. These four guys move into the coiy, sophisticated confines of the Care Cariyle every January when Bobby Short takes leave. At the Cariyle Hotel; 744-1600. The Juilliard String Quartet and soprano Benita Valente are doing a program for voice and string quartet, and both works were written especially for Valente: Alberto 6inastera String Quartet No. 3, with poems by Lorca, Jimenez, and Alberti, and John Harbison's "The Rewaking." The Juilliard will also play Alban Berg's "Lyric Suite." At Miller Theatre, Columbia University, on January 19. % VIDEOS Raising Cain ($89.95): This baroque, Hitchcockian, deranged, ovcr-the-top thriller docs have its fans. In fact, a cult has grown up around this film about a child psychologist who starts to. . . . See for yourself. S H I O N Strap it on: The Prada nylon- silk backpack was all the rage last year — especially in black. Now along comes this tres chit- version from Herve Chapelicr in Paris. It's available for $75 at Bcrgdorf Goodman. ASK GAEL Who loves kids? Nick and Eddie fusses over your heirs with a bright-red menu for kids — fried-shrimp boat or chicken fingers or a I'il burger with fries ($6.50). And if your child can polish off the vegetable plate, it's free. At 203 Spring Street; 219-9090. @ M O V I E S "Tales of the Algonquin Round Table": This delicious festival includes more than 50 movies that were made when scripts were really written — and by the likes of Dorothy Parker, Alexander Woollcott, Robert Benchley. There are all sorts of entertainments here — from classy thoroughbreds like You Can t Take It With You (based on George S. Kaufman and Moss Hart's Pulitzer Prize-winning play) to more dramatic, potent brews like/! Star Is Born (written by Dorothy Parker and her husband and collaborator, Alan Campbell). They're all playing at the Film Forum; 727-81 10. RECORDINGS The Frank Loesser revival continues. |o Sullivan Loesser, Frank's widow, teams up with daughter Emily and son-in-law Don Stephenson on Loesser by Loesser. But far better is An Evening With Frank Loesser, especially the composer at his piano for brilliant bare- bones tunes from Guys and Dolls (including the wry outtakc "Traveling Light") and The Most Happy Fella. (DRG.) Dry, P. |. Harvey: "Raw" might have been a better title, what with the engaging garage- band sound. But when it comes to singing about lust, rage, and female stereotypes, Harvey has the poetic style of a young Patti Smith. (Island.) ART "Andy Warhol: Late Paintings": The work Warhol did just before he died shows the unmistakable influence of his collaborator Jean-Michel & Basquiat, who died in 1988. This fascinating show contains 37 pieces and will be at Gagosian Gallery (136 Wooster Street) through January 30. 1993 Traveler's Guide to Art Museum Exhibitions, edited by Susan Rappaport: New York critic Kay Larson calls the latest guide to museums around the country "absolutely essential" for the traveling art lover. If s the only guide available with an entire year's schedules lor more than 12S museums. IANUARY 25, 1993/NEW YORK TJ Cor ateria! THE BABY BUST Why More and More Obstetricians Are Refusing to Deliver WHEN THE PHONE RANG IN THE MIDDLE OF the night about two years ago, Dr. Zoe Kessler* rose from her warm bed and pre- pared, as she had so many times before, to leave for Mount Sinai Hospital to deliver a baby. "You realize," said her groggy husband as she was dressing, "you're getting up at two in the morning to go increase your chances of being sued." Kessler is now sleeping through the night. She and her part- ner, both in their early forties, have stopped delivering ba- bies, as has one out of every six obstetricians in New York State (up from one out of ten in 1990), according to the state chapter of the American College of Obstetricians and Gynecologists. More than half of the obstetrics residents who train here are leaving to set up practice somewhere else, and more than 70 percent of all family practitioners are no longer delivering ba- bies, creating a near-crisis that acog and many in the field call a flight from obstetrics. Most of these doctors talk about wanting their own lives back, uninterrupted by middle-of-the-night beepers for patients in labor. But overwhelmingly they cite soaring malpractice-in- surance rates and an atmosphere of litigation as deterrents to practice. They blame a system that holds them accountable * Names and other identifying details have been changed. II c E ~ ^ '<> ri Jj Tt 2 S"S ft - '._ >■ o C * ss -. BY AIMEE LEE BALL 2 & for delivering a perfect infant even in circumstances beyond their control, and they point out that many physical and mental disabilities in babies, so often the fodder for malpractice claims, result from congenital defects, not physicians' errors during la- bor and delivery. They criticize the proliferation of 1 -800-sue- docs numbers on television and on subway posters as a modern version of ambulance chasing, promoting "contingency" cases for lawyers, in which disgruntled patients risk nothing in bring- ing suit — sometimes many years after the child's birth. "I know of an office where a woman called asking questions about her forceps delivery," relates one obstetrician, "because her son was going to have his bar mitzvah and couldn't read Hebrew well. This is what we live with." The flight from obstetrics is a national crisis — during one campaign debate, even George Bush spoke of "crazy lawsuits" and doctors afraid to deliver babies, in between sound bites on the fall of Saddam Hussein and the Berlin wall — but New York- ers are particularly litigious. One third of all New York obstetri- cians have been sued four or more times — the highest ratio for any state. "Almost all OBs have been involved in litigation. It's an occupational hazard," says Dr. Frank Chervenak, director of obstetrics at New York Hospital. In the past decade, the number of obstetrical lawsuits in New York has increased almost 400 percent. The size of jury awards here is three times the national average: In 1990, there were fifteen awards in excess of $1 mil- lion; the following year, there were twice as many. In the past two years, there have been a $15-million lawsuit against Mount Sinai and one for $90 million against New York Downtown Hospital. These staggering sums are often reduced on appeal, but malpractice-insurance premiums to cover this kind of liabil- ity have risen exponentially: In New York, obstetricians' premi- ums are now second only to those of neurosurgeons. The stan- dard for Manhattan obstetricians is $75,000 a year, and in Suffolk or Nassau County, premiums can top $ 1 00,000. "The money is a red herring," insists one Manhattan OB/ GYN, whose premium started at $70,000 because he was "a good driver" and dropped to $50,000 when he stopped deliver- ing babies. "My fee was $5,000, and I delivered about 140 ba- bies a year. The first four made up the difference in premiums. The next 1 35 went toward my office overhead, not to mention my children's orthodontia." Obstetricians simply don't want to go through the emotional trauma of lawsuits — even if they win, even though their legal costs are paid by their insurance compa- ny. One doctor recalled that, upon winning a protracted lawsuit, he first called not his wife but his gastroenterologist. Most OBs are hoping that this year, the state Legislature will pass a bill supported by Governor Cuomo that would do nothing less than dismantle the current tort system of law. Instead of a plaintiffs having to prove a doctor's negligence in order to be compensated, a government com- mission would review cases of newborns im- paired at birth and compensate their parents from a pool funded by medical professionals — no DR. HARRY MORROW* REMEMBERS EVERY DETAIL OF December 31, 1 98 1 : His own daughter was just a few months old, so he and his wife weren't plan- ning a big night out for New Year's Eve, and he offered to cover for one of the partners in his ob- stetrics practice. The day before, the partner had delivered a healthy baby by cesarean section to a 25-year-old woman, who specifically had wanted the baby born before January 1 so she could have the tax deduction. The baby got flying colors on the ten-point Ap- gar test administered after every birth, and the mother was resting comfortably when Morrow made rounds in the hospital. "It was her second baby," he remembers, "and everything was fine. Her blood pressure was fine, her temperature was fine, she was start- ing to take liquids, she was sitting up in bed. So I wrote out our standard postop day-one orders, which are basically to get the pa- tient out of bed, because early ambulation makes for better recov- ery, and to discontinue her IV later in the day if things were going well. Everything was routine — she was perfectly fine." A few hours later, while Morrow was assisting in surgery, he got an emergency page: The patient he'd just seen had collapsed on the floor and was turning blue. "I went running over to the mater- nity floor," he recalls. "She was acting confused, her eyes rolling back, her head rigid. Immediately I called an internist, a neurolo- gist, a respiratory therapist. 1 wanted a cardiogram and a portable chest X-ray. There were two different diagnoses going on in my head, and while 1 was treating her for one thing, I was working her up for another. 1 gave her some Valium to stop the seizure, but I ordered an arterial blood-gas because it became clear that she was having a pulmonary embolus. That's a clot that goes from a vein to the lung. The size of the clot is not significant, but it sets up a whole cascade of events . . . and she died. "Here's a woman I saw in the morning, who gets out of bed and drops dead. She has a baby that's a day old in the nursery, and her family comes to visit her. It was a horrible thing. There was not a physician or nurse in the hospital who heard about it that was dry-ityed. For months I had nightmares. That's not why I went into obstetrics. You don't lose mothers. With babies, from time to time, we know there are problems. We're not God, we're not perfect. But healthy 25-year-old women do not die." That's what the woman's family said when they sued Morrow for $5 million. "Originally, everybody in my practice was sued," he says, "the internist, the neurologist, people who just showed up as Good Samaritans. As a gynecologist, I was basically stand- ing there observing what they were doing. But everybody was dropped from the suit except me. They made me look like lack the Ripper, like I had stood by and watched this woman die. I did extensive research, and in my review I saw again that this is a listed complication of cesarean section. But there are no ac- cepted complications anymore. You can't have a bad result anymore. People expect one result, and that is perfection. You're pregnant, you go to your obstetrician, and nine months later you walk out with a perfect pink, robust, Apgar-ten Expectant parents are left wondering who will deliver lawsuit involved. This kind of legislation has al- ready been passed in Texas, Maryland, and Mis- souri and has powerful advocates in New York, including the March of Dimes and the Children's Aid Society. Un- less the new legislation is passed, OBs predict profound changes for women having babies: more trouble finding an obstetrician from a dwindling pool, and diminished care and attention through the pregnancy. But the bill is vehemently opposed by trial lawyers and some patients '-rights groups, who contend that the tort sys- tem is the only way medical consumers can be compensated for pain and suffering at the hands of butchers and quacks. With doc- tors and lawyers calling one another scoundrels, expectant parents are left wondering who will deliver babies in the future if the cur- rent trend holds. Midwives? Cabdrivers? Guardian Angels? baby who's going to grow up and become president." The jury ruled in Morrow's favor, and his life returned to nor- mal, albeit with some changes in office procedures to protect him. "Documentation was a big issue in the case," he says, "al- though when somebody is dying, you don't say, 'Wait a minute; I want to take notes.' Nurses were writing on the patient's bed sheets. I was writing on my pants leg. But now my charts are significantly thicker. We've basically been told by our insurance company that the burden is on us." Two years ago, Morrow's lavyyer notified him that the case was being appealed. That appeal is still pending, eleven years after the incident. "If you're on the verge of leaving obstetrics, this is the type of case to do it," says Morrow, who at 43 is nevertheless still in practice — and who has seen his insurance premiums rise from 30 NEW YORK/lANUARY 25, 1993 Photograph by Tohru Nakamura. DR. JOAN BERMAN NO LONGER DELIVERS BABIES AT MOUNT SINAI HOSPITAL. LABOR PAINS Average annual occurrence-maipractice-insurance premiums for obstetrician/ gynecologists in New York. Hronx. Kings. Queens. Richmond, Nassau. Suffolk. Westchester, Orange. Ulster. Rockland, and Sullivan counties 90 to Q < 70 O |E 60 50 40 00 o in m* oo in r- oo OO 00 vO •6 X JO 00 O in S 2 ^ in o — 00 1983 '84 '85 '86 '87 '88 •90 '91 '92 Source: McdK.il l.uhilio Mutiul IrminirHC Company Percentage of obstetrician/gynecologists leaving the practice of obstetrics in New York State be- cause of risk of malpractice 18% 6% 1983 '85 '87 '90 '91 '92 SMMtt AmcTKan College of Obslclrician* and C>vnccoIog»ls $10,000 when he began twenty years ago to more than $100,000. "We have this overwhelming burden of malpractice, faced with a declining financial reward and declining satisfaction in what we do," he says. "So there are a lot of depressed doctors walking around. We are currently looking for a new associate, and it's diffi- cult to attract new talent to the area because of all these pressures. The birth rate still is rising here, but we can't attract new OBs. People want to go where they perceive there is less pressure." child's life expectancy — plus an additional $ 1 1 million for medical expenses and estimated lost earnings. The child was born in 1978, but the case came to trial last year; it is being appealed. "I can tell you that it turned that hospital upside down," says Bruder. "I'd talk to the attending physicians, how they're afraid they're going to get sued. They're pretty much worried every day, and it doesn't make you want to run out there and help people. These are doctors who love what they do. To put so □abies in the future if the current trend holds. Midwives? Cabbies? Dr. Karen Bruder is one of those people. Bruder recently com- pleted an OB/GYN residency at New York Downtown Hospital but has set up her practice in Virginia. As a member of AOOG's board of junior fellows, Bruder did a study that found that, like herself, half of all obstetrics residents in New York relocate out- side the state. "The malpractice situation in other states is so much better that it's worth leaving," she says. "It's cheaper, a lot cheap- er. The insurance my first year out will be $8,000, and as long as I practice in Virginia, the most I'll pay is $35,000." While Bruder was a resident, New York Downtown found itself on the business end of a $90-million lawsuit. A baby had been bom six weeks prematurely with cerebral palsy, and a jury ruled that there had been a failure to diagnose fetal distress. It awarded $79 million for pain and suffering—^ 1 million for each year of the much time and energy into it and then have to give it up is sad. It hurts everybody. It would break my heart if I couldn't do it." IN 1986, HARVARD UNIVERSITY CONDUCTED A LANDMARK study to determine how much negligence occurred in New York hospitals and how much compensation was provided through the tort system. The study found that only one out of fifteen injured infants ever receives an award in New York, that claims take an average of eight to ten years from start to finish, and that the victims get only about 30 cents on the dollar — the rest is absorbed by lawyers' fees, "expert" witnesses, and court costs. "Listen, I went into OB/GYN because I enjoy delivering babies," says Dr. Albert M. Ellman, who assisted with the Photograph by Ted Hardin. IANUARY 25, 1993/NEW YORK 31 Co RISKY BUSINESS Number of suits filed in New York. Bronx, Kings. Queens. Richmond. Nassau. Suffolk. Westchester, Orange. Ulster. Rockland, and Sullivan counties in 1992 SPECIALTY Obstetrics/Gynccology 264 Internal Medicine (excluding cardiac catheterization) 176 Orthopedic Surgery 125 Family Practice (excluding surgery) 72 Neurosurgery 35 Source Medical Liability Mutual Insurance (.'umpam BERNADETTE PACIELLA WON A SETTLEMENT AFTER HER SON T.J. WAS BORN study. "Now it's such an adversarial situation, and the fear of litigation is so great, that it just changes all of our feelings about what we do, how we practice medicine — good medicine. There is malpractice out there, and the guilty guy has to be taken out of the system. But the cause of cerebral palsy is overwhelmingly unknown. In 93 to 97 percent of the cases, the physician did not cause that CP baby, regardless of what we do in labor and deliv- ery, so why should we be exposed to this lottery system?" Almost one third of those who give up OB do so before the age of 45, well before the normal time for burnout in medicine. "You get to a certain age, and you don't need this crap any- more," says Dr. Richard Blum, chairman of a committee that ing sued because it was a bad outcome." One local insurance company, Medical Pro- fessional Liability Agency in Bedford Hills, has prepared a videotape for clients facing lawsuits. Called "Dealing With Malpractice: You Are Not Alone," it stars doctors, lawyers, and Edward Reading, a Catholic priest who runs the Litiga- tion Stress Support Group for the Medical Soci- ety of New lersey. The message Reading hears over and over makes it understandable why OBs are bailing out, especially if they face the pros- pect of four or five lawsuits over the course of their career, as their insurers now expect. From the day the process server walks into the doc- tor's waiting room to the day the verdict comes in, there is anger, pain, panic, depression, em- barrassment, helplessness, and guilt. Dr. Leo Cooper* knows this litany of distress. In November, Cooper, an OB/GYN at one of Manhattan's most prestigious hospitals, sat in a downtown courtroom as a jury heard about a child he had deliv- ered eight years before who was normal at birth but was diagnosed eight months later with a muscular weakness on one side of his body. Cooper was accused of having missed the symptoms of fetal distress — which he claims were not present — and therefore not having performed a cesarean section. After a three-week trial — with the young boy sitting in the courtroom, one arm hanging at his side— Cooper was found negligent. On the advice of counsel, he will not reveal his real name or the amount of the monetary award, because the verdict will be appealed. "I'm 46," he says, "and I'm very cynical. Nobody wants to deliv- er babies, because they feel that regardless of what they do and CEREBRAL PALSY. Jeffrey Dahmer killed seventeen people and ate them and was on reviews malpractice issues at the New York Medical Society. "We teach doctors about the legal process. We don't teach them how to avoid malpractice anymore — you can't, especially if you're an obstetrician. Now we teach them what to do when it comes. In Nassau County, where I am, if you don't get a suit every three years it means they don't love you." Proceeding on the assumption that there is comfort in num- bers, Blum started a support group for doctors who are sued. "I try to calm them down," he says. "They feel that their families and their houses are going to be taken away, that everything they've worked for is going down the tubes. When they get sued, it's a personal affront and they really take it to heart, to the extent that one doctor killed himself. The other day 1 had an OB on the phone who was going to give up, leave medicine. I asked her, 'Looking back on the case, would you have done anything differently?' and she said no. But it's a tremendous stigma. You've done everything you can for this patient, and you're be- how they do it, they are judged by the outcome, and the judgment is by show: Who puts on the best show? At my trial, they had an OB for their side who's testified as a witness at least 200 times. I'd never been in a courtroom before, other than seeing L.A Law. You're not sure who to dislike more, the lawyers for putting on this show or the doctors who come and lie on the stand. Jeffrey Dahmer killed seventeen people and ate them and was on trial less than I was. Unbelievable. But that's the system." Cooper is still delivering babies — at least for now. "The peo- ple I work with all happen to enjoy doing obstetrics," he says. "You have the ability to do something positive and constructive, and it makes you feel very good about yourself. This stuff doesn't make you feel less good about yourself, but it makes you look at all your patients as potential adversaries. You come back to the office and see people sitting there smiling at you, and all you can see is the other people in the courtr
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18075
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yago
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2
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https://www.quantamagazine.org/first-time-crystal-built-using-googles-quantum-computer-20210730/
|
en
|
Quanta Magazine
|
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"civil conversation. Abusive",
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2021-07-30T14:00:00+00:00
|
Like a perpetual motion machine, a time crystal forever cycles between states without consuming energy. Physicists claim to have built this new phase of matter…
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en
|
/favicon.png
|
Quanta Magazine
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https://www.quantamagazine.org/first-time-crystal-built-using-googles-quantum-computer-20210730/
|
In a preprint posted online Thursday night, researchers at Google in collaboration with physicists at Stanford, Princeton and other universities say that they have used Google’s quantum computer to demonstrate a genuine “time crystal.” In addition, a separate research group claimed earlier this month to have created a time crystal in a diamond.
A novel phase of matter that physicists have strived to realize for many years, a time crystal is an object whose parts move in a regular, repeating cycle, sustaining this constant change without burning any energy.
“The consequence is amazing: You evade the second law of thermodynamics,” said Roderich Moessner, director of the Max Planck Institute for the Physics of Complex Systems in Dresden, Germany, and a co-author on the Google paper. That’s the law that says disorder always increases.
Time crystals are also the first objects to spontaneously break “time-translation symmetry,” the usual rule that a stable object will remain the same throughout time. A time crystal is both stable and ever-changing, with special moments that come at periodic intervals in time.
The time crystal is a new category of phases of matter, expanding the definition of what a phase is. All other known phases, like water or ice, are in thermal equilibrium: Their constituent atoms have settled into the state with the lowest energy permitted by the ambient temperature, and their properties don’t change with time. The time crystal is the first “out-of-equilibrium” phase: It has order and perfect stability despite being in an excited and evolving state.
“This is just this completely new and exciting space that we’re working in now,” said Vedika Khemani, a condensed matter physicist now at Stanford who co-discovered the novel phase while she was a graduate student and co-authored the new paper with the Google team.
Khemani, Moessner, Shivaji Sondhi of Princeton and Achilleas Lazarides of Loughborough University in the United Kingdom discovered the possibility of the phase and described its key properties in 2015; a rival group of physicists led by Chetan Nayak of Microsoft Station Q and the University of California, Santa Barbara identified it as a time crystal soon after.
Researchers have raced to create a time crystal over the past five years, but previous demos, though successful on their own terms, have failed to satisfy all the criteria needed to establish the time crystal’s existence. “There are good reasons to think that none of those experiments completely succeeded, and a quantum computer like [Google’s] would be particularly well placed to do much better than those earlier experiments,” said John Chalker, a condensed matter physicist at the University of Oxford who wasn’t involved in the new work.
Google’s quantum computing team made headlines in 2019 when they performed the first-ever computation that ordinary computers weren’t thought to be able to do in a practical amount of time. Yet that task was contrived to show a speedup and was of no inherent interest. The new time crystal demo marks one of the first times a quantum computer has found gainful employment.
“It’s a fantastic use of [Google’s] processor,” Nayak said.
With yesterday’s preprint, which has been submitted for publication, and other recent results, researchers have fulfilled the original hope for quantum computers. In his 1982 paper proposing the devices, the physicist Richard Feynman argued that they could be used to simulate the particles of any imaginable quantum system.
A time crystal exemplifies that vision. It’s a quantum object that nature itself probably never creates, given its complex combination of delicate ingredients. Imaginations conjured the recipe, stirred by nature’s most baffling laws.
An Impossible Idea, Resurrected
The original notion of a time crystal had a fatal flaw.
The Nobel Prize-winning physicist Frank Wilczek conceived the idea in 2012, while teaching a class about ordinary (spatial) crystals. “If you think about crystals in space, it’s very natural also to think about the classification of crystalline behavior in time,” he told this magazine not long after.
Consider a diamond, a crystalline phase of a clump of carbon atoms. The clump is governed by the same equations everywhere in space, yet it takes a form that has periodic spatial variations, with atoms positioned at lattice points. Physicists say that it “spontaneously breaks space-translation symmetry.” Only minimum-energy equilibrium states spontaneously break spatial symmetries in this way.
Wilczek envisioned a multi-part object in equilibrium, much like a diamond. But this object breaks time-translation symmetry: It undergoes periodic motion, returning to its initial configuration at regular intervals.
Wilczek’s proposed time crystal was profoundly different from, say, a wall clock — an object that also undergoes periodic motion. Clock hands burn energy and stop when the battery runs out. A Wilczekian time crystal requires no input and continues indefinitely, since the system is in its ultra-stable equilibrium state.
If it sounds implausible, it is: After much thrill and controversy, a 2014 proof showed that Wilczek’s prescription fails, like all other perpetual-motion machines conceived throughout history.
That year, researchers at Princeton were thinking about something else. Khemani and her doctoral adviser, Sondhi, were studying many-body localization, an extension of Anderson localization, the Nobel Prize-winning 1958 discovery that an electron can get stuck in place, as if in a crevice in a rugged landscape.
An electron is best pictured as a wave, whose height in different places gives the probability of detecting the particle there. The wave naturally spreads out over time. But Philip Anderson discovered that randomness — such as the presence of random defects in a crystal lattice — can cause the electron’s wave to break up, destructively interfere with itself, and cancel out everywhere except in a small region. The particle localizes.
People thought for decades that interactions between multiple particles would destroy the interference effect. But in 2005, three physicists at Princeton and Columbia universities showed that a one-dimensional chain of quantum particles can experience many-body localization; that is, they all get stuck in a fixed state. This phenomenon would become the first ingredient of the time crystal.
Imagine a row of particles, each with a magnetic orientation (or “spin”) that points up, down, or some probability of both directions. Imagine that the first four spins initially point up, down, down and up. The spins will quantum mechanically fluctuate and quickly align, if they can. But random interference between them can cause the row of particles to get stuck in their particular configuration, unable to rearrange or settle into thermal equilibrium. They’ll point up, down, down and up indefinitely.
Sondhi and a collaborator had discovered that many-body localized systems can exhibit a special kind of order, which would become the second key ingredient of a time crystal: If you flip all the spins in the system (yielding down, up, up and down in our example), you get another stable, many-body localized state.
In the fall of 2014, Khemani joined Sondhi on sabbatical at the Max Planck Institute in Dresden. There, Moessner and Lazarides specialized in so-called Floquet systems: periodically driven systems, such as a crystal that’s being stimulated with a laser of a certain frequency. The laser’s intensity, and thus the strength of its effect on the system, periodically varies.
Moessner, Lazarides, Sondhi and Khemani studied what happens when a many-body localized system is periodically driven in this way. They found in calculations and simulations that when you tickle a localized chain of spins with a laser in a particular way, they’ll flip back and forth, moving between two different many-body localized states in a repeating cycle forever without absorbing any net energy from the laser.
They called their discovery a pi spin-glass phase (where the angle pi signifies a 180-degree flip). The group reported the concept of this new phase of matter — the first many-body, out-of-equilibrium phase ever identified — in a 2015 preprint, but the words “time crystal” didn’t appear anywhere in it. The authors added the term in an updated version, published in Physical Review Letters in June 2016, thanking a reviewer in the acknowledgments for making the connection between their pi spin-glass phase and time crystals.
Something else happened between the preprint’s appearance and its publication: Nayak, who is a former graduate student of Wilczek’s, and collaborators Dominic Else and Bela Bauer put out a preprint in March 2016 proposing the existence of objects called Floquet time crystals. They pointed to Khemani and company’s pi spin-glass phase as an example.
A Floquet time crystal exhibits the kind of behavior envisioned by Wilczek, but only while being periodically driven by an external energy source. This kind of time crystal circumvents the failure of Wilczek’s original idea by never professing to be in thermal equilibrium. Because it’s a many-body localized system, its spins or other parts are unable to settle into equilibrium; they’re stuck where they are. But the system doesn’t heat up either, despite being pumped by a laser or other driver. Instead, it cycles back and forth indefinitely between localized states.
Already, the laser will have broken the symmetry between all moments in time for the row of spins, imposing instead “discrete time-translation symmetry” — that is, identical conditions only after each periodic cycle of the laser. But then, through its back-and-forth flips, the row of spins further breaks the discrete time-translation symmetry imposed by the laser, since its own periodic cycles are multiples of the laser’s.
Khemani and co-authors had characterized this phase in detail, but Nayak’s group couched it in the language of time, symmetry and spontaneous symmetry-breaking — all fundamental concepts in physics. As well as offering sexier terminology, they provided new facets of understanding, and they slightly generalized the notion of a Floquet time crystal beyond the pi spin-glass phase (noting that a certain symmetry it has isn’t needed). Their paper was published in Physical Review Letters in August 2016, two months after Khemani and company published the theoretical discovery of the first example of the phase.
Both groups claim to have discovered the idea. Since then, the rival researchers and others have raced to create a time crystal in reality.
The Perfect Platform
Nayak’s crew teamed up with Chris Monroe at the University of Maryland, who uses electromagnetic fields to trap and control ions. Last month, the group reported in Science that they’d turned the trapped ions into an approximate, or “prethermal,” time crystal. Its cyclical variations (in this case, ions jumping between two states) are practically indistinguishable from those of a genuine time crystal. But unlike a diamond, this prethermal time crystal is not forever; if the experiment ran for long enough, the system would gradually equilibrate and the cyclical behavior would break down.
Khemani, Sondhi, Moessner and collaborators hitched their wagon elsewhere. In 2019, Google announced that its Sycamore quantum computer had completed a task in 200 seconds that would take a conventional computer 10,000 years. (Other researchers would later describe a way to greatly speed up the ordinary computer’s calculation.) In reading the announcement paper, Moessner said, he and his colleagues realized that “the Sycamore processor contains as its fundamental building blocks exactly the things we need to realize the Floquet time crystal.”
|
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18075
|
yago
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3
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https://www.dramafilmfestival.gr/en/46th-drama-international-short-film-festival-awards/
|
en
|
46th Drama International Short Film Festival Awards
|
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2023-09-13T20:19:43+00:00
|
An independent film that stole our hearts by managing to touch upon important issues while remaining penetrating, authentic, and brave...
|
en
|
Drama International Short Film Festival
|
https://www.dramafilmfestival.gr/en/46th-drama-international-short-film-festival-awards/
|
NATIONAL COMPETITION PROGRAMME AWARDS 2023
JURY
Lefteris Charitos (President), director, Alexia Roider, artistic director of the Cyprus Short Film Festival, Menos Deliotzakis, director, Alexandra Matthaiou, director/screenwriter, and Asimina Proedrou, director/screenwriter.
GOLDEN DIONYSUS – BEST FILM AWARD
to the film ‘Bearcave’, directed by Krysianna Papadakis and Stergios Dinopoulos
An independent film that stole our hearts by managing to touch upon important issues while remaining penetrating, authentic, and brave. Breaking away from the stereotypical documentations of rural Greece in a way we rarely see in Greek cinema, the film’s creators placed a big bet and won. A film full of daring stylistic contradictions, natural performances, and character complexity, whose two heroines keep us on our toes, despite the film’s long duration. Up until the credits roll, emotion is prevalent, through the reminder that cinema has always needed and will always need real and deeply human stories.
The award is accompanied by the following prizes: Finos Film offers a prize of 4,000 euro, the Hellenic Broadcasting Corporation (ERT) offers a prize of 3,000 euro, and the Greek Film Centre offers a prize of 2,500 euro.
SILVER DIONYSUS – “TONIA MARKETAKI” BEST DIRECTION AWARD
to Alexis Koukias-Pantelis, for the film ‘Aerolin’
For his exceptional guidance of the main actress, the tight rhythm and all other elements which effortlessly compose this film, we singled out a film which conveyed successfully and humorously the heroine’s struggle to survive in a modern urban environment, presenting on the big screen a character who ultimately represents a whole generation.
The award is accompanied by a prize of 3,500 euro offered by the Greek Film Centre, as well as by Post Production services worth 2,500 euro offered by Stefilm, original music composition for the creator’s next project offered by the company Musou, a Crew United Pass, and a 5-year free Premium Member subscription on Crew United’s platform.
DOCUMENTARY AWARD
to the film ‘Light of Light’, directed by Neritan Zinxhiria
By composing a deeply sacramental world through the use of archive material and daring cinematic choices, the director converses with the past, the present and the future, and expands time. We selected a deeply poetic and existential film for this award.
The award is accompanied by a 3,500-euro prize offered by the Greek Film Centre and a 1,000-euro prize offered by the Hellenic Broadcasting Corporation (ERT).
BEST SCRIPT AWARD
to Michalis Mathoudiakis and Alexis Koukias-Pantelis for the film ‘Aerolin’, directed by Alexis Koukias-Pantelis
A script which handles the short film form masterfully and economically, while remaining consistent to the tone and dramatic development of its heroine.
The award is accompanied by a prize of 3,500 euro, offered by the Greek Film Centre.
DRAMA QUEER AWARD
to the film ‘Buffer Zone’, directed by Savvas Stavrou
The film reminded us that, beyond any man-made or other border, love will always prevail as the ultimate affirmation of life and hope.
The award is accompanied by a cash prize of 2,000 euro, offered by Onassis Culture.
SPECIAL JURY AWARD
to the film ‘The first setting sun of summer’, directed by Asteris Tziolas
BEST MALE PERFORMANCE AWARD
to Andreas Markou, for his performance in the film ‘Buffer Zone’, directed by Savvas Stavrou
We decided to present this award to a young actor who managed to convey the hero’s struggle in a sensitive, natural, and innocent way, in stark contrast to the toxic masculinity environment which surrounds him.
BEST FEMALE PERFORMANCE AWARD
to Chara Kyriazi, for her performance in the film ‘Bearcave’, directed by Stergios Dinopoulos
To the actress that moved us with a refreshingly authentic and realistic performance. Through a personal and austere performance, the actress makes us privy to the emotional state of a heroine who, even when remaining silent, manages to tell us everything.
BEST SOUND DESIGN AWARD
to Panagiotis Papagiannopoulos and Stelios Koupetoris for the film ‘Midnight Skin’, directed by Manolis Mavris
For the atmospheric building of an idiosyncratic dystopia which follows the viewer around throughout the duration of the film.
BEST SOUND AWARD
to Nikos Konstantinou for the film ‘Unorthodox’, directed by Konstantinos Antonopoulos
For its integral sound engineering in a highly demanding natural environment.
Sound design services and 5.1 surround mixing by Costas Chrysogelos & DIAL
BEST EDITING AWARD
to Marios Kleftakis, for the film ‘Arizones’, directed by Giorgos Iliopoulos
For its skilled, thorough, delicate and precise editing, which, through its paced rhythm manages to immerse the viewer into the hero’s subjective world.
BEST PHOTOGRAPHY AWARD
to Manu Tilinski for the film ‘Midnight Skin’, directed by Manolis Mavris
High quality photography, both aesthetically and technically intact, which showcases the director’s particular aesthetic in every frame, and takes the viewer on a journey through a world which tiptoes between the realistic, the metaphysical, the dreamlike, and the subconscious.
The award is accompanied by a Crew United Pass, and a 5-year Premium Member membership on Crew United’s platform.
ORIGINAL MUSIC AWARD
to Petros Sotiropoulos & The Aqua Barons for the film ‘Crossing’, directed by Aineias Tsamatis and Katerina Mavrogeorgi
For its distinct identity which plays a decisive part in the film’s universe.
“IOULIA STAVRIDOU” COSTUME AWARD
to Rectifier + Tzo for the film ‘Good Girls Club: A Virginity Odyssey’, directed by Lida Vartzioti and Dimitris Tsakaleas
For imaginatively combining the element of kitsch with the freshness of pop aesthetic, through a variety of outfit choices.
SET DESIGN AWARD
to Artemis Flessa for the film ‘Crossing’, directed by Aineias Tsamatis and Katerina Mavrogeorgi
For the excellent construction of a set which defines the film’s world in full and organic connection with the natural environment.
The award is accompanied by a Crew United Pass, and a 5-year free Premium Member membership on Crew United’s platform.
SPECIAL EFFECTS AWARD
to Kameleon Studio (Prosthetics) Morgan Hildebrand / Aurelia Monnier, for the film ‘Midnight Skin’, directed by Manolis Mavris
For the impressively masterful design of the film’s special effects, which are incorporated naturally in the transcendental universe of the film.
MAKE-UP AND HAIR STYLING AWARD
to Elina Trantou, for the film ‘Good Girls Club: A Virginity Odyssey’, directed by Lida Vartzioti and Dimitris Tsakaleas
For the consistency which is used to serve the overall aesthetic of the film.
JURY REASONING
Another festival reaches its end; a week full of films, with both new and seasoned filmmakers gathering in the welcoming city of Drama, and, most of all, with cinemas full to capacity for every screening.
At the same time that Yorgos Lanthimos is honoured with the Golden Lion award at the Venice Film Festival and Drama celebrates the short film form, our country is drowning from end to end and sees people use senseless and shocking violence against their fellow man. When we consider all these happenings, we cannot be celebrating anything.
However, Art exists to bring us face to face with darkness and to ultimately lead us towards the light. And this is what the 35 films competing in the National Competition Programme did, in the midst of all this devastation.
The Jury of the National Competition Programme of the 46th Drama International Short Film Festival considers it its obligation to highlight certain positive elements, as well as certain problematic aspects.
Let us start with the positives.
We were happy to note a plethora of subjects being addressed this year: Human relationships, childhood, the multiple forms of violence, the coming-of-age process, life in rural Greece, and many others. We watched noteworthy first filmmaking attempts by new artists, as well as works by seasoned creators of the Festival. This goes to show that short film can function as a standalone category and is not necessarily, as it was previously thought, a mere first step towards feature film.
Furthermore, we saw many remarkable independent productions. This demonstrates the persistence of creators who will not wait for State aid in order to make their films. Despite the fact that the Greek Film Centre and the Hellenic Broadcasting Corporation consistently support the creation of short films, independent production is intensified and firmly shows that there is an alternative way.
Finally, we saw in improvement in both the artistic and the technical quality of production. Watching the beautiful short film of this year’s Festival, created by Artistic Director Yannis Sakaridis, we can see that quality is on a steady upward course. One can no longer discern a short film just by a still. Furthermore, the quality of costume, set, and sound design all function to masterfully serve the script.
In an effort to provide constructive criticism to new creators, we feel the need to mention a few points of concern.
Judging by the level of this year’s film selection, we would like to encourage creators to experiment with more film genres and techniques. Additionally, with narrative films constituting the greater part of the selection, we suggest that creators further develop the dramaturgy, explore character depth, and incorporate authenticity and time economy, elements which will all lead to a more effective management of the short film form.
With this year’s achievement of inclusion in the list for the Oscars nominations, the Drama International Short Film Festival seems to be becoming one of the most important festivals in the world. This brings all of us participants face to face with a process of constant maturing, which cannot be overlooked. I am particularly happy that I shared the jury duty with many prominent and unique colleagues, and we all enjoyed talking passionately about film during the days of the Festival.
I would like to personally thank the Festival’s Artistic Director Yannis Sakaridis, who honoured me with the position of Jury President, and to also wish that this institution will continue to grow and mature, as the years go by.
Lefteris Charitos, director
President of the Jury of the National Competition Programme 2023
INTERNATIONAL COMPETITION PROGRAMME 2023 AWARDS
JURY
Eva Stefani (President), director, Philip Ilson, Artistic Director of the London Film Festival, Marie-Pauline Mollaret, head of the short film selection at the Cannes Film Festival, cinema critic
GRAND PRIX 2023
to the film ‘AQUERONTE’, directed by Manuel Muñoz Rivas from Spain
A film which presents the rare qualities of purely visual cinema: clarity, spirituality, the ability to perceive reality with eyes both open and closed, paired with masterful sound design. The film is also a reminder of the power of water, a force of the earth which can be equally vital and destructive, as we have witnessed in our country recently.
The award is accompanied by a 4,000-euro prize, offered by the company Raycap.
BEST DIRECTION AWARD
to the film ‘THE OPEN HOUSE’, directed by Julieta Lasarte from Spain
Through archival material and family footage, the film offers a masterfully executed cinematic vision, while simultaneously maintaining a discreet approach to issues of personal memory, trauma, and loss. At the same time, the film is a discreet celebration of life.
BEST SOUTHEASTERN EUROPEAN FILM AWARD
to the film ‘UNORTHODOX’, directed by Konstantinos Antonopoulos from Greece
A black comedic approach to history, which pokes fun on family and religion, making the viewer simultaneously laugh and question, through a clever undermining of these institutions.
BEST PRODUCTION AWARD “TV5 MONDE”
to the Ajabu Ajabu collective, for the film ‘APOSTLES OF CINEMA’ from Tanzania
We absolutely love this ode to the power of collective and popular cinema. The way people meet to experience strong images on the big screen and talk excitedly about everything they watched is what brings all of us here in Drama. At the same time, it is equally important to see this experience in the cities and villages of Tanzania, where the DJs breathe life into a film and the ‘bandas’ invite the communities to share into the magic of cinema.
GRAND AWARD OF THE JURY
to the film ‘MIDNIGHT SKIN’, directed by Manolis Mavris from Greece
A film that astounds us with its masterful use of set design and photography direction. An ambitious and sophisticated film that depicts the tendency of dreams to progressively corrupt reality, exposing the desire hidden beneath the surface of habit.
EFA CANDIDACY DRAMA – European Film Academy Award Nomination for Best Short Film
To the film AQUERONTE, directed by Manuel Muñoz Rivas. M astounds us with its masterful use of set design and photography direction.
The power of the image and the importance of sound are perfectly aligned in a film that confidently observes with a spiritual eye. Time and space is blurred as we see a myriad of people in this mysterious landscape framed by a misty early morning and across day and night as they silently travel to an unknown destiny.
SPECIAL MENTION
to Ian Capille for the film ‘THE RIVER AND THE LABYRINTH’ from Portugal and Brazil
A story about friendships and relationships which were lost and found again unfolds through the recollections of two young Brazilian women living in Lisbon. The film eavesdrops on their personal conversations and spies on their private and special moments, in order to paint a moving portrait of the life of young people today.
SPECIAL MENTION
to the film ‘THE AGE OF INNOCENCE’ by Maximilian Bungarten from Germany
We would like to showcase a film which constantly surprised us with its unique narration and extremely personal tone.
NATIONAL STUDENT COMPETITION PROGRAMME AWARDS 2023
JURY
Kyriakos Aggelakos (President), director/producer/screenwriter, Ilektra Venaki, monteuse, head of the Film Restoration Laboratory of the Greek Film Archive Foundation, Maria Komninou, President of the Board of the National Film Archive of Greece, Emeritus Professor at the National and Kapodistrian University of Athens, Lecturer in the Cultural and Cinema Studies Postgraduate Programme
“Frida Liappa” Best Greek Student Film Award
to the film ‘The Parade’, directed by Michalis Galanopoulos
A coming-of-age film set in modern-day Athens, which showcases the social issue of racism and the contradictory manifestations of youth culture, through its excellent writing which manages to convey pure emotion.
The award is accompanied by a 5,000-euro prize.
The award is also accompanied by provisions for laboratory and post-production activities, offered by the company Stefilm for the director’s next film.
BEST DIRECTION AWARD
to Nikos Kolioukos, for the film ‘The Chaos She Left Behind’
For its sturdy handling of the subject of father-daughter relationships, the exquisite direction of the actors, the wonderfully claustrophobic movement of the camera, the avoidance of stereotypes and the showcasing of a humanistic attitude towards the depiction of the heroes.
The award is accompanied by a prize of 3,000 euro, sponsored by Michael Bodouroglou, as well as by a six-month contract for a paid internship at the company Green Pixel.
SCREENPLAY AWARD
to Nina Alexandraki for the film ‘A Diary of Sexual Solitude’, directed by Nina Alexandraki
For its exceptional structure, the escalation of the narration, and its daring and humorous confessions, elements which are all combined with the moving image that both cancels and complements the confessions about the female orgasm.
The award is accompanied by a 1,500-euro prize, offered by the ANT1 Screenplay School.
“DINOS KATSOURIDIS” PHOTOGRAPHY AWARD
to Giorgos Karavoulias, for the film ‘How to Light a Cigarette Without Burning Yourself’, directed by Konstantinos Spanoudakis
For his exemplary use of lighting, particularly during the sex scenes, which highlight the power of the flesh, as well as for the correct combination of natural and artificial lighting.
The award is accompanied by full technical coverage for the production of the photographer’s next film, courtesy of the Katsouridis family.
The award is also accompanied by a six-month contract for a paid internship at the Green Pixel company.
EDITING AWARD
to Antoine Flahaut, for the film ‘The Parade’, directed by Michalis Galanopoulos
For the exceptional rhythm which harmoniously combines various characters and situations, in order to primarily highlight the emotion which stems from the story itself and creates an almost erotic flow to the filmic event.
The company Green Pixel makes their award-winning editing suite available for the winner’s next film.
The company Telmaco offers its award-winning film and video editing software Avid Media Composer, provided by Avid Technology.
BEST MALE PERFORMANCE AWARD
to Fabricio Muco for the film ‘Greenhouse’, directed by George Georgakopoulos
For its immediacy, sensitivity, and physicality, which are all conveyed in every single scene of the film.
BEST FEMALE PERFORMANCE AWARD
to Marina Siotou for the film ‘The Chaos She Left Behind’, directed by Nikos Kolioukos
For its inwardness which works to transform anger into tenderness, as well as for the actress’s full control of her expressive means.
DOCUMENTARY AWARD
to Dimitris Kechris for the film ‘Athens, My Love’
For its extremely personal gaze realised via the form of an essay documentary, and for its reflection on the modern history of Athens, where the defeated past demands justice.
The award is accompanied by a 3,000-euro prize, sponsored by Michalis Bodouroglou.
SET DESIGN AWARD
to Anastasia Mastrakouli, for the film ‘The Little Doggie’, directed by Giorgos Ntounis
For its consistent and creative curation of elements showcasing the complexity of different countries, through a comprehensive, consistent, and attentive to detail aesthetic.
The award is accompanied by a six-month contract for a paid internship at the Green Pixel company.
SOUND DESIGN AWARD
to Massimo Del Gaudio for the film ‘The Parade’, directed by Michalis Galanopoulos
For its complexity and masterful use of the sound band, which allows the co-existence of multiple stories and places both within and outside the frame, and which creates a rich audio world which enfolds the heroes, the places, the situations, and the viewers.
The award is accompanied by a six-month contract for a paid internship at Green Pixel.
INTERNATIONAL STUDENT COMPETITION AWARDS 2023
JURY
Florian Fernandez-Canto, coordinator of the Cannes Court Metrage Rendez-Vous industry, Anne Gaschutz, artistic director of the Film Festival in Dresden, Thanos Tokakis, director, actor
GRAND PRIX STUDENT: Almost Famous
to the film ‘Klette’ by Michael Abay from Belgium
Achieving a delicate balance between youthful carefreeness and harsh reality, this coming-of-age film invades a seemingly carefree yet actually harsh life, with a penetrative gaze. For its powerful narration which makes us privy to the unbearable pressure of achieving success in the future, as well as for the exceptional portrayal by the main actress.
The film is accompanied by a 1,500-euro cash prize, offered by Metropolitan College.
Queer Student Award “ Loud & Proud”
to the film ‘Kokuryo: The Untold Story of bb. Undas 2019’ by Diokko Manuel Dionisio from the Philippines
For its raw approach to storytelling, lovingly portrayed characters and quick-witted humour. Friendship and loyalty are tested in this tale of two queer protagonists who venture into the night after a beauty pageant gone awry. Meandering between the farcical and hard-hitting reality, this film uses the element of the absurd to highlight the trials and discrimination transgender people face on a daily basis.
Special Jury Award “Rising Star”
to the film ‘PHALÈNE’ by Sarah–Anaïs Desbenoit from France
Through a particularly delicate aesthetic, and without being focused on the narration, this short stands out as a call for tenderness and care in a world stuck in repetition. When replicating gestures becomes a way of subjugation and leads to servitude, there is no other choice than to question if the latent calmness isn’t hiding the enslavement of the women we witness in this polished setup.
DISTRIBUTION AWARD
to the film ‘Sea Urchin’ by Alex Scholz from Greece
The Distribution Award is sponsored by Radiator IP Sales, and is presented to a Greek film of the programme. The award offers representation for the development of a comprehensive commercial strategy targeting buyers abroad (TV stations and platforms).
SHORT AND GREEN AWARDS 2023
JURY
Yorgos Gousis (President), director, Sofia Stavrianidou, director of the Greek Film Festival Berlin, Natasa Christia, curator, journalist, and educator in the field of artistic photography.
DRAMA GREEN AWARD
to the film ‘SEAGULLS SCREAM ON THE WEEKEND’, directed by Maria Stuut and Frederik Stuut from the Netherlands
The Drama Green Award is presented to a film that managed to successfully present a scientific research project with a poetic and cinematic gaze, through fictionally elevating a documentary-making convention in a soft, humorous, and emotional manner.
The award is accompanied by a 4,000-euro prize, offered by CYCLOPS AMKE
SPECIAL JURY AWARD
to the film ‘TIME TO LIVE’, directed by Hawar Rahimi
Production: Iraqi Kurdistan, Islamic Republic of Iran
The Special Jury Award is presented to a film that, by focusing initially on a rural woman performing caregiving duties, manages to turn our gaze to the primordial and equal symbiosis of man and animal.
INTERNATIONAL ANIMATION PROGRAMME 2023 AWARDS
JURY
Jutta Wille, director of AGKurzFilm, producer, Alekos Papadatos, animator/director, Anthi Samartzidou, illustrator
BEST ANIMATION FILM – ASIFA HELLAS YANNIS VASILEIADIS AWARD
To Alec Green and Finbar Watson for the film ‘TEACUPS’
The jury believes that this film combines a high artistic quality and an elevated production level with the element of compassion to the human soul, conveying, thus, its message masterfully and successfully. The directors do not try to manipulate the feelings of the audience by using the protagonist’s traumatic experience, but rather prefer to showcase his decision to act in this very personal way. The choice to employ animation to depict this non-fictional subject, as well as the use of the voice of the particular narrator, both contribute to the plausibility and perceptibility of the film. We particularly appreciate the directors, who managed to find the appropriate imagery to depict the thoughts and actions of the protagonist, which do not render exclusively the things described by the narrator.
The award includes a one-year free membership at ASIFA HELLAS, with the full privileges of a registered member (information, visibility, participation in animation extroversion missions at international forums and festivals, etc).
SPECIAL JURY AWARD
to the film ‘The Tornado Outside’, directed by Maria Tomazou
Production: United Kingdom
A film that masterfully combines artistic quality and integrity in terms of production. The film relays its story with skill, humour, and intelligence. Many films of the animation programme have touched upon the notion of the fragility of the human soul, as we live in a chaotic, unknown, unbalanced and even evil world. The particular quality of this film hides in the compassion with which it approaches this difficult idea. On the one hand, it helps the viewer playfully connect with the problems and concerns of the protagonist, while on the other, it restores the feelings of safety, certainty, and balance through the course of the story, resulting in a relieving catharsis. We believe it to be a deeply human and emotional film.
KIDDO AWARDS 2023
Jury
*The jury of the KIDDO Programme is composed by children and teenagers between the ages of 11-18:
Petros Georgiadis, Tatiana Mavridou, Anna Panagiotopoulou, Christos Sapanidis, Vasiliki Stefanidou
BEST KIDDO FILM
to the film ‘Crab Day’ by Ross Stringer from the United Kingdom
A film that emotionally combines a simple artistic style with a straightforward yet deep meaning. The conception of the film shows us that we don’t need to follow the wrong ideas of a society in order to fit in. Instead, one must love and strive to be the best version of themselves. Love and compassion can transform us all into something good.
SPECIAL MENTION
to the film ‘Ativio, Pieces of Wood’ by Juliette Boucheny from France and Togo
A film that renders its story with creativity, tenderness, humour, and emotion. The conception of this film shows us that we all naturally have an inner guide in our hearts, which protects us and helps us find ourselves. The support children get from people in their lives gives them the hope and encouragement to follow their dreams.
DRAMA PITCHING LAB AWARDS 2023
We are delighted to be here for the tenth year in a row, and we have had the pleasure to once again welcome participants from all around the world, who felt it important to visit the festival taking place in this small city of Greece; this city which, thanks to this institution, has become so large, that it can embrace many different ideas, concerns, images, and talents from many different countries.
For our small team, comprised by myself, Georgina Kakoudaki, and John Stevens, the yearly reception of applications by new artists from all around the world is always a lesson; by receiving approximately 120 film drafts, we instantly get a taste of how the rest of the world is thinking at that moment. These are the themes we discovered this year: anxiety about survival, about people, cities, and the entire planet. We saw places we barely know, where people struggle to survive, something that we, the members of the privileged white race, cannot even imagine. We saw films that touched on subjects like trauma and memory of the past, personal and collective stories, compassion, reconciliation, and, ultimately, the highly coveted healing.
This is why we firmly believe that our workshop at the Pitching Lab is not only useful for the preparation of adequate drafts which will succeed in getting funding, but also for showcasing good ideas, so that they can be made into great films.
Barbara Douka
FINOS FILM AWARD
to the project ‘The Station’ by Isidoros Rostadakis from Greece.
The award is accompanied by a 2,000-euro prize offered by FINOS FILM.
GREEK FILM CENTRE AWARD
Best Pitching for Development
to the film ‘My Tears, a Sea for Jakarta to Sink’, by Andrea Nirmala Widjajanto from Indonesia
The award is accompanied by a 2,000-euro prize offered by the Greek Film Centre.
STATHIS PARASKEVOPOULOS AWARD
to the film ‘Heaven on Earth’ by Martin Vallejos from Chile
and to the film ‘The Blind Man at the End of the World’ by Jake Muñoz Consing from the Philippines
The awards are accompanied by sessions for the further development and correction of scripts for selected drafts.
Wishing to honour the memory of our dear colleague and mentor Stathis Paraskevopoulos, the Drama International Short Film Festival and the Pitching Lab team have decided to rename the guidance and mentorship awards, so that they will bear his name: These are the Stathis Paraskevopoulos Awards.
“HUMAN VALUES” AWARD BY THE HELLENIC PARLIAMENT
to the film ‘Aqueronte’ by Manuel Muñoz Rivas from Spain
An exceptional cinematic allegory about life and death, inspired by Greek mythology.
The Hellenic Parliament presents the “Human Values” award to a film from the International Competition Programme.
The award is accompanied by a 1,500-euro prize, offered by the Hellenic Parliament.
DEVELOPMENT AWARD (ONASSIS FILM DEVELOPMENT GRANT)
to the film ‘Super’ by Nikolas Kouloglou from Greece
The Onassis Award is presented to a film that touches upon the themes of chemistry, love, and the decay of human relationships in a modern world where everything is expendable, through a spontaneous, daring, and honest approach.
The award is accompanied by a prize of 10,000 euro for the development of the director’s first feature film.
FILM SOCIETIES AWARDS 2023
Greek Society of Cinematographers (G.S.C.)
GSC 2023 Merit
to Sotiris Tzatzakis for the film ‘The First Setting Sun of Summer’, directed by Asteris Tziolas
For its exceptional image, which remained consistently focused on the particular needs of the film’s script.
Jury
Giorgos Valsamis, Konstantinos Koukoulios, Giorgos Frentzos
REASONING
The Greek Society of Cinematographers is happy to be part of the National Competition Programme of the Drama International Short Film Festival for yet another year. We are following the development of visual narration in cinema with great interest, and particularly in festivals like the Drama International Short Film Festival, where both prominent and experienced colleagues are participating, as well as many new creators. And, once again this year, we are presenting our Best Filmmaking Award to a new creator.
The lens captures the warm light of summer, the rays and shadows of the sun, the vivid colours. It follows the film’s protagonists, the children, in their games both by the sea and inside it. Thanks to the use of the 4:3 frame, we experience nostalgia through the imagery and we travel back to a time of carefree childhood.
The award of the GSC is accompanied by a 2,000-euro prize, offered by the AN-MAP Film Lab image editing laboratory, for Colour Correction and DCP services to be used in the award-winning filmmaker’s next film.
Greek Union of Film, Television and Audiovisual Technicians
“Technical Integrity” Award
to Mary Kolonia for the film ‘The Armchair on the Pavement”
For accomplishing a functionally structured result derived from the whole set of cinematic specialties.
Greek Film Critics Association Award
to the film ‘Crossing’ by Aineias Tsamatis and Katerina Mavrogeorgi
For its tender depiction of the co-existence of two incompatible characters, which is abruptly interrupted by unexpected love and the inevitability of death.
The Greek Film Critics Association is always present at the Drama International Short Film Festival, which is the most important institution for the promotion of new creators in our country. In the body of the 35 films competing in this year’s National Competition Programme, this one stood out for us.
INTERNATIONAL FEDERATION OF FILM CRITICS (FIPRESCI) AWARD
to the film ‘The Silence of the Banana Trees’ By Eneos Carka
Production: Hungary, Portugal, Albania, Belgium
For its sensitive approach and its composition of observations (through the camera) and documentations of a real-life story. The power of love and familial bonds brings people together, even when they are far apart.
FEDERATION OF CINEMATIC CLUBS OF GREECE (OKLE) AWARD
to the film ‘Aerolin’, directed by Alexis Koukias-Pantelis
For its textured and realistic depiction of a young artist’s everyday struggle to survive. Her stressful, daily battle in adverse and suffocating conditions is recorded through a dynamic narration and an intense and flowing pace, and the film is elevated through the main actress’s expressive performance.
AUDIENCE AWARD 2023
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Tonia Marketaki
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Tonia Marketaki was a celebrated film director and screenwriter born on July 28, 1942, in Piraeus, Greece. She spent her childhood years in the Zografou district of Athens, and her maternal origins are from Kardamyla, in the island of Chios. Marketaki received her formal training at IDHEC in Paris, and upon her return to Greece, she worked as a film critic in various newspapers from 1963 until 196...
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https://www.topcount.co/tv/people/805894/tonia-marketaki
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http://www.tainiothiki.gr/en/programs/greek-fantasy-cinema/59-movies/680-crystal-nights
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Crystal Nights
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http://www.tainiothiki.gr//en/programs/greek-fantasy-cinema/59-movies/680-crystal-nights
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It all began in Athens during the German occupation. A German woman, married to a Greek officer, falls in love with a young Jew who delivers ice. Forced by the supreme motive - that of winning the love of her life - the woman dies and is born again. In the course of her two lives, the world around her evolves. The story of the individual traverses history. A film on love. Potentially a thriller; since it lies on the borderline between imagination and terror. “Crystal Nights” (the film gets its title from the notorious “Crystal Nights”, the first systematic, mass attack by bands of Nazis on Jewish shop windows in Vienna, in 1938) is Marketakis’s most demanding film, in which she is balancing, without a safety net, on a daemonic line and where symbolism and realism are not just interchangeable; they become one.
Tonia Marketaki
She studied cinema at the Paris I.D.H.E.C.. She worked as a film critic from 1963 to 1967 and then presented her first short film, “John and the Road” (1967). She was arrested by the junta and then managed to escape to Italy, then to Paris, to find herself in London where she worked in film productions. She ended up in Algiers, making documentaries for the newly formed state of Algeria. She returned to Greece and directed the masterpiece “John the Violent” (1973), which was honored with the awards for best director, screenplay and actor at the Thessaloniki International Film Festival. In 1978, she directed the TV series “The Lemon Forest”, an adaptation of the novel by Kosmas Politis. This was followed by the films “The Price of Love” (1984), based on the novel by Konstantinos Theotokis, which won the award for the Best Mediterranean Film at the Bastia Film Festival (Corsica) and “Crystal Nights”(1992), which won, among others, the 2nd prize of the Bastia Film Festival.
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https://issuu.com/ca4s/docs/corfu
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AthensArt Odysseia
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2011-11-08T00:00:00+00:00
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CORFU, The Island of Feakes
Ambelonas 15-30 October 2011
Friendship through Art can change the World
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en
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/favicon.ico
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Issuu
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https://issuu.com/ca4s/docs/corfu
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Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
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https://www.yumpu.com/en/document/view/38784327/greek-cinema-hellenic-university-club-of-southern-california
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en
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Greek cinema - Hellenic University Club of Southern California
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Page 2 and 3: © Copyright 2012, Trifon Tzavalas
Page 5: CONTENTS VOLUME 1 ACKNOWLEDGMENT FO
Page 9: FOREWORD This work surveys the gene
Page 12 and 13: Egypt; they also took poetry from t
Page 14 and 15: first presented, and the audience s
Page 16 and 17: In looking back, one can see the re
Page 19 and 20: CHAPTER 2 THE SILENT GREEK MOVIES T
Page 21 and 22: Leon Gaumont (1863-1946), an exhibi
Page 23 and 24: date when announcing to the Greek p
Page 25 and 26: cinema was introduced, with success
Page 27 and 28: During that period (most likely in
Page 29 and 30: defiant Prometheus by Zeus, the rul
Page 31 and 32: protagonist, Yannis Triantafilidis.
Page 33 and 34: Some considered it even a sacrilege
Page 35 and 36: have been coincidental. Nevertheles
Page 37 and 38: Speaking of Hollywood, the Orthopho
Page 39 and 40: classic in the history of Greek mot
Page 41 and 42: The year 1931-32 saw the production
Page 43 and 44: from the church and a good part of
Page 45 and 46: Though today, those silent movies m
Page 47 and 48: unrealistic historical Roman drama
Page 49 and 50: Greek government as “The undertak
Page 51 and 52: 14. See Nestor P. Matsas’ and Dem
Page 53 and 54:
35. See “Greece” in the magazin
Page 55 and 56:
CHAPTER 3 THE PERIOD OF TALKING MOV
Page 57 and 58:
neither the studios nor the know-ho
Page 59 and 60:
The third movie of the year, Aravon
Page 61 and 62:
Paramount production. Katina Paxino
Page 63 and 64:
then after the war, new scriptwrite
Page 65 and 66:
Two months after Marina was release
Page 67 and 68:
In March, 1948, during the same mon
Page 69 and 70:
performance in the movie Ta Herocro
Page 71 and 72:
World War II and the Greek Civil Wa
Page 73:
8. Strangely enough, in another pag
Page 76 and 77:
Mention should also be made of anot
Page 78 and 79:
title. The scriptwriter and directo
Page 80 and 81:
Anihti Thalassa (Open Sea) was one
Page 82 and 83:
The actor-director-scriptwriter Din
Page 84 and 85:
Lazarou 14 points out, “…a dram
Page 86 and 87:
Kiveli’s talent was unsurpassed,
Page 88 and 89:
The year 1958 saw an increase in mo
Page 90 and 91:
Labrinos entrusted the leading part
Page 92 and 93:
newcomer in the field, Yannis Dalia
Page 94 and 95:
with the critic in Time Magazine 22
Page 96 and 97:
Elli Lampeti (1928- 1983) graduated
Page 98 and 99:
The industry pleaded with the polit
Page 100 and 101:
contradict themselves and Frixos El
Page 103 and 104:
CHAPTER 5 THE DECADE OF 1961- 1970
Page 105 and 106:
the theater company was disbanded b
Page 107 and 108:
performed in some foreign productio
Page 109 and 110:
In addition to the movie, Elektra m
Page 111 and 112:
emarkably transposed the successful
Page 113 and 114:
Lola, a film released February 17,
Page 115 and 116:
major ideas of the plot, the good d
Page 117 and 118:
some critics, the movie, aside from
Page 119 and 120:
got out of hand. Unfortunately, And
Page 121 and 122:
the daughter was to learn the Engli
Page 123 and 124:
twist the plot and instead of a fat
Page 125 and 126:
the characters to slow it down, if
Page 127 and 128:
eyes opened to the joys and the gam
Page 129 and 130:
origin, then joins the Greek side.
Page 131 and 132:
present an artistic work, he also e
Page 133 and 134:
is the inhumane execution of the Cy
Page 135 and 136:
By Greek standards, of the so-calle
Page 137 and 138:
also an essay of countryside life i
Page 139 and 140:
noticeable improvement technically
Page 141 and 142:
CHAPTER 6 The Years 1971-1975 The p
Page 143 and 144:
caused serious damages. It was very
Page 145 and 146:
mother’s family. Here, the direct
Page 147 and 148:
of movies. Their titles alone give
Page 149 and 150:
With the decrease of movie producti
Page 151 and 152:
Gerasis). The leading actress Maria
Page 153 and 154:
and emotional reactions, gives us t
Page 155 and 156:
importation. Germany tried to pass
Page 157 and 158:
CHAPTER 7 1976-2000 From 1976 to 19
Page 159 and 160:
Halazi (The Bullets Fall like Hail)
Page 161 and 162:
not have the same impact as his pre
Page 163 and 164:
On May 21 1986 Law 157/86 was passe
Page 165 and 166:
She accepts it so she can partake o
Page 167 and 168:
photography Christos Triandafillou
Page 169 and 170:
Though in 1985 some good movies wer
Page 171 and 172:
Proeni Peripolos (Morning Patrol) d
Page 173 and 174:
autistic with high IQ. Alkis, who i
Page 175 and 176:
go in her life, including the above
Page 177 and 178:
One more movie of 1990 that could b
Page 179 and 180:
noteworthy. As Voulgaris cannot get
Page 181 and 182:
Camus, and others. Much of the musi
Page 183 and 184:
a momentary expression of passion,
Page 185 and 186:
O Hamenos Thisavros Tou Hursit Pach
Page 187 and 188:
of friendship as they wander throug
Page 189 and 190:
comical results. Two of the sisters
Page 191 and 192:
leave on a distant voyage as a merc
Page 193 and 194:
The love story I Agape Ene Elefanda
Page 195 and 196:
The evidence indicates that cinema
Page 197 and 198:
GREEK MOVIES THAT PARTICIPATED IN D
Page 199 and 200:
Best Cinematography: Aristidis Kari
Page 201 and 202:
1962 International Film Festivals a
Page 203 and 204:
3. O Ouranos (The Sky); Director Ta
Page 205 and 206:
Karlovy-Vary (Czechoslovakia) Film
Page 207 and 208:
Best Script: Petros Likas; To Korit
Page 209 and 210:
the first time since the Thessaloni
Page 211 and 212:
1974 Movies That Participated in th
Page 213 and 214:
1976 Movies that Participated in th
Page 215 and 216:
participated in Cannes, Montreal, (
Page 217 and 218:
2. E Ora Tou Likou (The Wolf’s Ti
Page 219 and 220:
Favorable Mention: Melodrama; Direc
Page 221 and 222:
12. Agapantheon (Flowers of Death);
Page 223 and 224:
EKKA (Greek Film Center of Athens)
Page 225 and 226:
7. Mia Toso Makrini Apousia (Such a
Page 227 and 228:
Caravan Serai; Produced by Greek Fi
Page 229 and 230:
7. Leptomeria Stin Kipro (Detail In
Page 231 and 232:
Honorary Distinction: To Alexandros
Page 233 and 234:
1990 Movies That Participated in th
Page 235 and 236:
Escapee -released under the title M
Page 237 and 238:
Participating without Competing Oni
Page 239 and 240:
26. Taxidi Sta Kithira (Journey To
Page 241 and 242:
Honorary Mention: Adio Verolino (Go
Page 243 and 244:
Xanthopoulos; participated in the B
Page 245 and 246:
International, Human Rights New Yor
Page 247 and 248:
participated in the Cine Odyssee, (
Page 249 and 250:
68: Kali Patrida Sindrofe (Happy Ho
Page 251 and 252:
Best Music: Kostis Zevgadelis; Prin
Page 253 and 254:
31: Radio Mosha (Radio Moscow); Dir
Page 255 and 256:
Best Sound Recording: Demetris Atha
Page 257 and 258:
4. Monaxia mou, Ola (Loneliness Eve
Page 259 and 260:
21: Vassiliki; Director: Evangelos
Page 261 and 262:
participated in the Amour (Belgium)
Page 263 and 264:
Honorary Mention: Klisti Dromi (Clo
Page 265 and 266:
29. I Diakritiki Yoitia Ton Arsenik
Page 267 and 268:
GREEK PERFORMERS IN FOREIGN FILM PR
Page 269 and 270:
1962: Phaedra; (Greece/USA/France);
Page 271 and 272:
1989: Ena Rekviem Yia Ton Kinimatog
Page 273 and 274:
Yannis Bertos 1962: Phaedra; (Greec
Page 275 and 276:
1965 Gimni Taxiarhia (The Naked Bri
Page 277 and 278:
Pheadon Papamichael 1962: Phaedra;
Page 279 and 280:
Giorgos Xanis 1962: Phaedra; (Greec
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Anadolu Agency: News in English, 00-09-17
Anadolu Agency: News in English Directory - Previous Article - Next Article
From: The Anadolu Agency Home Page at <http://www.anadoluajansi.com.tr/>
Anadolu Agency
ANADOLU AGENCY
NEWS
09 SEPTEMBER 2000 Saturday
CONTENTS
[01] TURKEY-PRESS SCAN
[02] ROMANIAN GOVERNMENT CHOOSES DEMIRBANK AS LEADER OF CONSORTIUM IN ISSUE OF EUROBOND
[03] VAN-ASIA INTERNATIONAL FAIR OPENS
[04] INTERNATIONAL TANGO FESTIVAL STARTS IN MARMARIS
[05] THE 2000 SYDNEY SUMMER OLYMPICS -TURKISH BOXER PHALIANI IN SECOND ROUND
[06] THE 2000 SYDNEY SUMMER OLYMPICS -TURKISH SPORTSMEN TO COMPETE IN THREE CATEGORIES ON MONDAY
[07] PROMOTION EFFORTS OF TEXTILE AND READY-WEAR
[08] OZKAN OF TURKEY WINS GOLD MEDAL IN JUDO
[09] GENDARME FORCES CAPTURE 47,717 ILLEGAL IMMIGRANTS IN EDIRNE IN LAST FOUR YEARS
[10] BLACK SEA PARTNERSHIP-2000 MANOEUVRES TO START ON MONDAY
[11] THE BIGGEST ECONOMIES OF THE WORLD
[12] MORE AND MORE COMPANY PRODUCES SPECIAL WINE FOR THE 2000TH ANNIVERSARY OF BIRTH OF JESUS CHRIST
[13] 9TH OXFORD-CAMBRIDGE-BOGAZICI UNIVERSITIES ROWING RACES -BOGAZICI UNIVERSITY COMES FIRST IN 500 METRE ROWING RACE
[14] TAPON-2000 NAVAL MANOEUVRES -EXERCISE IN THE STRAIT OF GIBRALTAR TO START ON MONDAY
[15] TURKISH AND GREEK MOVIE MAKERS TO CONVENE IN URGUP
[16] THE 2000 SYDNEY SUMMER OLYMPICS -TURKEY QUALIFIES TO FIFTH PLACE IN MEDAL STANDINGS
[01] TURKEY-PRESS SCAN
These are some of the major headlines and their brief stories in Turkey's press on September 17, 2000. The Anadolu Ajansi does not verify these stories and does not vouch for their accuracy.
HURRIYET (LIBERAL)
STRONG AS A TURK
Halil Mutlu broke three olympic and three world records and won gold medal by lifting 138 kilograms in snatch and 167.5 kilograms in clean and jerk and 305 kilograms in total. Mutlu made our National Anthem be listened by the whole world.
KIVRIKOGLU AND CHIEFS OF GENERAL STAFFS VISIT TOPKAPI
Chiefs of general staffs of NATO countries who attended NATO Military Committee Meeting in Istanbul, visited the historical and touristic sites of the city. Huseyin Kivrikoglu, the Chief of General Staff, and other chiefs of general staffs firstly visited Sultanahmet Mosque. After visiting the Hagia Sophia Museum, the chiefs of general staffs proceeded to Topkapi Palace.
MILLIYET (LIBERAL)
THOSE AMONG PUBLIC
Premier Bulent Ecevit and his wife Rahsan Ecevit paid the return ticket of economic class of Turkish Airlines (THY) plane when they were flying to Aegean Izmir province to attend the inauguration of Kordonboyu. The Ecevits sat beside the citizens. Meanwhile, it was reported that President Ahmet Necdet Sezer does not want his salary to be increased. Sezer, who sometimes goes to open market places, pays all his personal expenses from his own salary.
DECISION WEEK FOR ASLITURK
The Bow Street Peace Court in Britain will examine the extradition dossier regarding Gulay Asliturk, the former Sisli Mayor, between September 18 and 20. The court will decide whether or not the extradition dossier provides legal ground for the extradition in respect of both form and the content.
SABAH (LIBERAL)
THEY TOAST FOR FRIENDSHIP
Greek Foreign Minister George Papandreou hosted Foreign Minister Ismail Cem in a Greek restaurant. The groundwork of the positive atmosphere in Turkish- Greek relations were laid in New York last year. Two foreign ministers who signed nine agreements in one year, toasted for Turkish-Greek friendship in New York one year later. Two ministers will meet in Aegean Marmaris township in October.
FOREIGN MINISTER CEM SPEAKS IN U.N. GENERAL ASSEMBLY:
''WE SHOULD NOT RECALL HOSTILITY FROM THE HISTORY''
Foreign Minister Ismail Cem addressed the United Nations (U.N.) General Assembly. Cem touched on Cyprus question, the Middle East Peace Process, and Turkish-Greek relations in his speech. Criticizing the Armenian lobby, Cem said, ''it is no use for anybody to blacken any country or recall hostility from the history. The scientists should undertake historical researches. We expect all countries to have cooperation with the others.''
CUMHURIYET (LEFT)
PREMIER ECEVIT ADDRESSES TO ATHENS
Prime Minister Bulent Ecevit Saturday hailed Greece, and said problems between the two countries can be solved through dialogue. Ecevit said, ''support expended by our peoples to our improving relations facilitates discussing the problems in a friendly atmosphere and through dialogue.''
Speaking about Turkish-Greek relations, Ecevit said the Aegean Sea was the most complicated sea of the world, and pointed out that, ''we have no claims on the territories of a country or the sea of Greece.''
Ecevit said Turkey was imprisoned in its own shore in the Aegean Sea which has a complicated structure, adding, ''our sailors and fishermen feel the difficulty of this the most. So, its our right to call for an arragement considering the security and economy of our state on the Aegean.''
Prime Minister Ecevit said territorial waters, continental shelf, air space, and armament in Greek islands were very sensitive problems, adding that Greece did not accept the existence of most of these problems.
AKBULUT DUE IN BULGARIA
Parliament Speaker Yildirim Akbulut will go to Bulgaria as the guest of Yordan Sokolov, Bulgarian National Parliament Speaker. Akbulut will meet with Sokolov in Sofia National Assembly. Akbulut and the accompanying delegation will meet with Bulgarian National Assembly Foreign Policy and Integration Committee members and will be received by Todor Kavalciev, Acting President of Bulgaria.
RADIKAL (LEFT)
312 CRISIS IN COALITION PARTNERS
As Democratic Left Party (DSP) is moderate towards the formula of Ertugrul Yalcinbayir, Chairman of Constitutional Commission, softening Article 312, Nationalist Movement Party (MHP) closed the doors to the change. Mesut Yilmaz, the State Minister and Deputy Prime Minister, will be in an effort to persuade Devlet Bahceli, leader of the MHP. Although Prime Minister Bulent Ecevit said there was ''no bargaining'' on the issue, Virtue Party (FP), plans to use Article 312 as trump card in talks.
ISIKARA LEAVES FOR THE U.S.
Ahmet Mete Isikara, the Head of Bogazici University and Seismology Institute, left on Saturday for the U.S. to hold several contacts. At the Ataturk Airport of Istanbul, Isikara told reporters that he will visit quake institutions in Los Angeles, Washington D.C., and Sacramento.
Isikara said that he will hold contacts regarding the ''National Model Project'' which is planned to be formed in Turkey.
Isikara said that he will visit Geology Department in Los Angeles and meet with the officials in Sacramento. He will visit ''National Emergency Administration Agency'' in Washington D.C., Isikara noted.
YENÝ BÝNYIL (LIBERAL)
ERBAKAN IS VERY HOPEFUL
Necmettin Erbakan, the former leader of the banned Welfare Party (RP), had breakfast with the editors in Istanbul Hidiv Summer Place. Erbakan said, ''I expect Article 312 to change within four months.'' Erbakan called for support in critical times and issues. Erbakan connects his personal problem with democracy, laws, and human rights. However, Erbakan does not accept the criticisms toward the attitude of his party regarding democracy.
AID PROGRAM FROM THE JAPANESE GOVERNMENT
Japanese Government will expend aid in the form of donation with an aid program named ''Donation Aid for the Projects of People'' (GGP). A statement issued by Japanese Embassy in Ankara said Japanese-Turkish Joint Action Plan, signed by Foreign Minister Ismail Cem and Japanese Foreign Minister Yohei Kono, took effect on September 11, 2000. GGP will expend aid in ''Health,'' ''Education,'' ''Lessening Poverty,'' ''Improving the Welfare of People,'' and ''Environment.''
TURKIYE (RIGHT)
INFLATION FIGURE FROM YILMAZ: 25 PERCENT
Mesut Yilmaz, the Deputy Prime Minister, pointed out that a success should be recorded in economic program, and noted that inflation will be reduced to 25 percent by March.
Pointing out the consistency in inflation despite high oil prices, Yilmaz said that was the success of the government.
2.5 MILLION TOURISTS
Two and a half million tourists arrived in southern Antalya province since the beginning of 2000. Antalya Governor Ertugrul Dokuzoglu gave a bouquet of flowers to German Sabine Rahmel, who was the two and a half millionth tourist who landed at the Antalya Airport.
Oger Tour awarded Rahmel, her husband and four-year old daughter with a two- week holiday in Side township.
ZAMAN (CONSERVATIVE)
FP LEADER RECAI KUTAN: ''WE ARE EXERTING EFFORTS FOR
THE MODIFICATION OF THE ARTICLE 312''
Recai Kutan, the leader of the Virtue Party (FP), said that they are exerting efforts for the modification of the Article 312 of the Turkish Penal Code (TCK). Kutan told reporters that the modification of especially the second paragraph of the Article 312 which is on the agenda of the leaders of all political parties, will be beneficial for Necmettin Erbakan, the former leader of the banned Welfare Party (RP). Kutan said that but, this issue is not only concerns Erbakan and that many authors and intellectuals were affected by this article.
[02] ROMANIAN GOVERNMENT CHOOSES DEMIRBANK AS LEADER OF CONSORTIUM IN ISSUE OF EUROBOND
ISTANBUL - The Romanian government chose Demirbank as the leader of consortium in issue of Eurobond.
A statement of the Demirbank said on Saturday that the German Deutsche Bank, the Greek National Bank Greece and Alpha Bank, and the Demirbank issued Romanian Eurobond worth of 150 million Euro.
The statement said that this is the first time that a Turkish bank issues Eurobonds.
[03] VAN-ASIA INTERNATIONAL FAIR OPENS
VAN- The Seventh Van-Asia Silk Road International fair opened in eastern Van province on Saturday.
Van Governor Durmus Koc said that Van used to be known for its agriculture and animal breeding but today, Van has started to become an industry city.
Koc noted that significant steps have been taken in industry and that industry based on agriculture is being developed in Van.
A total of 110 companies are participating in the fair.
The fair will be open until September 23.
[04] INTERNATIONAL TANGO FESTIVAL STARTS IN MARMARIS
MARMARIS - The International Marmaris Tango Festival organized by Marmaris Promotion Foundation started in Aegean Marmaris province on Saturday.
''Sexteto Canyengue'' orchestra of the Netherlands, ''Querteto Astrorico'' orchestra of Japan, ''Titanga'' orchestra of Germany participate in the festival.
Lucia and Alvaro will dance and Roberto de Lozano will sing songs played by the Japanese orchestra ''Querteto Astrorico.''
Claudio and Pilar, Argentinian dancers, Eric Jorisen, the founder of famous Dutch tango center El Corte, German Ulli Barth and French Ibed Chemam will give dance courses during the festival.
Tango lovers from Turkey, the U.S., Canada, Israel, Japan, Austria, Germany, Switzerland, France, the Netherlands and Britain have booked to attend the festival.
The first activity in the festival is the concert and dance show that will be staged in Anatolia Square on Sunday evening. Quarteto Astrorico, Lucia, Alvaro and Roberto de Lozano will take the stage.
The festival aims at introducing Marmaris to the world and attracting more tourists to Marmaris.
The festival will end on September 21.
[05] THE 2000 SYDNEY SUMMER OLYMPICS -TURKISH BOXER PHALIANI IN SECOND ROUND
SYDNEY- Selim Phaliani of Turkey, competing in 60 kg category in boxing in the 2000 Sydney Summer Olympics, qualified to the second round.
Phaliani beat Abdel Jebahi of France 14-5 and qualified to the second round.
Selim Phaliani will take on with David Jackson of the U.S. on September 22.
Ramazan Ballioglu of Turkey, in 48 kg, will take on with Marian Velicu of Romania on Sunday evening.
Meanwhile, Turkish swimmers Derya Buyukuncu and Derya Erke were eliminated.
Turkish women archers Elif Altinkaynak, Natalia Nasaridze and Zekiye Keskin Satir, competing in individual olympic shootings, were eliminated.
The Turkish National Women's Archer Team will take on with Poland in the team olympic shootings on September 21.
In men's individual olympic shootings, Turkish archers Serdar Satir will challenge with Flute of France, Ozdemir Akbal will take on with Russell Hunter of Australia, and Hasan Orbay with Manjarrez of Mexico.
Turkish National Men's Archer Team will challenge with Japan in the team olympic shootings on September 22.
[06] THE 2000 SYDNEY SUMMER OLYMPICS -TURKISH SPORTSMEN TO COMPETE IN THREE CATEGORIES ON MONDAY
SYDNEY - Turkish sportsmen will compete in three categories in the 2000 Sydney Summer Olympics on Monday.
Archer Ozdemir Akbal of Turkey will take on with Russell Hunter of Australia while Hasan Orbay with Manjarrez of Mexico and Serdar Satir of Flute of France on Monday.
Ilknur Akdogan and Ertugrul Icingir will compete in yachting mistral.
Ramazan Phaliani, competing in 57 kg category in boxing, will take on with Ali Haidel of Pakistan and Akin Kakaidze, competing in 75 kg, with Carreas of Argentina.
[07] PROMOTION EFFORTS OF TEXTILE AND READY-WEAR
ISTANBUL - Turkish textile and ready-wear sector continue the efforts to promote Turkish fashion to the world markets.
Istanbul Ready-wear and Textile Exporters Union (IHKIB) and Istanbul Textile Raw Materials Exporters Union (ITHIB) prepared a promotion program in cooperation to exhibit Turkish creations in Paris, London, and New York where the heart of the world fashion beats.
Atil Kutoglu will stage a fashion parade in New York on September 21, Huseyin Caglayan will stage a fashion parade in London on September 27, and Dice Kayek and Ece Ege will stage a fashion parade in Paris on October 10.
Oguz Satici, Chairman of ITHIB, pointed out that developments in international field created new threats for textile and ready-wear sector.
Satici said those who work in textile and ready-wear sector in Turkey try to overcome the domestic problems, and thus competition lessened gradually in this respect.
''Turkey is a power with its production capacity and work power,'' Satici said adding that this power should be used wisely by considering the conditions of the world market.
Satici said ''we should make ''made in Turkey,'' concept be accepted in the world while creating the fashion and initials,'' adding that required financial resources should be mobilized. Satici said textile and ready-wear sector, and Tourism, Industry and Trade, and Culture Ministries should work in coordination in this respect.
[08] OZKAN OF TURKEY WINS GOLD MEDAL IN JUDO
SYDNEY - Huseyin Ozkan of Turkey, competing in 66 kg category in judo in the 2000 Sydney Summer Olympics, won gold medal on Sunday.
Ozkan beat Larbi Benboudroud of France and became the olympic champion.
Benboudroud became the silver medalist and Giorgi Vazagashvili of Georgia and Girolamo Giovannazzo of Italy became the bronze medalists in this category.
[09] GENDARME FORCES CAPTURE 47,717 ILLEGAL IMMIGRANTS IN EDIRNE IN LAST FOUR YEARS
EDIRNE - Gendarme forces captured 47,717 illegal immigrants in northwestern Edirne province in the last four years.
Officials of Edirne Gendarme Commandership told A.A correspondent that number of illegal immigrants captured in the first eight months of 2000 reached 9,952.
The officials said that the number of illegal immigrants captured in the region is increasing due to the measures taken by the police and gendarme forces.
The illegal immigrants generally enter into Turkey from the Southeastern Anatolia Region and plan to illegally proceed to Greece or Italy, the officials noted.
The officials added that the illegally immigrants were mainly from Iraq, Iran, Pakistan, Afghanistan, Bangladesh, Egypt, Syria, Morocco, Algeria, Bulgaria, India, Tunusia, Republic of South Africa, Lebanon, Palestine, Senegal, the Gambia, Azerbaijan, Moldova, Romania, Macedonia, Albania, Rwanda, Georgia, the Netherlands, Jordan, Britain, Uganda, Mauritania, Brunei, Angola, Yemen, Congo, Saudi Arabia, Kuwait, France, Armenia, Ethiopia, Uzbekistan, Nepal, Jamaica, Tanzania, Cameroon, Kenya, Portugal, Libya, Russia, Papua New Guinea, Senegal and Sudan.
[10] BLACK SEA PARTNERSHIP-2000 MANOEUVRES TO START ON MONDAY
ANKARA- The Black Sea Partnership-2000, the concerted manoeuvres of the Naval Forces Commandership, will start on Monday as the ships arrive at the Istanbul Harbour.
The manoeuvres which will be exercised between September 18 and 22, will be commanded by Admiral Murat Bilgel, the North Mission Group Commander.
Two frigates, three assault boats, one submarine and one assistant ship of the Turkish Naval Forces and planes of the Turkish Air Forces will take part in the manoeuvres.
One ship each from Bulgaria, Romania, Georgia and Ukraine will join the manoeuvres. Azerbaijan will participate in the manoeuvres as observer.
The exercise targets at improving cooperation and supporting the initiatives of the Partnership for Peace (PfP).
Search and rescue operations, submarine and air defense war, actual shootings, and helicopter manoeuvres will be put out to test in the exercise.
The manoeuvres will end on September 23.
[11] THE BIGGEST ECONOMIES OF THE WORLD
ANKARA - Turkish economy recessed 6.4 percent last year following economic crisis, and with the effects of massive Marmara and Duzce quakes. The Turkish economy's ranking in 1999 with its 394.1 billion U.S. dollars Puchase Power Parity (PPP) and Gross National Product (GNP) decreased to 18th place in the world.
According to the data of the World Bank's ''World Development Indications 2000,'' report, Turkey, whose current Gross National Product (GNP) decreased from 200.5 billion U.S. dollars to 186.3 billion U.S. dollars, and whose National Income Per Capita decreased from 3,160 U.S. dollars to 2, 900 U.S. dollars, was taken at the group of under medium income countries.
Experts estimate that Turkey which will grow 6.5-7 percent this year, was expected to be upgraded to high medium income country group again.
Below listed is the breakdown of PPP-GNP of first 23 ranking countries in 1998 and 1999
. 1998 1999
. ---------------- -----------------
. Person Person
. 1999 PPP-GNP PPP-GNP
. Population Income Billion Income in 1998
Country (Million) dlrs (dlrs) dlrs dlrs rank
------------ -------- ------- ------- ------- -------- ----
1- U.S 273 7,904 29,240 8,350.1 30,600 1
2- China 1,250 3,779 3,051 4,112.2 3,291 2
3- Japan 127 2,982 23,592 3,042.9 24,041 3
4- India 998 2,018 2,060 2,144.1 2,149 4
5- Germany 82 1,807 22,026 1,837.8 22,404 5
6- France 59 1,248 21,214 1,293.8 21,897 6
7- Britain 59 1,200 20,314 1,234.4 20,883 7
8- Italy 58 1,173 20,365 1,196.3 20,751 8
9- Brazil 168 1,070 6,460 1,061.7 6,317 9
10-Russia 147 907 6,180 928.8 6,339 10
11-Mexico 97 714 7,450 752.0 7,719 11
12-Canada 31 691 22,814 726.1 23,725 12
13-S.Korea 47 616 13,286 685.7 14,637 14
14-Spain 39 628 15,960 659.3 16,730 13
15-Indonesia 207 490 2,407 505.0 2,439 15
16-Australia 19 409 21,795 426.4 22,448 18
17-Argentine 37 424 11,728 414.1 11,324 16
18-Turkey 64 419 6,594 394.1 6,126 17
19-Netherlands 16 350 22,325 364.3 23,052 19
20-South Africa 42 343 8,296 350.2 8,318 20
21-Thailand 62 338 5,524 345.4 5,599 21
22-Iran 63 317 5,121 325.2 5,163 22
23-Poland 39 292 7,543 305.5 7,894 23
[12] MORE AND MORE COMPANY PRODUCES SPECIAL WINE FOR THE 2000TH ANNIVERSARY OF BIRTH OF JESUS CHRIST
KAYSERI - The More and More company produced special wine from the regions of Anatolia which are considered as sacred by the Christians, for the 200th anniversary of the birth of Jesus Christ.
Sebnem Yilmaz, the Customer Director of More and More company, said on Sunday that they reached a deal with the Kavaklidere Wine Factory to contribute to the promotion of Turkey, which is one of the important belief tourism centers in the world.
Yilmaz noted that they produced 140 thousand red wines and that there are the pictures of Jesus Christ on the bottles of these wines.
This wine is called ''Canawedding'', a chapter from the Bible in which drinking wine from a jug during a wedding is narrated, Yilmaz stated.
Yilmaz said that the grapes which were produced in the regions of Anatolia which are considered as sacred by the Christians, were used while producing the Canawedding wines.
These wines are put to market in only the belief tourism centers, Yilmaz stressed.
Yilmaz added that they will offer this wine to Pope Jean Paul II, who plans to visit Turkey on December 31.
[13] 9TH OXFORD-CAMBRIDGE-BOGAZICI UNIVERSITIES ROWING RACES -BOGAZICI UNIVERSITY COMES FIRST IN 500 METRE ROWING RACE
ISTANBUL- The Bogazici University came on Sunday the first in the 500 meters rowing race in the 9th Oxford-Cambridge-Bogazici Universities Rowing Races.
The Oxford University ranked the first in the 1,700 meters rowing races which were organized by the Bogazici University and Istanbul Municipality at the Golden Horn.
The Bogazici University came the first in the 500 meters sprint which was held between the Golden Horn Fener Harbour and the Balat Harbour. Oxford University followed the Bogazici University in this race.
The Oxford University came the first in 1,700 meters race held between Unkapani Bridge and Balat Harbour while Bogazici University became the second and the Cambridge University the third.
[14] TAPON-2000 NAVAL MANOEUVRES -EXERCISE IN THE STRAIT OF GIBRALTAR TO START ON MONDAY
ANKARA - Tapon-2000 Naval Manoeuvres, planned by Spanish Naval Forces Commandership and performed by Spanish Fleet Commander, will start in the Strait of Gibraltar on Monday.
Various naval and air elements from the NATO member countries, NATO Standing Naval Force Mediterranean (STANAVFORMED), and NATO Mine Counter Measures Force Mediterrenean (MCMFORMED) will attend the manoeuvres.
Turkey will attend the exercise with TCG Muavenet Frigate, with TCG Trakya Frigate, acting within the structure of STANAVFORMED, and with TCG Erdemli Mine Hunting Ship, acting within the body of MCMFORMED.
The implementation of providing naval control in the waters of Gibraltar in case of crisis, prevention of hostile infiltrations, and activation of naval transportation control will be put out to test in the manoeuvres.
The manoeuvres will end on September 29.
[15] TURKISH AND GREEK MOVIE MAKERS TO CONVENE IN URGUP
NEVSEHIR- The Turkish and Greek movie makers will convene in Urgup township of central Nevsehir province.
The festival titled ''Greece Is So Close To Turkey That... Drama Film Festival Is In Urgup'' is organized by Culture Ministry, Ankara Cinema Association and Urgup Municipality.
Urgup Mayor Bekir Odemis said on Sunday that the festival will be held between September 18 and 21.
Odemis noted that Drama Mayor Margaritis Tzimas; officials of Greek Culture Ministry; Manos Efstratiades, the Director of Greek Film Center; administrators of Drama Film Festival Andonus Papadopoulos and Stavros Chassapis and many directors, producers, actors, actresses, and scriptwriters will attend the festival.
Odemis added that Greek television channel teams will also join the festival.
The festival will start on Monday by a photograph exhibition named ''Turkish-Greek Friendship In 1930s'' and another exhibition in which the Turkish-Greek joint production films will be displayed.
Pantelis Voulgaris' ''Stone Years'' film, Tonia Marketaki's ''Crystal Nights'' and Costas Kapakas' ''Mint Liqueur'' films and 11 short films will be shown during the festival.
[16] THE 2000 SYDNEY SUMMER OLYMPICS -TURKEY QUALIFIES TO FIFTH PLACE IN MEDAL STANDINGS
SYDNEY- Turkey qualified to the fifth place in the medal standings in the end of the second day of the 2000 Sydney Summer Olympics.
The U.S., which won four gold, five silver and two bronze medals, ranked at the first place in the end of the second day.
Below listed the medal standings:
Country Gold Silver Bronze Total
The U.S. 4 5 2 11
Avustralia 3 2 4 9
France 3 2 1 6
Japan 2 2 0 4
Turkey 2 0 0 2
Germany 1 3 1 5
Britain 1 2 0 3
China 1 1 4 6
Italy 1 1 2 4
Bulgaria 1 1 1 3
Russia 1 1 1 3
Switzerland 1 1 1 3
The Netherlands 1 1 0 2
Canada 1 0 1 2
Cuba 1 0 1 2
Croatia 1 0 0 1
Hungary 1 0 0 1
Ukraine 1 0 0 1
South Korea 0 2 1 3
Greece 0 1 0 1
Slovakia 0 1 0 1
Yugoslavia 0 1 0 1
Belarus 0 0 1 1
Belgium 0 0 1 1
Brazil 0 0 1 1
Costa Rica 0 0 1 1
Czech Republic 0 0 1 1
Georgia 0 0 1 1
Indonesia 0 0 1 1
Kyrgyzstan 0 0 1 1
North Korea 0 0 1 1
Romania 0 0 1 1
Sweden 0 0 1 1
|
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18075
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yago
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0
| 13
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https://intellectdiscover.com/content/journals/10.1386/jgmc.2.2.133_1
|
en
|
The historical panorama in post-1974 Greek cinema: The Travelling Players, Stone Years, Crystal Nights, The Weeping Meadow
|
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2016-10-01T00:00:00
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Abstract
Unlike the majority of Greek historical films made before 1974, which dramatized specific events, after 1974 some leading Greek film-makers shot historical panoramas, whose plots spanned many periods. This article analyses four such historical panoramas that cover roughly similar periods, Angelopoulos’s O Thiasos/The Travelling Players (1975) and To Livadi pou Dakrizei/The Weeping Meadow (2004), Voulgaris’s Petrina Hronia/Stone Years (1985) and Marketaki’s Kristallines Nihtes/Crystal Nights (1992). The article situates each film within its broader cultural context and identifies the forces that motivate the history’s development, the plot’s logic and its formal substantiation. Each film, the article shows, suggests a different ‘historical cause’ for the events it depicts, ranging from imperialist processes and immanent human traits to psychoanalytic and mythological drives, and uses distinct formal means to convey the events. The examination of these four historical panoramas also attests to the gradual ‘de-politicization’ of auteur Greek cinema, in addition to prompting us to reflect on the various cinematic forms through which history can be represented and the different ways in which historical events can be linked and interpreted.
|
en
|
/upload/favicon.ico
| null |
Abstract
Unlike the majority of Greek historical films made before 1974, which dramatized specific events, after 1974 some leading Greek film-makers shot historical panoramas, whose plots spanned many periods. This article analyses four such historical panoramas that cover roughly similar periods, Angelopoulos’s O Thiasos/The Travelling Players (1975) and To Livadi pou Dakrizei/The Weeping Meadow (2004), Voulgaris’s Petrina Hronia/Stone Years (1985) and Marketaki’s Kristallines Nihtes/Crystal Nights (1992). The article situates each film within its broader cultural context and identifies the forces that motivate the history’s development, the plot’s logic and its formal substantiation. Each film, the article shows, suggests a different ‘historical cause’ for the events it depicts, ranging from imperialist processes and immanent human traits to psychoanalytic and mythological drives, and uses distinct formal means to convey the events. The examination of these four historical panoramas also attests to the gradual ‘de-politicization’ of auteur Greek cinema, in addition to prompting us to reflect on the various cinematic forms through which history can be represented and the different ways in which historical events can be linked and interpreted.
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18075
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yago
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2
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https://www.gregegan.net/MISC/CRYSTAL/Crystal.html
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en
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Crystal Nights — Greg Egan
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https://www.gregegan.net/images/egan.ico
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https://www.gregegan.net/images/egan.ico
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Crystal Nights by Greg Egan
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en
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../../images/egan.ico
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https://www.gregegan.net/MISC/CRYSTAL/Crystal.html
|
Publication history
Interzone #215, April 2008.
Free podcast at Transmissions From Beyond. [Site no longer active]
Oceanic (collection, Orion)
Crystal Nights and Other Stories (collection, Subterranean Press) [Out of print.]
The Best Science Fiction and Fantasy of the Year: Volume Three, edited by Jonathan Strahan; Night Shade Books, San Francisco, 2009.
The Year’s Best Science Fiction: Twenty-Sixth Annual Collection, edited by Gardner Dozois; St. Martin’s Press, New York, 2009.
Hayakawa’s SF Magazine, January 2010. (Japanese translation)
The Planck Dive and Other Stories (collection, Hayakawa) Translated by Makoto Yamagishi. (Japanese translation)
“Krystalové noci” in XB-1, December 2011. Translated by Petr Kotrle. (Czech translation)
Digital Rapture, edited by James Patrick Kelly & John Kessel; Tachyon, San Francisco, 2012.
Oceanic (collection, Greg Egan)
“Noches de cristal” in Terra Nova Volume 2, edited by Mariano Villarreal and Luis Pestarini; Fantascy / Random House Mondadori, Barcelona, 2013. Translated by Carlos Pavón. (Spanish translation)
“Nuits cristallines” in Bifrost #79, July 2015. Translated by Erwann Perchoc, Quarante-Deux and Olivier Girard. (French translation)
Science Fiction World, May 2017. (Chinese translation)
The Best of Greg Egan (collection, Subterranean Press)
The Best of Greg Egan (collection, Chengdu) (Chinese translation)
Oceanic (collection, Dook) (Chinese translation)
1
“More caviar?” Daniel Cliff gestured at the serving dish and the cover irised from opaque to transparent. “It’s fresh, I promise you. My chef had it flown in from Iran this morning.”
“No thank you.” Julie Dehghani touched a napkin to her lips then laid it on her plate with a gesture of finality. The dining room overlooked the Golden Gate Bridge, and most people Daniel invited here were content to spend an hour or two simply enjoying the view, but he could see that she was growing impatient with his small talk.
Daniel said, “I’d like to show you something.” He led her into the adjoining conference room. On the table was a wireless keyboard; the wall screen showed a Linux command line interface. “Take a seat,” he suggested.
Julie complied. “If this is some kind of audition, you might have warned me,” she said.
“Not at all,” Daniel replied. “I’m not going to ask you to jump through any hoops. I’d just like you to tell me what you think of this machine’s performance.”
She frowned slightly, but she was willing to play along. She ran some standard benchmarks. Daniel saw her squinting at the screen, one hand almost reaching up to where a desktop display would be, so she could double-check the number of digits in the FLOPS rating by counting them off with one finger. There were a lot more than she’d been expecting, but she wasn’t seeing double.
“That’s extraordinary,” she said. “Is this whole building packed with networked processors, with only the penthouse for humans?”
Daniel said, “You tell me. Is it a cluster?”
“Hmm.” So much for not making her jump through hoops, but it wasn’t really much of a challenge. She ran some different benchmarks, based on algorithms that were provably impossible to parallelise; however smart the compiler was, the steps these programs required would have to be carried out strictly in sequence.
The FLOPS rating was unchanged.
Julie said, “All right, it’s a single processor. Now you’ve got my attention. Where is it?”
“Turn the keyboard over.”
There was a charcoal-grey module, five centimetres square and five millimetres thick, plugged into an inset docking bay. Julie examined it, but it bore no manufacturer’s logo or other identifying marks.
“This connects to the processor?” she asked.
“No. It is the processor.”
“You’re joking.” She tugged it free of the dock, and the wall screen went blank. She held it up and turned it around, though Daniel wasn’t sure what she was looking for. Somewhere to slip in a screwdriver and take the thing apart, probably. He said, “If you break it, you own it, so I hope you’ve got a few hundred spare.”
“A few hundred grand? Hardly.”
“A few hundred million.”
Her face flushed. “Of course. If it was a few hundred grand, everyone would have one.” She put it down on the table, then as an afterthought slid it a little further from the edge. “As I said, you’ve got my attention.”
Daniel smiled. “I’m sorry about the theatrics.”
“No, this deserved the build-up. What is it, exactly?”
“A single, three-dimensional photonic crystal. No electronics to slow it down; every last component is optical. The architecture was nanofabricated with a method that I’d prefer not to describe in detail.”
“Fair enough.” She thought for a while. “I take it you don’t expect me to buy one. My research budget for the next thousand years would barely cover it.”
“In your present position. But you’re not joined to the university at the hip.”
“So this is a job interview?”
Daniel nodded.
Julie couldn’t help herself; she picked up the crystal and examined it again, as if there might yet be some feature that a human eye could discern. “Can you give me a job description?”
“Midwife.”
She laughed. “To what?”
“History,” Daniel said.
Her smile faded slowly.
“I believe you’re the best AI researcher of your generation,” he said. “I want you to work for me.” He reached over and took the crystal from her. “With this as your platform, imagine what you could do.”
Julie said, “What exactly would you want me to do?”
“For the last fifteen years,” Daniel said, “you’ve stated that the ultimate goal of your research is to create conscious, human-level, artificial intelligence.”
“That’s right.”
“Then we want the same thing. What I want is for you to succeed.”
She ran a hand over her face; whatever else she was thinking, there was no denying that she was tempted. “It’s gratifying that you have so much confidence in my abilities,” she said. “But we need to be clear about some things. This prototype is amazing, and if you ever get the production costs down I’m sure it will have some extraordinary applications. It would eat up climate forecasting, lattice QCD, astrophysical modelling, proteomics ...”
“Of course.” Actually, Daniel had no intention of marketing the device. He’d bought out the inventor of the fabrication process with his own private funds; there were no other shareholders or directors to dictate his use of the technology.
“But AI,” Julie said, “is different. We’re in a maze, not a highway; there’s nowhere that speed alone can take us. However many exaflops I have to play with, they won’t spontaneously combust into consciousness. I’m not being held back by the university’s computers; I have access to SHARCNET anytime I need it. I’m being held back by my own lack of insight into the problems I’m addressing.”
Daniel said, “A maze is not a dead end. When I was twelve, I wrote a program for solving mazes.”
“And I’m sure it worked well,” Julie replied, “for small, two-dimensional ones. But you know how those kind of algorithms scale. Put your old program on this crystal, and I could still design a maze in half a day that would bring it to its knees.”
“Of course,” Daniel conceded. “Which is precisely why I’m interested in hiring you. You know a great deal more about the maze of AI than I do; any strategy you developed would be vastly superior to a blind search.”
“I’m not saying that I’m merely groping in the dark,” she said. “If it was that bleak, I’d be working on a different problem entirely. But I don’t see what difference this processor would make.”
“What created the only example of consciousness we know of?” Daniel asked.
“Evolution.”
“Exactly. But I don’t want to wait three billion years, so I need to make the selection process a great deal more refined, and the sources of variation more targeted.”
Julie digested this. “You want to try to evolve true AI? Conscious, human-level AI?”
“Yes.” Daniel saw her mouth tightening, saw her struggling to measure her words before speaking.
“With respect,” she said, “I don’t think you’ve thought that through.”
“On the contrary,” Daniel assured her. “I’ve been planning this for twenty years.”
“Evolution,” she said, “is about failure and death. Do you have any idea how many sentient creatures lived and died along the way to Homo sapiens? How much suffering was involved?”
“Part of your job would be to minimise the suffering.”
“Minimise it?” She seemed genuinely shocked, as if this proposal was even worse than blithely assuming that the process would raise no ethical concerns. “What right do we have to inflict it at all?”
Daniel said, “You’re grateful to exist, aren’t you? Notwithstanding the tribulations of your ancestors.”
“I’m grateful to exist,” she agreed, “but in the human case the suffering wasn’t deliberately inflicted by anyone, and nor was there any alternative way we could have come into existence. If there really had been a just creator, I don’t doubt that he would have followed Genesis literally; he sure as hell would not have used evolution.”
“Just, and omnipotent,” Daniel suggested. “Sadly, that second trait’s even rarer than the first.”
“I don’t think it’s going to take omnipotence to create something in our own image,” she said. “Just a little more patience and self-knowledge.”
“This won’t be like natural selection,” Daniel insisted. “Not that blind, not that cruel, not that wasteful. You’d be free to intervene as much as you wished, to take whatever palliative measures you felt appropriate.”
“Palliative measures?” Julie met his gaze, and he saw her expression flicker from disbelief to something darker. She stood up and glanced at her wristphone. “I don’t have any signal here. Would you mind calling me a taxi?”
Daniel said, “Please, hear me out. Give me ten more minutes, then the helicopter will take you to the airport.”
“I’d prefer to make my own way home.” She gave Daniel a look that made it clear that this was not negotiable.
He called her a taxi, and they walked to the elevator.
“I know you find this morally challenging,” he said, “and I respect that. I wouldn’t dream of hiring someone who thought these were trivial issues. But if I don’t do this, someone else will. Someone with far worse intentions than mine.”
“Really?” Her tone was openly sarcastic now. “So how, exactly, does the mere existence of your project stop this hypothetical bin Laden of AI from carrying out his own?”
Daniel was disappointed; he’d expected her at least to understand what was at stake. He said, “This is a race to decide between Godhood and enslavement. Whoever succeeds first will be unstoppable. I’m not going to be anyone’s slave.”
Julie stepped into the elevator; he followed her.
She said, “You know what they say the modern version of Pascal’s Wager is? Sucking up to as many Transhumanists as possible, just in case one of them turns into God. Perhaps your motto should be ‘Treat every chatterbot kindly, it might turn out to be the deity’s uncle.’”
“We will be as kind as possible,” Daniel said. “And don’t forget, we can determine the nature of these beings. They will be happy to be alive, and grateful to their creator. We can select for those traits.”
Julie said, “So you’re aiming for übermenschen that wag their tails when you scratch them behind the ears? You might find there’s a bit of a trade-off there.”
The elevator reached the lobby. Daniel said, “Think about this, don’t rush to a decision. You can call me any time.” There was no commercial flight back to Toronto tonight; she’d be stuck in a hotel, paying money she could ill-afford, thinking about the kind of salary she could demand from him now that she’d played hard to get. If she mentally recast all this obstinate moralising as a deliberate bargaining strategy, she’d have no trouble swallowing her pride.
Julie offered her hand, and he shook it. She said, “Thank you for dinner.”
The taxi was waiting. He walked with her across the lobby. “If you want to see AI in your lifetime,” he said, “this is the only way it’s going to happen.”
She turned to face him. “Maybe that’s true. We’ll see. But better to spend a thousand years and get it right, than a decade and succeed by your methods.”
As Daniel watched the taxi drive away into the fog, he forced himself to accept the reality: she was never going to change her mind. Julie Dehghani had been his first choice, his ideal collaborator. He couldn’t pretend that this wasn’t a setback.
Still, no one was irreplaceable. However much it would have delighted him to have won her over, there were many more names on his list.
2
Daniel’s wrist tingled as the message came through. He glanced down and saw the word PROGRESS! hovering in front of his watch face.
The board meeting was almost over; he disciplined himself and kept his attention focused for ten more minutes. WiddulHands.com had made him his first billion, and it was still the pre-eminent social networking site for the 0-3 age group. It had been fifteen years since he’d founded the company, and he had since diversified in many directions, but he had no intention of taking his hands off the levers.
When the meeting finished he blanked the wall screen and paced the empty conference room for half a minute, rolling his neck and stretching his shoulders. Then he said, “Lucien”.
Lucien Crace appeared on the screen. “Significant progress?” Daniel enquired.
“Absolutely.” Lucien was trying to maintain polite eye contact with Daniel, but something kept drawing his gaze away. Without waiting for an explanation, Daniel gestured at the screen and had it show him exactly what Lucien was seeing.
A barren, rocky landscape stretched to the horizon. Scattered across the rocks were dozens of crab-like creatures – some deep blue, some coral pink, though these weren’t colours the locals would see, just species markers added to the view to make it easier to interpret. As Daniel watched, fat droplets of corrosive rain drizzled down from a passing cloud. This had to be the bleakest environment in all of Sapphire.
Lucien was still visible in an inset. “See the blue ones over by the crater lake?” he said. He sketched a circle on the image to guide Daniel’s attention.
“Yeah.” Five blues were clustered around a lone pink; Daniel gestured and the view zoomed in on them. The blues had opened up their prisoner’s body, but it wasn’t dead; Daniel was sure of that, because the pinks had recently acquired a trait that turned their bodies to mush the instant they expired.
“They’ve found a way to study it,” Lucien said. “To keep it alive and study it.”
From the very start of the project, he and Daniel had decided to grant the Phites the power to observe and manipulate their own bodies as much as possible. In the DNA world, the inner workings of anatomy and heredity had only become accessible once highly sophisticated technology had been invented. In Sapphire, the barriers were designed to be far lower. The basic units of biology here were “beads”, small spheres that possessed a handful of simple properties but no complex internal biochemistry. Beads were larger than the cells of the DNA world, and Sapphire’s diffractionless optics rendered them visible to the right kind of naked eye. Animals acquired beads from their diet, while in plants they replicated in the presence of sunlight, but unlike cells they did not themselves mutate. The beads in a Phite’s body could be rearranged with a minimum of fuss, enabling a kind of self-modification that no human surgeon or prosthetics engineer could rival – and this skill was actually essential for at least one stage in every Phite’s life: reproduction involved two Phites pooling their spare beads and then collaborating to “sculpt” them into an infant, in part by directly copying each other’s current body plans.
Of course these crabs knew nothing of the abstract principles of engineering and design, but the benefits of trial and error, of self-experimentation and cross-species plagiarism, had led them into an escalating war of innovation. The pinks had been the first to stop their corpses from being plundered for secrets, by stumbling on a way to make them literally fall apart in extremis; now it seemed the blues had found a way around that, and were indulging in a spot of vivisection-as-industrial-espionage.
Daniel felt a visceral twinge of sympathy for the struggling pink, but he brushed it aside. Not only did he doubt that the Phites were any more conscious than ordinary crabs, they certainly had a radically different relationship to bodily integrity. The pink was resisting because its dissectors were of a different species; if they had been its cousins it might not have put up any fight at all. When something happened in spite of your wishes, that was unpleasant by definition, but it would be absurd to imagine that the pink was in the kind of agony that an antelope being flayed by jackals would feel – let alone experiencing the existential terrors of a human trapped and mutilated by a hostile tribe.
“This is going to give them a tremendous advantage,” Lucien enthused.
“The blues?”
Lucien shook his head. “Not blues over pinks; Phites over tradlife. Bacteria can swap genes, but this kind of active mimetics is unprecedented without cultural support. Da Vinci might have watched the birds in flight and sketched his gliders, but no lemur ever dissected the body of an eagle and then stole its tricks. They’re going to have innate skills as powerful as whole strands of human technology. All this before they even have language.”
“Hmm.” Daniel wanted to be optimistic too, but he was growing wary of Lucien’s hype. Lucien had a doctorate in genetic programming, but he’d made his name with FoodExcuses.com, a web service that trawled the medical literature to cobble together quasi-scientific justifications for indulging in your favourite culinary vice. He had the kind of technobabble that could bleed money out of venture capitalists down pat, and though Daniel admired that skill in its proper place, he expected a higher insight-to-bullshit ratio now that Lucien was on his payroll.
The blues were backing away from their captive. As Daniel watched, the pink sealed up its wounds and scuttled off towards a group of its own kind. The blues had now seen the detailed anatomy of the respiratory system that had been giving the pinks an advantage in the thin air of this high plateau. A few of the blues would try it out, and if it worked for them, the whole tribe would copy it.
“So what do you think?” Lucien asked.
“Select them,” Daniel said.
“Just the blues?”
“No, both of them.” The blues alone might have diverged into competing subspecies eventually, but bringing their old rivals along for the ride would help to keep them sharp.
“Done,” Lucien replied. In an instant, ten million Phites were erased, leaving the few thousand blues and pinks from these badlands to inherit the planet. Daniel felt no compunction; the extinction events he decreed were surely the most painless in history.
Now that the world no longer required human scrutiny, Lucien unthrottled the crystal and let the simulation race ahead; automated tools would let them know when the next interesting development arose. Daniel watched the population figures rising as his chosen species spread out and recolonised Sapphire.
Would their distant descendants rage against him, for this act of “genocide” that had made room for them to flourish and prosper? That seemed unlikely. In any case, what choice did he have? He couldn’t start manufacturing new crystals for every useless side-branch of the evolutionary tree. Nobody was wealthy enough to indulge in an exponentially growing number of virtual animal shelters, at half a billion dollars apiece.
He was a just creator, but he was not omnipotent. His careful pruning was the only way.
3
In the months that followed, progress came in fits and starts. Several times, Daniel found himself rewinding history, reversing his decisions and trying a new path. Keeping every Phite variant alive was impractical, but he did retain enough information to resurrect lost species at will.
The maze of AI was still a maze, but the speed of the crystal served them well. Barely eighteen months after the start of Project Sapphire, the Phites were exhibiting a basic theory of mind: their actions showed that they could deduce what others knew about the world, as distinct from what they knew themselves. Other AI researchers had spliced this kind of thing into their programs by hand, but Daniel was convinced that his version was better integrated, more robust. Human-crafted software was brittle and inflexible; his Phites had been forged in the heat of change.
Daniel kept a close watch on his competitors, but nothing he saw gave him reason to doubt his approach. Sunil Gupta was raking in the cash from a search engine that could “understand” all forms of text, audio and video, making use of fuzzy logic techniques that were at least forty years old. Daniel respected Gupta’s business acumen, but in the unlikely event that his software ever became conscious, the sheer cruelty of having forced it to wade through the endless tides of blogorrhoea would surely see it turn on its creator and exact a revenge that made The Terminator look like a picnic. Angela Lindstrom was having some success with her cheesy AfterLife, in which dying clients gave heart-to-heart interviews to software that then constructed avatars able to converse with surviving relatives. And Julie Dehghani was still frittering away her talent, writing software for robots that played with coloured blocks side-by-side with human infants, and learnt languages from adult volunteers by imitating the interactions of baby talk. Her prophecy of taking a thousand years to “get it right” seemed to be on target.
As the second year of the project drew to a close, Lucien was contacting Daniel once or twice a month to announce a new breakthrough. By constructing environments that imposed suitable selection pressures, Lucien had generated a succession of new species that used simple tools, crafted crude shelters, and even domesticated plants. They were still shaped more or less like crabs, but they were at least as intelligent as chimpanzees.
The Phites worked together by observation and imitation, guiding and reprimanding each other with a limited repertoire of gestures and cries, but as yet they lacked anything that could truly be called a language. Daniel grew impatient; to move beyond a handful of specialised skills, his creatures needed the power to map any object, any action, any prospect they might encounter in the world into their speech, and into their thoughts.
Daniel summoned Lucien and they sought a way forward. It was easy to tweak the Phites’ anatomy to grant them the ability to generate more subtle vocalisations, but that alone was no more useful than handing a chimp a conductor’s baton. What was needed was a way to make sophisticated planning and communications skills a matter of survival.
Eventually, he and Lucien settled on a series of environmental modifications, providing opportunities for the creatures to rise to the occasion. Most of these scenarios began with famine. Lucien blighted the main food crops, then offered a palpable reward for progress by dangling some tempting new fruit from a branch that was just out of reach. Sometimes that metaphor could almost be taken literally: he’d introduce a plant with a complex life cycle that required tricky processing to render it edible, or a new prey animal that was clever and vicious, but nutritionally well worth hunting in the end.
Time and again, the Phites failed the test, with localised species dwindling to extinction. Daniel watched in dismay; he had not grown sentimental, but he’d always boasted to himself that he’d set his standards higher than the extravagant cruelties of nature. He contemplated tweaking the creatures’ physiology so that starvation brought a swifter, more merciful demise, but Lucien pointed out that he’d be slashing his chances of success if he curtailed this period of intense motivation. Each time a group died out, a fresh batch of mutated cousins rose from the dust to take their place; without that intervention, Sapphire would have been a wilderness within a few real-time days.
Daniel closed his eyes to the carnage, and put his trust in sheer time, sheer numbers. In the end, that was what the crystal had bought him: when all else failed, he could give up any pretence of knowing how to achieve his aims and simply test one random mutation after another.
Months went by, sending hundreds of millions of tribes starving into their graves. But what choice did he have? If he fed these creatures milk and honey, they’d remain fat and stupid until the day he died. Their hunger agitated them, it drove them to search and strive, and while any human onlooker was tempted to colour such behaviour with their own emotional palette, Daniel told himself that the Phites’ suffering was a shallow thing, little more than the instinct that jerked his own hand back from a flame before he’d even registered discomfort.
They were not the equal of humans. Not yet.
And if he lost his nerve, they never would be.
Daniel dreamt that he was inside Sapphire, but there were no Phites in sight. In front of him stood a sleek black monolith; a thin stream of pus wept from a crack in its smooth, obsidian surface. Someone was holding him by the wrist, trying to force his hand into a reeking pit in the ground. The pit, he knew, was piled high with things he did not want to see, let alone touch.
He thrashed around until he woke, but the sense of pressure on his wrist remained. It was coming from his watch. As he focused on the one-word message he’d received, his stomach tightened. Lucien would not have dared to wake him at this hour for some run-of-the-mill result.
Daniel rose, dressed, then sat in his office sipping coffee. He did not know why he was so reluctant to make the call. He had been waiting for this moment for more than twenty years, but it would not be the pinnacle of his life. After this, there would be a thousand more peaks, each one twice as magnificent as the last.
He finished the coffee then sat a while longer, massaging his temples, making sure his head was clear. He would not greet this new era bleary-eyed, half-awake. He recorded all his calls, but this was one he would retain for posterity.
“Lucien,” he said. The man’s image appeared, smiling. “Success?”
“They’re talking to each other,” Lucien replied.
“About what?”
“Food, weather, sex, death. The past, the future. You name it. They won’t shut up.”
Lucien sent transcripts on the data channel, and Daniel perused them. The linguistics software didn’t just observe the Phites’ behaviour and correlate it with the sounds they made; it peered right into their virtual brains and tracked the flow of information. Its task was far from trivial, and there was no guarantee that its translations were perfect, but Daniel did not believe it could hallucinate an entire language and fabricate these rich, detailed conversations out of thin air.
He flicked between statistical summaries, technical overviews of linguistic structure, and snippets from the millions of conversations the software had logged. Food, weather, sex, death. As human dialogue the translations would have seemed utterly banal, but in context they were riveting. These were not chatterbots blindly following Markov chains, designed to impress the judges in a Turing test. The Phites were discussing matters by which they genuinely lived and died.
When Daniel brought up a page of conversational topics in alphabetical order, his eyes were caught by the single entry under the letter G. Grief. He tapped the link, and spent a few minutes reading through samples, illustrating the appearance of the concept following the death of a child, a parent, a friend.
He kneaded his eyelids. It was three in the morning; there was a sickening clarity to everything, the kind that only night could bring. He turned to Lucien.
“No more death.”
“Boss?” Lucien was startled.
“I want to make them immortal. Let them evolve culturally; let their ideas live and die. Let them modify their own brains, once they’re smart enough; they can already tweak the rest of their anatomy.”
“Where will you put them all?” Lucien demanded.
“I can afford another crystal. Maybe two more.”
“That won’t get you far. At the present birth rate—”
“We’ll have to cut their fertility drastically, tapering it down to zero. After that, if they want to start reproducing again they’ll really have to innovate.” They would need to learn about the outside world, and comprehend its alien physics well enough to design new hardware into which they could migrate.
Lucien scowled. “How will we control them? How will we shape them? If we can’t select the ones we want—”
Daniel said quietly, “This is not up for discussion.” Whatever Julie Dehghani had thought of him, he was not a monster; if he believed that these creatures were as conscious as he was, he was not going to slaughter them like cattle – or stand by and let them die “naturally”, when the rules of this world were his to rewrite at will.
“We’ll shape them through their memes,” he said. “We’ll kill off the bad memes, and help spread the ones we want to succeed.” He would need to keep an iron grip on the Phites and their culture, though, or he would never be able to trust them. If he wasn’t going to literally breed them for loyalty and gratitude, he would have to do the same with their ideas.
Lucien said, “We’re not prepared for any of this. We’re going to need new software, new analysis and intervention tools.”
Daniel understood. “Freeze time in Sapphire. Then tell the team they’ve got eighteen months.”
4
Daniel sold his shares in WiddulHands, and had two more crystals built. One was to support a higher population in Sapphire, so there was as large a pool of diversity among the immortal Phites as possible; the other was to run the software – which Lucien had dubbed the Thought Police – needed to keep tabs on what they were doing. If human overseers had had to monitor and shape the evolving culture every step of the way, that would have slowed things down to a glacial pace. Still, automating the process completely was tricky, and Daniel preferred to err on the side of caution, with the Thought Police freezing Sapphire and notifying him whenever the situation became too delicate.
If the end of death was greeted by the Phites with a mixture of puzzlement and rejoicing, the end of birth was not so easy to accept. When all attempts by mating couples to sculpt their excess beads into offspring became as ineffectual as shaping dolls out of clay, it led to a mixture of persistence and distress that was painful to witness. Humans were accustomed to failing to conceive, but this was more like still birth after still birth. Even when Daniel intervened to modify the Phites’ basic drives, some kind of cultural or emotional inertia kept many of them going through the motions. Though their new instincts urged them merely to pool their spare beads and then stop, sated, they would continue with the old version of the act regardless, forlorn and confused, trying to shape the useless puddle into something that lived and breathed.
Move on, Daniel thought. Get over it. There was only so much sympathy he could muster for immortal beings who would fill the galaxy with their children, if they ever got their act together.
The Phites didn’t yet have writing, but they’d developed a strong oral tradition, and some put their mourning for the old ways into elegiac words. The Thought Police identified those memes, and ensured that they didn’t spread far. Some Phites chose to kill themselves rather than live in the barren new world. Daniel felt he had no right to stop them, but mysterious obstacles blocked the paths of anyone who tried, irresponsibly, to romanticise or encourage such acts.
The Phites could only die by their own volition, but those who retained the will to live were not free to doze the centuries away. Daniel decreed no more terrible famines, but he hadn’t abolished hunger itself, and he kept enough pressure on the food supply and other resources to force the Phites to keep innovating, refining agriculture, developing trade.
The Thought Police identified and nurtured the seeds of writing, mathematics, and natural science. The physics of Sapphire was a simplified, game-world model, not so arbitrary as to be incoherent, but not so deep and complex that you needed particle physics to get to the bottom of it. As crystal time sped forward and the immortals sought solace in understanding their world, Sapphire soon had its Euclid and Archimedes, its Galileo and its Newton; their ideas spread with supernatural efficiency, bringing forth a torrent of mathematicians and astronomers.
Sapphire’s stars were just a planetarium-like backdrop, present only to help the Phites get their notions of heliocentricity and inertia right, but its moon was as real as the world itself. The technology needed to reach it was going to take a while, but that was all right; Daniel didn’t want them getting ahead of themselves. There was a surprise waiting for them there, and his preference was for a flourishing of biotech and computing before they faced that revelation.
Between the absence of fossils, Sapphire’s limited biodiversity, and all the clunky external meddling that needed to be covered up, it was hard for the Phites to reach a grand Darwinian view of biology, but their innate skill with beads gave them a head start in the practical arts. With a little nudging, they began tinkering with their bodies, correcting some inconvenient anatomical quirks that they’d missed in their pre-conscious phase.
As they refined their knowledge and techniques, Daniel let them imagine that they were working towards restoring fertility; after all, that was perfectly true, even if their goal was a few conceptual revolutions further away than they realised. Humans had had their naïve notions of a Philosopher’s Stone dashed, but they’d still achieved nuclear transmutation in the end.
The Phites, he hoped, would transmute themselves: inspect their own brains, make sense of them, and begin to improve them. It was a staggering task to expect of anyone; even Lucien and his team, with their God’s-eye view of the creatures, couldn’t come close. But when the crystal was running at full speed, the Phites could think millions of times faster than their creators. If Daniel could keep them from straying off course, everything that humanity might once have conceived of as the fruits of millennia of progress was now just a matter of months away.
5
Lucien said, “We’re losing track of the language.”
Daniel was in his Houston office; he’d come to Texas for a series of face-to-face meetings, to see if he could raise some much-needed cash by licensing the crystal fabrication process. He would have preferred to keep the technology to himself, but he was almost certain that he was too far ahead of his rivals now for any of them to stand a chance of catching up with him.
“What do you mean, losing track?” Daniel demanded. Lucien had briefed him just three hours before, and given no warning of an impending crisis.
The Thought Police, Lucien explained, had done their job well: they had pushed the neural self-modification meme for all it was worth, and now a successful form of “brain boosting” was spreading across Sapphire. It required a detailed “recipe” but no technological aids; the same innate skills for observing and manipulating beads that the Phites had used to copy themselves during reproduction were enough.
All of this was much as Daniel had hoped it would be, but there was an alarming downside. The boosted Phites were adopting a dense and complex new language, and the analysis software couldn’t make sense of it.
“Slow them down further,” Daniel suggested. “Give the linguistics more time to run.”
“I’ve already frozen Sapphire,” Lucien replied. “The linguistics have been running for an hour, with the full resources of an entire crystal.”
Daniel said irritably, “We can see exactly what they’ve done to their brains. How can we not understand the effects on the language?”
“In the general case,” Lucien said, “deducing a language from nothing but neural anatomy is computationally intractable. With the old language, we were lucky; it had a simple structure, and it was highly correlated with obvious behavioural elements. The new language is much more abstract and conceptual. We might not even have our own correlates for half the concepts.”
Daniel had no intention of letting events in Sapphire slip out of his control. It was one thing to hope that the Phites would, eventually, be juggling real-world physics that was temporarily beyond his comprehension, but any bright ten-year-old could grasp the laws of their present universe, and their technology was still far from rocket science.
He said, “Keep Sapphire frozen, and study your records of the Phites who first performed this boost. If they understood what they were doing, we can work it out too.”
At the end of the week, Daniel signed the licensing deal and flew back to San Francisco. Lucien briefed him daily, and at Daniel’s urging hired a dozen new computational linguists to help with the problem.
After six months, it was clear that they were getting nowhere. The Phites who’d invented the boost had had one big advantage as they’d tinkered with each other’s brains: it had not been a purely theoretical exercise for them. They hadn’t gazed at anatomical diagrams and then reasoned their way to a better design. They had experienced the effects of thousands of small experimental changes, and the results had shaped their intuition for the process. Very little of that intuition had been spoken aloud, let alone written down and formalised. And the process of decoding those insights from a purely structural view of their brains was every bit as difficult as decoding the language itself.
Daniel couldn’t wait any longer. With the crystal heading for the market, and other comparable technologies approaching fruition, he couldn’t allow his lead to melt away.
“We need the Phites themselves to act as translators,” he told Lucien. “We need to contrive a situation where there’s a large enough pool who choose not to be boosted that the old language continues to be used.”
“So we need maybe twenty-five per cent refusing the boost?” Lucien suggested. “And we need the boosted Phites to want to keep them informed of what’s happening, in terms that we can all understand.”
Daniel said, “Exactly.”
“I think we can slow down the uptake of boosting,” Lucien mused, “while we encourage a traditionalist meme that says it’s better to span the two cultures and languages than replace the old entirely with the new.”
Lucien’s team set to work, tweaking the Thought Police for the new task, then restarting Sapphire itself.
Their efforts seemed to yield the desired result: the Phites were corralled into valuing the notion of maintaining a link to their past, and while the boosted Phites surged ahead, they also worked hard to keep the unboosted in the loop.
It was a messy compromise, though, and Daniel wasn’t happy with the prospect of making do with a watered-down, Sapphire-for-Dummies version of the Phites’ intellectual achievements. What he really wanted was someone on the inside reporting to him directly, like a Phite version of Lucien.
It was time to start thinking about job interviews.
Lucien was running Sapphire more slowly than usual – to give the Thought Police a computational advantage now that they’d lost so much raw surveillance data – but even at the reduced rate, it took just six real-time days for the boosted Phites to invent computers, first as a mathematical formalism and, shortly afterwards, as a succession of practical machines.
Daniel had already asked Lucien to notify him if any Phite guessed the true nature of their world. In the past, a few had come up with vague metaphysical speculations that weren’t too wide of the mark, but now that they had a firm grasp of the idea of universal computation, they were finally in a position to understand the crystal as more than an idle fantasy.
The message came just after midnight, as Daniel was preparing for bed. He went into his office and activated the intervention tool that Lucien had written for him, specifying a serial number for the Phite in question.
The tool prompted Daniel to provide a human-style name for his interlocutor, to facilitate communication. Daniel’s mind went blank, but after waiting twenty seconds the software offered its own suggestion: Primo.
Primo was boosted, and he had recently built a computer of his own. Shortly afterwards, the Thought Police had heard him telling a couple of unboosted friends about an amusing possibility that had occurred to him.
Sapphire was slowed to a human pace, then Daniel took control of a Phite avatar and the tool contrived a meeting, arranging for the two of them to be alone in the shelter that Primo had built for himself. In accordance with the current architectural style the wooden building was actually still alive, self-repairing and anchored to the ground by roots.
Primo said, “Good morning. I don’t believe we’ve met.”
It was no great breach of protocol for a stranger to enter one’s shelter uninvited, but Primo was understating his surprise; in this world of immortals, but no passenger jets, bumping into strangers anywhere was rare.
“I’m Daniel.” The tool would invent a Phite name for Primo to hear. “I heard you talking to your friends last night about your new computer. Wondering what these machines might do in the future. Wondering if they could ever grow powerful enough to contain a whole world.”
“I didn’t see you there,” Primo replied.
“I wasn’t there,” Daniel explained. “I live outside this world. I built the computer that contains this world.”
Primo made a gesture that the tool annotated as amusement, then he spoke a few words in the boosted language. Insults? A jest? A test of Daniel’s omniscience? Daniel decided to bluff his way through, and act as if the words were irrelevant.
He said, “Let the rain start.” Rain began pounding on the roof of the shelter. “Let the rain stop.” Daniel gestured with one claw at a large cooking pot in a corner of the room. “Sand. Flower. Fire. Water jug.” The pot obliged him, taking on each form in turn.
Primo said, “Very well. I believe you, Daniel.” Daniel had had some experience reading the Phites’ body language directly, and to him Primo seemed reasonably calm. Perhaps when you were as old as he was, and had witnessed so much change, such a revelation was far less of a shock than it would have been to a human at the dawn of the computer age.
“You created this world?” Primo asked him.
“Yes.”
“You shaped our history?”
“In part,” Daniel said. “Many things have been down to chance, or to your own choices.”
“Did you stop us having children?” Primo demanded.
“Yes,” Daniel admitted.
“Why?”
“There is no room left in the computer. It was either that, or many more deaths.”
Primo pondered this. “So you could have stopped the death of my parents, had you wished?”
“I could bring them back to life, if you want that.” This wasn’t a lie; Daniel had stored detailed snapshots of all the last mortal Phites. “But not yet; only when there’s a bigger computer. When there’s room for them.”
“Could you bring back their parents? And their parents’ parents? Back to the beginning of time?”
“No. That information is lost.”
Primo said, “What is this talk of waiting for a bigger computer? You could easily stop time from passing for us, and only start it again when your new computer is built.”
“No,” Daniel said, “I can’t. Because I need you to build the computer. I’m not like you: I’m not immortal, and my brain can’t be boosted. I’ve done my best, now I need you to do better. The only way that can happen is if you learn the science of my world, and come up with a way to make this new machine.”
Primo walked over to the water jug that Daniel had magicked into being. “It seems to me that you were ill-prepared for the task you set yourself. If you’d waited for the machine you really needed, our lives would not have been so hard. And if such a machine could not be built in your lifetime, what was to stop your grandchildren from taking on that task?”
“I had no choice,” Daniel insisted. “I couldn’t leave your creation to my descendants. There is a war coming between my people. I needed your help. I needed strong allies.”
“You have no friends in your own world?”
“Your time runs faster than mine. I needed the kind of allies that only your people can become, in time.”
Primo said, “What exactly do you want of us?”
“To build the new computer you need,” Daniel replied. “To grow in numbers, to grow in strength. Then to raise me up, to make me greater than I was, as I’ve done for you. When the war is won, there will be peace forever. Side by side, we will rule a thousand worlds.”
“And what do you want of me?” Primo asked. “Why are you speaking to me, and not to all of us?”
“Most people,” Daniel said, “aren’t ready to hear this. It’s better that they don’t learn the truth yet. But I need one person who can work for me directly. I can see and hear everything in your world, but I need you to make sense of it. I need you to understand things for me.”
Primo was silent.
Daniel said, “I gave you life. How can you refuse me?”
6
Daniel pushed his way through the small crowd of protesters gathered at the entrance to his San Francisco tower. He could have come and gone by helicopter instead, but his security consultants had assessed these people as posing no significant threat. A small amount of bad PR didn’t bother him; he was no longer selling anything that the public could boycott directly, and none of the businesses he dealt with seemed worried about being tainted by association. He’d broken no laws, and confirmed no rumours. A few feral cyberphiles waving placards reading “Software Is Not Your Slave!” meant nothing.
Still, if he ever found out which one of his employees had leaked details of the project, he’d break their legs.
Daniel was in the elevator when Lucien messaged him: MOON VERY SOON! He halted the elevator’s ascent, and redirected it to the basement.
All three crystals were housed in the basement now, just centimetres away from the Play Pen: a vacuum chamber containing an atomic force microscope with fifty thousand independently movable tips, arrays of solid-state lasers and photodetectors, and thousands of micro-wells stocked with samples of all the stable chemical elements. The time lag between Sapphire and this machine had to be as short as possible, in order for the Phites to be able to conduct experiments in real-world physics while their own world was running at full speed.
Daniel pulled up a stool and sat beside the Play Pen. If he wasn’t going to slow Sapphire down, it was pointless aspiring to watch developments as they unfolded. He’d probably view a replay of the lunar landing when he went up to his office, but by the time he screened it, it would be ancient history.
“One giant leap” would be an understatement; wherever the Phites landed on the moon, they would find a strange black monolith waiting for them. Inside would be the means to operate the Play Pen; it would not take them long to learn the controls, or to understand what this signified. If they were really slow in grasping what they’d found, Daniel had instructed Primo to explain it to them.
The physics of the real world was far more complex than the kind the Phites were used to, but then, no human had ever been on intimate terms with quantum field theory either, and the Thought Police had already encouraged the Phites to develop most of the mathematics they’d need to get started. In any case, it didn’t matter if the Phites took longer than humans to discover twentieth-century scientific principles, and move beyond them. Seen from the outside, it would happen within hours, days, weeks at the most.
A row of indicator lights blinked on; the Play Pen was active. Daniel’s throat went dry. The Phites were finally reaching out of their own world into his.
A panel above the machine displayed histograms classifying the experiments the Phites had performed so far. By the time Daniel was paying attention, they had already discovered the kinds of bonds that could be formed between various atoms, and constructed thousands of different small molecules. As he watched, they carried out spectroscopic analyses, built simple nanomachines, and manufactured devices that were, unmistakably, memory elements and logic gates.
The Phites wanted children, and they understood now that this was the only way. They would soon be building a world in which they were not just more numerous, but faster and smarter than they were inside the crystal. And that would only be the first of a thousand iterations. They were working their way towards Godhood, and they would lift up their own creator as they ascended.
Daniel left the basement and headed for his office. When he arrived, he called Lucien.
“They’ve built an atomic-scale computer,” Lucien announced. “And they’ve fed some fairly complex software into it. It doesn’t seem to be an upload, though. Certainly not a direct copy on the level of beads.” He sounded flustered; Daniel had forbidden him to risk screwing up the experiments by slowing down Sapphire, so even with Primo’s briefings to help him it was difficult for him to keep abreast of everything.
“Can you model their computer, and then model what the software is doing?” Daniel suggested.
Lucien said, “We only have six atomic physicists on the team; the Phites already outnumber us on that score by about a thousand to one. By the time we have any hope of making sense of this, they’ll be doing something different.”
“What does Primo say?” The Thought Police hadn’t been able to get Primo included in any of the lunar expeditions, but Lucien had given him the power to make himself invisible and teleport to any part of Sapphire or the lunar base. Wherever the action was, he was free to eavesdrop.
“Primo has trouble understanding a lot of what he hears; even the boosted aren’t universal polymaths and instant experts in every kind of jargon. The gist of it is that the Lunar Project people have made a very fast computer in the Outer World, and it’s going to help with the fertility problem ... somehow.” Lucien laughed. “Hey, maybe the Phites will do exactly what we did: see if they can evolve something smart enough to give them a hand. How cool would that be?”
Daniel was not amused. Somebody had to do some real work eventually; if the Phites just passed the buck, the whole enterprise would collapse like a pyramid scheme.
Daniel had some business meetings he couldn’t put off. By the time he’d swept all the bullshit aside, it was early afternoon. The Phites had now built some kind of tiny solid-state accelerator, and were probing the internal structure of protons and neutrons by pounding them with high-speed electrons. An atomic computer wired up to various detectors was doing the data analysis, processing the results faster than any in-world computer could. The Phites had already figured out the standard quark model. Maybe they were going to skip uploading into nanocomputers, and head straight for some kind of femtomachine?
Digests of Primo’s briefings made no mention of using the strong force for computing, though. They were still just satisfying their curiosity about the fundamental laws. Daniel reminded himself of their history. They had burrowed down to what seemed like the foundations of physics before, only to discover that those simple rules were nothing to do with the ultimate reality. It made sense that they would try to dig as deeply as they could into the mysteries of the Outer World before daring to found a colony, let alone emigrate en masse.
By sunset the Phites were probing the surroundings of the Play Pen with various kinds of radiation. The levels were extremely low – certainly too low to risk damaging the crystals – so Daniel saw no need to intervene. The Play Pen itself did not have a massive power supply, it contained no radioisotopes, and the Thought Police would ring alarm bells and bring in human experts if some kind of tabletop fusion experiment got underway, so Daniel was reasonably confident that the Phites couldn’t do anything stupid and blow the whole thing up.
Primo’s briefings made it clear that they thought they were engaged in a kind of “astronomy”. Daniel wondered if he should give them access to instruments for doing serious observations – the kind that would allow them to understand relativistic gravity and cosmology. Even if he bought time on a large telescope, though, just pointing it would take an eternity for the Phites. He wasn’t going to slow Sapphire down and then grow old while they explored the sky; next thing they’d be launching space probes on thirty-year missions. Maybe it was time to ramp up the level of collaboration, and just hand them some astronomy texts and star maps? Human culture had its own hard-won achievements that the Phites couldn’t easily match.
As the evening wore on, the Phites shifted their focus back to the subatomic world. A new kind of accelerator began smashing single gold ions together at extraordinary energies – though the total power being expended was still minuscule. Primo soon announced that they’d mapped all three generations of quarks and leptons. The Phites’ knowledge of particle physics was drawing level with humanity’s; Daniel couldn’t follow the technical details any more, but the experts were giving it all the thumbs up. Daniel felt a surge of pride; of course his children knew what they were doing, and if they’d reached the point where they could momentarily bamboozle him, soon he’d ask them to catch their breath and bring him up to speed. Before he permitted them to emigrate, he’d slow the crystals down and introduce himself to everyone. In fact, that might be the perfect time to set them their next task: to understand human biology, well enough to upload him. To make him immortal, to repay their debt.
He sat watching images of the Phites’ latest computers, reconstructions based on data flowing to and from the AFM tips. Vast lattices of shimmering atoms stretched off into the distance, the electron clouds that joined them quivering like beads of mercury in some surreal liquid abacus. As he watched, an inset window told him that the ion accelerators had been re-designed, and fired up again.
Daniel grew restless. He walked to the elevator. There was nothing he could see in the basement that he couldn’t see from his office, but he wanted to stand beside the Play Pen, put his hand on the casing, press his nose against the glass. The era of Sapphire as a virtual world with no consequences in his own was coming to an end; he wanted to stand beside the thing itself and be reminded that it was as solid as he was.
The elevator descended, passing the tenth floor, the ninth, the eighth. Without warning, Lucien’s voice burst from Daniel’s watch, priority audio crashing through every barrier of privacy and protocol. “Boss, there’s radiation. Net power gain. Get to the helicopter, now.”
Daniel hesitated, contemplating an argument. If this was fusion, why hadn’t it been detected and curtailed? He jabbed the stop button and felt the brakes engage. Then the world dissolved into brightness and pain.
7
When Daniel emerged from the opiate haze, a doctor informed him that he had burns to sixty per cent of his body. More from heat than from radiation. He was not going to die.
There was a net terminal by the bed. Daniel called Lucien and learnt what the physicists on the team had tentatively concluded, having studied the last of the Play Pen data that had made it off-site.
It seemed the Phites had discovered the Higgs field, and engineered a burst of something akin to cosmic inflation. What they’d done wasn’t as simple as merely inflating a tiny patch of vacuum into a new universe, though. Not only had they managed to create a “cool Big Bang”, they had pulled a large chunk of ordinary matter into the pocket universe they’d made, after which the wormhole leading to it had shrunk to subatomic size and fallen through the Earth.
They had taken the crystals with them, of course. If they’d tried to upload themselves into the pocket universe through the lunar data link, the Thought Police would have stopped them. So they’d emigrated by another route entirely. They had snatched their whole substrate, and ran.
Opinions were divided over exactly what else the new universe would contain. The crystals and the Play Pen floating in a void, with no power source, would leave the Phites effectively dead, but some of the team believed there could be a thin plasma of protons and electrons too, created by a form of Higgs decay that bypassed the unendurable quark-gluon fireball of a hot Big Bang. If they’d built the right nanomachines, there was a chance that they could convert the Play Pen into a structure that would keep the crystals safe, while the Phites slept through the long wait for the first starlight.
The tiny skin samples the doctors had taken finally grew into sheets large enough to graft. Daniel bounced between dark waves of pain and medicated euphoria, but one idea stayed with him throughout the turbulent journey, like a guiding star: Primo had betrayed him. He had given the fucker life, entrusted him with power, granted him privileged knowledge, showered him with the favours of the Gods. And how had he been repaid? He was back to zero. He’d spoken to his lawyers; having heard rumours of an “illegal radiation source”, the insurance company was not going to pay out on the crystals without a fight.
Lucien came to the hospital, in person. Daniel was moved; they hadn’t met face-to-face since the job interview. He shook the man’s hand.
“You didn’t betray me.”
Lucien looked embarrassed. “I’m resigning, boss.”
Daniel was stung, but he forced himself to accept the news stoically. “I understand; you have no choice. Gupta will have a crystal of his own by now. You have to be on the winning side, in the war of the Gods.”
Lucien put his resignation letter on the bedside table. “What war? Are you still clinging to that fantasy where überdorks battle to turn the moon into computronium?”
Daniel blinked. “Fantasy? If you didn’t believe it, why were you working with me?”
“You paid me. Extremely well.”
“So how much will Gupta be paying you? I’ll double it.”
Lucien shook his head, amused. “I’m not going to work for Gupta. I’m moving into particle physics. The Phites weren’t all that far ahead of us when they escaped; maybe forty or fifty years. Once we catch up, I guess a private universe will cost about as much as a private island; maybe less in the long run. But no one’s going to be battling for control of this one, throwing grey goo around like monkeys flinging turds while they draw up their plans for Matrioshka brains.”
Daniel said, “If you take any data from the Play Pen logs—”
“I’ll honour all the confidentiality clauses in my contract.” Lucien smiled. “But anyone can take an interest in the Higgs field; that’s public domain.”
After he left, Daniel bribed the nurse to crank up his medication, until even the sting of betrayal and disappointment began to fade.
A universe, he thought happily. Soon I’ll have a universe of my own.
But I’m going to need some workers in there, some allies, some companions. I can’t do it all alone; someone has to carry the load.
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++++ From Wikipedia, the free encyclopedia ++++
Cattle in religion and mythology
Due to the multiple benefits from cattle, there are varying beliefs about cattle in societies and religions. In some regions, especially most states of India, the slaughter of cattle is prohibited and their meat may be taboo.
Cattle are considered sacred in world religions such as Hinduism, Jainism, Buddhism, and others. Cattle played other major roles in many religions, including those of ancient Egypt, ancient Greece, ancient Israel, ancient Rome, and ancient Germany.
In Indian religions
Legislation against cattle slaughter is in place throughout most states of India except Kerala, West Bengal and parts of the North-East.[1]
Hinduism
If anybody said that I should die if I did not take beef tea or mutton, even on medical advice, I would prefer death. That is the basis of my vegetarianism.
— Mahatma Gandhi, to the London Vegetarian Society on 20 November 1931.[2]
A bull bas relief, Mamallapuram
Hinduism specifically considers the zebu (Bos indicus) to be sacred.[3][4][5] Respect for the lives of animals including cattle, diet in Hinduism and vegetarianism in India are based on the Hindu ethics. The Hindu ethics are driven by the core concept of Ahimsa, i.e. non-violence towards all beings, as mentioned in the Chandogya Upanishad (~ 800 BCE)..[6][7] By mid 1st millennium BCE, all three major religions – Buddhism, Hinduism, and Jainism were championing non-violence as an ethical value, and something that impacted one's rebirth. According to Harris, by about 200 CE, food and feasting on animal slaughter were widely considered as a form of violence against life forms, and became a religious and social taboo.[8][9] India, which has 79.80% Hindu population as of (2011 census),[10] had the lowest rate of meat consumption in the world according to the 2007 UN FAO statistics,[11] and India has more vegetarians than the rest of the world put together.[12]
Vegetarianism in ancient India
India is a strange country. People do not kill
any living creatures, do not keep pigs and fowl,
and do not sell live cattle.
—Faxian, 4th/5th century CE
Chinese pilgrim to India[13]
According to Ludwig Alsdorf, "Indian vegetarianism is unequivocally based on ahimsa (non-violence)" as evidenced by ancient smritis and other ancient texts of Hinduism." He adds that the endearment and respect for cattle in Hinduism is more than a commitment to vegetarianism and has become integral to its theology.[14] The respect for cattle is widespread but not universal. According to Christopher Fuller, animal sacrifices have been rare among the Hindus outside a few eastern states.[14][15] To the majority of modern Indians, states Alsdorf, respect for cattle and disrespect for slaughter is a part of their ethos and there is "no ahimsa without renunciation of meat consumption".[14]
Several scholars explain the veneration for cows among Hindus in economic terms, including the importance of dairy in the diet, the use of cow dung as fuel and fertilizer, and the importance that cattle have historically played in agriculture.[16] Ancient texts such as Rig Veda, Puranas highlight the importance of cattle.[16] The scope, extent and status of cows throughout ancient India is a subject of debate. According to D. N. Jha, cattle, including cows, were neither inviolable nor as revered in ancient times as they were later.[17] A Gryhasutra recommends that beef be eaten by the mourners after a funeral ceremony as a ritual rite of passage.[18] In contrast, according to Marvin Harris, the Vedic literature is contradictory, with some suggesting ritual slaughter and meat consumption, while others suggesting a taboo on meat eating.[8]
Sacred status of cow
The Hindu god Krishna is often shown with cows listening to his music.
The calf is compared with the dawn, in Hinduism. Here, with a sadhu.
Many ancient and medieval Hindu texts debate the rationale for a voluntary stop to cow slaughter and the pursuit of vegetarianism as a part of a general abstention from violence against others and all killing of animals.[19][20]
The interdiction of the meat of the bounteous cow as food was regarded as the first step to total vegetarianism.[21] Dairy cows are called aghnya "that which may not be slaughtered" in Rigveda. Yaska, the early commentator of the Rigveda, gives nine names for cow, the first being "aghnya".[22] According to Harris, the literature relating to cow veneration became common in 1st millennium CE, and by about 1000 CE vegetarianism, along with a taboo against beef, became a well accepted mainstream Hindu tradition.[8] This practice was inspired by the beliefs in Hinduism that a soul is present in all living beings, life in all its forms is interconnected, and non-violence towards all creatures is the highest ethical value.[8][9] Vegetarianism is a part of the Hindu culture. The god Krishna and his Yadav kinsmen are associated with cows, adding to its endearment.[8][9]
According to Nanditha Krishna the cow veneration in ancient India during the Vedic era, the religious texts written during this period called for non-violence towards all bipeds and quadrupeds, and often equated killing of a cow with the killing of a human being specifically a Brahmin.[23] Nanditha Krishna stated that the hymn 8.3.25 of the Hindu scripture Atharvaveda (~1200–1500 BCE) condemns all killings of men, cattle, and horses, and prays to god Agni to punish those who kill.[24][25]
Prithu chasing Prithvi, who is in the form of a cow. Prithu milked the cow to generate crops for humans.
In Puranas, which are part of the Hindu texts, the earth-goddess Prithvi was in the form of a cow, successively milked of beneficent substances for the benefit of humans, by deities starting with the first sovereign: Prithu milked the cow to generate crops for humans to end a famine.[26] Kamadhenu, the miraculous "cow of plenty" and the "mother of cows" in certain versions of the Hindu mythology, is believed to represent the generic sacred cow, regarded as the source of all prosperity.[27] In the 19th century, a form of Kamadhenu was depicted in poster-art that depicted all major gods and goddesses in it.[28][29] Govatsa Dwadashi which marks the first day of Diwali celebrations, is the main festival connected to the veneration and worship of cows as chief source of livelihood and religious sanctity in India, wherein the symbolism of motherhood is most apparent with the sacred cows Kamadhenu and her daughter Nandini.[30]
Historical significance
Main articles: Cattle slaughter in India and Cow protection movement
A pamphlet protesting cow slaughter, first created in 1893. A meat eater (mansahari) is shown as a demon with sword, with a man telling him "don't kill, cow is life-source for all". It was interpreted by Muslims in British Raj to be representing them.[31] Redrawn the Raja Ravi Varma (c. 1897).
The reverence for the cow played a role in the Indian Rebellion of 1857 against the British East India Company. Hindu and Muslim sepoys in the army of the East India Company came to believe that their paper cartridges, which held a measured amount of gunpowder, were greased with cow and pig fat. The consumption of swine is forbidden in Islam and Judaism. Because loading the gun required biting off the end of the paper cartridge, they concluded that the British were forcing them to break edicts of their religion.[32]
A historical survey of major communal riots in India between 1717 and 1977 revealed that 22 out of 167 incidents of rioting between Hindus and Muslims were attributable directly to cow slaughter.[33][34]
In Gandhi's teachings
The cow protection was a symbol of animal rights and of non-violence against all life forms for Gandhi. He venerated cows, and suggested ending cow slaughter to be the first step to stopping violence against all animals.[35] He said: "I worship it and I shall defend its worship against the whole world", and stated that "The central fact of Hinduism is cow protection."[35]
Jainism
See also: Ahimsa in Jainism
Jainism is against violence to all living beings, including cattle. According to the Jaina sutras, humans must avoid all killing and slaughter because all living beings are fond of life, they suffer, they feel pain, they like to live, and long to live. All beings should help each other live and prosper, according to Jainism, not kill and slaughter each other.[36][37]
In the Jain religious tradition, neither monks nor laypersons should cause others or allow others to work in a slaughterhouse.[38] Jains believe that vegetarian sources can provide adequate nutrition, without creating suffering for animals such as cattle.[38] According to some Jain scholars, slaughtering cattle increases ecological burden from human food demands since the production of meat entails intensified grain demands, and reducing cattle slaughter by 50 percent would free up enough land and ecological resources to solve all malnutrition and hunger worldwide. The Jain community leaders, states Christopher Chapple, has actively campaigned to stop all forms of animal slaughter including cattle.[39]
Cattle at a temple, in Ooty India
Cattle making themselves at home on a city street in Jaipur, Rajasthan
Buddhism
The texts of Buddhism state ahimsa to be one of five ethical precepts, which requires a practicing Buddhist to "refrain from killing living beings".[40] Slaughtering cow has been a taboo, with some texts suggest taking care of a cow is a means of taking care of "all living beings". Cattle are seen in some Buddhist sects as a form of reborn human beings in the endless rebirth cycles in samsara, protecting animal life and being kind to cattle and other animals is good karma.[40][41] Not only do some, mainly Mahayana, Buddhist texts state that killing or eating meat is wrong, it urges Buddhist laypersons to not operate slaughterhouses, nor trade in meat.[42][43][44] Indian Buddhist texts encourage a plant-based diet.[9][8]
According to Saddhatissa, in the Brahmanadhammika Sutta, the Buddha "describes the ideal mode of life of Brahmins in the Golden Age" before him as follows:[45]
Like mother (they thought), father, brother or any other kind of kin,
cows are our kin most excellent from whom come many remedies.
Givers of good and strength, of good complexion and the happiness of health,
having seen the truth of this cattle they never killed.
Those brahmins then by Dharma did what should be done, not what should not,
and so aware they graceful were, well-built, fair-skinned, of high renown.
While in the world this lore was found these people happily prospered.
— Buddha, Brahmanadhammika Sutta 13.24, Sutta Nipāta[46][45][47]
Saving animals from slaughter for meat, is believed in Buddhism to be a way to acquire merit for better rebirth.[41] According to Richard Gombrich, there has been a gap between Buddhist precepts and practice. Vegetarianism is admired, states Gombrich, but often it is not practiced. Nevertheless, adds Gombrich, there is a general belief among Theravada Buddhists that eating beef is worse than other meat and the ownership of cattle slaughterhouses by Buddhists is relatively rare.[48][note 1]
Meat eating remains controversial within Buddhism, with most Theravada sects allowing it, reflecting early Buddhist practice, and most Mahayana sects forbidding it. Early suttas indicate that the Buddha himself ate meat and was clear that no rule should be introduced to forbid meat eating to monks. The consumption, however, appears to have been limited to pork, chicken and fish and may well have excluded cattle.[50]
Bhubaneswar (/ˌbʊbəˈneɪʃwər/; Odia: [ˈbʱubɔneswɔɾɔ] (About this soundlisten)) is the capital and largest city of the Indian state of Odisha. The region, especially the old town, was historically often depicted as Ekamra Kshetra (area (kshetra) adorned with mango trees (ekamra)).[9] Bhubaneswar is dubbed the "Temple City"[10][11]—a nickname earned because of the 700 temples which once stood there. In contemporary times, it has emerged as an education hub[12][13] and an attractive business destination.[14][15][16]
Although the modern city of Bhubaneswar was formally established in 1948, the history of the areas in and around the present-day city can be traced to the 7th century BCE and earlier. It is a confluence of Hindu, Buddhist and Jain heritage and includes several Kalingan temples, many of them from 6th-13th century CE. With Puri and Konark it forms the 'Swarna Tribhuja' ("Golden Triangle"), one of eastern India's most visited destinations.[17][18]
Bhubaneswar replaced Cuttack as the capital on 19 August 1949, 2 years after India gained its independence from Britain. The modern city was designed by the German architect Otto Königsberger in 1946. Along with Jamshedpur and Chandigarh, it was one of modern India's first planned cities.[19] Bhubaneswar and Cuttack are often referred to as the 'twin cities of Odisha'. The metropolitan area formed by the two cities had a population of 1.7 million in 2011.[20] Recent data from the United Nations released in 2016 states that Bhubaneswar's metro area has a population of around a million people.[6] Bhubaneswar is categorised as a Tier-2 city. Bhubaneswar and Rourkela are the only cities in smart city mission from Odisha.
Etymology
Bhubaneswar is the anglicisation of the Odia name "Bhubaneswara"(ଭୁବନେଶ୍ୱର), derived from the word Tribhubaneswara (ତ୍ରିଭୁବନେଶ୍ୱର), which literally means the Lord (Eeswara) of the Three Worlds (Tribhubana), which refers to Shiva.[21]
History
Remains of the ancient city of Sisupalagada, on the outskirts of Bhubaneswar, dated to 7th century BCE
Inscription on rock in Brahmi language
Hathigumpha inscriptions at the Udayagiri and Khandagiri caves near Bhubaneswar
Bhubaneswar stands near the ruins of Sisupalgarh, the ancient capital of the erstwhile province of Kalinga. Dhauli, near Bhubaneswar was the site of the Kalinga War (c. 262-261 BCE), in which the Mauryan emperor Ashoka invaded and annexed Kalinga.[22] One of the most complete edicts of the Mauryan Emperor, Ashoka, dating from between 272 and 236 BCE, remains carved in rock, 8 kilometres (5.0 mi) to the southwest of the modern city.[23] After the decline of the Mauryan empire, the area came under the rule of Mahameghavahana dynasty, whose most well-known rule is Kharavela. His Hathigumpha inscription is located at the Udayagiri and Khandagiri Caves near Bhubaneswar. The area was subsequently ruled by several dynasties, including Satavahanas, Guptas, Matharas, and Shailodbhavas.[22]
In the 7th century, Somavamshi or Keshari dynasty established their kingdom in the area, and constructed a number of temples. After the Kesharis, the Eastern Gangas ruled Kalinga area until the 14th century CE. Their capital Kalinganagara was located in present-day Bhubaneswar City. After them, Mukunda Deva of the Bhoi dynasty – the last Hindu ruler of the area until the Marathas – developed several religious buildings in the area.[22] Most of the older temples in Bhubaneswar were built between 8th and 12th centuries, under Shaiva influence. The Ananta Vasudeva Temple is the only old temple of Vishnu in the city.[24] In 1568, the Karrani dynasty of Afghan origin gained control of the area. During their reign, most of the temples and other structures were destroyed or disfigured.[22]
In the 16th century, the area came under pachamani Mughal control. The Marathas, who succeeded the Mughals in the mid-18th century, encouraged pilgrimage in the region. In 1803, the area came under British colonial rule, and was part of the Bengal Presidency (until 1912), Bihar and Orissa Province (1912-1936) and Orissa Province (1936-1947).[22] The capital of the British-ruled Orissa Province was Cuttack, which was vulnerabile to floods and suffered from space constraints. Because of this, on 30 September 1946, a proposal to move the capital to a new capital was introduced in the Legislative Assembly of the Odisha Province. After independence of India, the foundation of the new capital was laid by Prime Minister Jawaharlal Nehru on 13 April 1948.[22]
The name of the new capital came from "Tribhubaneswara" or "Bhubaneswara" (literally "Lord of the Earth"), a name of Shiva, the deity of the Lingaraja temple.[21] The Legislative Assembly of Odisha was shifted from Cuttack to Bhubaneswar in 1949.[22] Bhubaneswar was built as a modern city, designed by German architect Otto Königsberger with wide roads, gardens and parks.[25] Though part of the city followed the plan, it grew rapidly over the next few decades, outstripping the planning process.[26] According to the first census of independent India, taken in 1951, the city's population was just 16,512. From 1952 to 1979, it was administered by a Notified Area Council or a nagar panchayat; a municipality was established only on 12 March 1979. By the 1991 census, the population of Bhubaneswar had increased to 411,542. Accordingly, on 14 August 1994, the Bhubaneswar Municipal Corporation was established.[22]
Geography
Daya River at the foothills of Dhauli
Bhubaneswar is in Khordha district of Odisha.[27] It is in the eastern coastal plains, along the axis of the Eastern Ghats mountains.[28] The city has an average altitude of 45 m (148 ft) above sea level.[28] It lies southwest of the Mahanadi River that forms the northern boundary of Bhubaneswar metropolitan area, within its delta.
City of Bhubaneswar from Khandagiri hill
The city is bounded by the Daya River to the south and the Kuakhai River to the east;[28] the Chandaka Wildlife Sanctuary and Nandankanan Zoo lie in the western and northern parts of Bhubaneswar, respectively.[25]
Bhubaneswar is topographically divided into western uplands and eastern lowlands, with hillocks in the western and northern parts.[28] Kanjia lake on the northern outskirts, affords rich biodiversity and is a wetland of national importance.[29] Bhubaneswar's soils are 65 per cent laterite, 25 per cent alluvial and 10 per cent sandstone.[30] The Bureau of Indian Standards places the city inside seismic zone III on a scale ranging from I to V in order of increasing susceptibility to earthquakes.[31] The United Nations Development Programme reports that there is "very high damage risk" from winds and cyclones.[31] The 1999 Odisha cyclone caused major damage to buildings, the city's infrastructure and cost many human lives.[32] Floods and waterlogging in the low-lying areas have become common due to unplanned growth.[30][33]
Bhubaneswar Schematic Map
Bhubaneswar schematic tourist map
Urban structure
See also: List of neighbourhoods in Bhubaneswar
Rajpath, Bhubaneswar
Pathani Samanta Planetarium Bhubaneswar
The Bhubaneswar urban development area consists of the Bhubaneswar Municipal Corporation area, 173 revenue villages and two other municipalities spread over 1,110 km2 (430 sq mi).[3][34] The area under the jurisdiction of the Bhubaneswar Municipal Corporation covers 186 square kilometres (72 sq mi).[2] The city is somewhat dumbbell-shaped with most of the growth taking place to the north, northeast and southwest.[35] The north–south axis of the city is widest, at roughly 22.5 kilometres (14.0 mi). Growth in the east is restricted due to the presence of Kuakhai River and by the wildlife sanctuary in the northwestern part.[35] The city can be broadly divided into the old town, planned city (or state capital), added areas and outer peripheral areas. It is subdivided into Units and Colonies.
The old town or "Temple Town", the oldest part of the city, is characterised by many temples, including the Lingaraja, Rajarani and Muktesvara temples, standing alongside residential areas. This area is congested, with narrow roads and poor infrastructure.[35] Among neighbourhoods in the old town are Rajarani Colony, Pandaba Nagar, Brahmeswara Bagh, Lingaraja Nagar, Gouri Nagar, Bhimatangi and Kapileswara. The planned city was designed in 1948 to house the capital. It is subdivided into units, each with a high school, shopping centres, dispensaries and play areas. While most of the units house government employees, Unit V houses the administrative buildings, including the State Secretariat, State Assembly, and the Raj Bhavan. Private residential areas were later built in other areas of the planned city, including Saheed Nagar and Satya Nagar. Unit I, popularly known as the Market Building, was formed to cater to the shopping needs of the new capital's residents. Later, markets and commercial establishments developed along the Janpath and Cuttack-Puri Road at Saheed Nagar, Satya Nagar, Bapuji Nagar and Ashok Nagar. A dedicated institutional area houses educational and research institutes, including Utkal University, the Institute of Physics, the Institute of Minerals and Materials Technology and Sainik School. Indira Gandhi Park, Gandhi Park and the Biju Patnaik Park are located in the unit.[35]
The added areas are mostly areas lying north of National Highway 5, including Nayapalli, Jayadev Vihar, Chandrasekharpur and Sailashree Vihar, #Niladri vihar which were developed by Bhubaneswar Development Authority to house the growing population.[35] With the development of the new areas such as Chandrasekharpur the city is now divided roughly into North(newer areas) and South Bhubaneswar (older areas) by the NH-5 highway.
The peripheral areas are outside the municipal boundary or have subsequently been included within the extended boundary, including Tomando, Patia and Raghunathpur. Most of these areas were developed in a haphazard manner, without proper planning.[36] The Master Planning Branch of the Bhubaneswar Development Authority developed the Comprehensive Development Plan (CDP) in 2010.[37] According to the Odisha Development Authorities Act, 1982, the Development Authority has control over the planning for municipal areas.[38] Apart from the CDP, BDA has also created Zonal Development Plans for some of the areas under the CDP.[37] Bhubaneswar secured the top rank in the Smart city list in India.[39][40]
Deras Dam
Climate
A one storied building with decorative plants and landscaping around it
Meteorological Centre, Bhubaneswar
Bhubaneswar has a tropical savanna climate, designated Aw under the Köppen climate classification. The annual mean temperature is 27.4 °C (81.3 °F); monthly mean temperatures are 22–32 °C (72–90 °F).[41] Summers (March to June) are hot and humid, with temperatures in the low 30s C; during dry spells, maximum temperatures often exceed 40 °C (104 °F) in May and June.[41] Winter lasts for only about ten weeks, with seasonal lows dipping to 15–18 °C (59–64 °F) in December and January. May is the hottest month, when daily temperatures range from 32–42 °C (90–108 °F). January, the coldest month, has temperatures varying from 15–28 °C (59–82 °F). The highest recorded temperature is 46.7 °C (116.1 °F), and the lowest is 8.2 °C (47 °F).[42]
Rains brought by the Bay of Bengal branch of the south west summer monsoon[43] lash Bhubaneswar between June and September, supplying it with most of its annual rainfall of 1,638 mm (64 in). The highest monthly rainfall total, 404 mm (16 in), occurs in August.[44]
Economy
East Coast Railway Headquarters in Bhubaneswar
Bhubaneswar is an administrative, information technology, education and tourism city.[28] Bhubaneswar was ranked as the best place to do business in India by the World Bank in 2014.[46] Bhubaneswar has emerged as one of the fast-growing, important trading and commercial hub in the state and eastern India.[14] Tourism is a major industry, attracting about 1.5 million tourists in 2011.[28][47] Bhubaneswar was designed to be a largely residential city with outlying industrial areas. The economy had few major players until the 1990s and was dominated by retail and small-scale manufacturing. With the economic liberalisation policy adopted by the Government of India in the 1990s, Bhubaneswar received investment in telecommunications, information technology (IT) and higher education.[28]
As of 2001, around 2.15% of the city's workforce was employed in the primary sector (agriculture, forestry, mining, etc.); 2.18% worked in the secondary sector (industrial and manufacturing); and 95.67% worked in the tertiary sector (service industries).[28]
In 2011, according to a study by Associated Chambers of Commerce and Industry of India, Bhubaneswar had the highest rate of employment growth among 17 Tier-2 cities in India.[48] It has been listed among the top ten emerging cities in India by Cushman and Wakefield, taking into consideration factors like demographics, physical, social and real estate infrastructure, current level and scope of economic activities and government support.[15] In 2012, Bhubaneswar was ranked third among Indian cities, in starting and operating a business by the World Bank.[16] Bhubaneswar has been traditionally home to handicrafts industry, including silver filigree work, appliqué work, stone and wood carvings and patta painting, which significantly contributes to the city's economy.[28] The late 2000s saw a surge of investments in the real estate, infrastructure, retail and hospitality sectors; several shopping malls and organised retails opened outlets in Bhubaneswar.[49][50][51][52]
The Department of Industries established four industrial areas in and around Bhubaneswar, in the Rasulgarh, Mancheswar, Chandaka, and Bhagabanpur areas.[28] In the informal sector, 22,000 vendors operate in regulated or unregulated vending zones.[53][54]
In 2009, Odisha was ranked ninth among Indian states in terms of software export by NASSCOM, with most IT/ITES companies established in Bhubaneswar. In 2011–12, Odisha had a growth rate of 17% for software exports.[55] According to a 2012 survey, among the tier-2 cities in India, Bhubaneswar has been chosen as the best for conducting IT/ITES business.[56] The government fostered growth by developing of IT parks such as Infocity-1, Infovalley, STPI-Bhubaneswar and JSS STP.[57][58] Infocity was conceived as a five-star park, under the Export Promotion Industrial Parks (EPIP) Scheme to create infrastructure facilities for setting up information technology related industries. Infosys and Tech Mahindra have been present in Bhubaneswar since 1996. Other software companies include TCS, Wipro, IBM, Genpact, Firstsource, Mindtree, MphasiS, Ericsson, Semtech and Reliance Communications, AnantaTek and SA Intellect. Apart from the big multinationals, some 300 small and mid-size IT companies and business startups have offices in Bhubaneswar.[58]
Demographics
Population
Bhubaneswar population
CensusPopulation%±
195116,512
As per the 2011 census of India, Bhubaneswar had a population of 837,737, while the metropolitan area had a population of 881,988.[62] As per the estimate of IIT Kharagpur, which made a development plan, the Bhubaneswar–Cuttack Urban complex, consisting of 721.9 square kilometres (278.7 sq mi), has a population of 1.9 million (as of 2008).[63] As of 2011, the number of males was 445,233, while the number of females were 392,504. The decadal growth rate was 45.90 per cent.[citation needed]
Literacy
Effective male literacy was 95.69 per cent, while female literacy was 90.26 per cent. About 75,237 were under six. Bhubaneswar's literacy rate is 93.15 per cent[62]—significantly higher than the national average of 74.04 per cent.[64]
Language
The main language spoken in the city is Odia. However, English and Hindi are understood by most residents. Although Odias comprise the vast majority, migrants from other states like Andhra Pradesh, Bihar, West Bengal and Jharkhand also dwell in the city. Growth in the information technology industry and education sector in Bhubaneswar changed the city's demographic profile; likely infrastructure strains and haphazard growth from demographic changes have been a cause of concern.
Religion
Panoramic view of Mukteshvara Temple, Bhubaneswar
Bhubaneswar is a very religiously diverse city. Hindus form the majority in it. It also has large minorities of Christians and Muslim.
Governance and Politics
Krushi Bhavan building in Bhubaneswar
Civic Administration
The Bhubaneswar Municipal Corporation (BMC) oversees and manages civic infrastructure for the city's 67 wards.[65] It started as a Notified Area Committee in 1946 and was upgraded to a municipal corporation in 1994.[66] Orissa Municipal Corporation Act, 2003 is the governing act.[67] Residents of each ward elect a corporator to the BMC for a five-year term. Standing committees handle urban planning and maintain roads, government-aided schools, hospitals and municipal markets.[68]
As Bhubaneswar's apex body, the corporation discharges its functions through the mayor-in-council, which comprises a mayor, a deputy mayor and other elected members. The executive wing is headed by a Commissioner. There are 13 administrative departments under BMC: PR & Communication, Disaster Management, Finance, Health & Sanitation, Engineering, Revenue & Tax, Electrical, Environment, Social Welfare, IT and Social Projects, Establishment, Land & Assets, Enforcement & Recovery.[69] The responsibilities of the municipal body include drainage and sewerage, sanitation, solid waste management and street lighting.[28]
The tenure of the last elected body ended in January 2019 and new elections have not taken place yet, because the High Court struck down the delimitation process that was carried out for exceeding 50% reservations of seats.[70][71] Ward committees have been formed in Bhubaneswar and are very active.[72] The Committees are responsible for issues such as public health, sanitation, street lighting and conservancy in their respective wards. There is no fixed number of members in the committees.
The processes for the municipal budget 2020-21 was initiated in February 2020, but it is unclear if they have continued after the lockdown was accounced.[73] The budget for 2020-21 was supposed to be aroound Rs. 700, an increase of 51.8% from the 2019-20 budget. The increase was suppsoedly to fund the various socio-economic welfare schemes in the city. The key revenue sources for BMC are: Holding Taxes, tax from advertisements, rent from municipal properties such as markets, shopping complexes, and kalyan mandaps (marriage halls), fees and user charges, and grants from state and central governments.[74]
Lok Sabha and Vidhan Sabha Constituencies
Citizens of Bhubaneswar elect one representative to India's lower house, the Lok Sabha, and three representatives to the state legislative assembly, through the constituencies of Bhubaneswar North, Ekamra-Bhubaneswar, and Bhubaneswar Central.[75][76] The last Lok Sabha election was in 2019, when Aparajita Sarangi from Bharatiya Janata Party won the seat.[77] The last state assembly election took place in 2019 as well, when all three Vidhan Sabha seats in Bhubaneswar were won by Biju Janata Dal: Susant Kumar Rout from North, Ashok Chandra Panda from Ekamra, and Ananta Narayan Jena from Central.[78][79][80]
Judicial and Police Institutions
As the seat of the Government of Odisha, Bhubaneswar is home to the Odisha Legislative Assembly and the state secretariat. Bhubaneswar has lower courts: the Court of Small Causes and the District Civil Court decide civil matters; the Sessions Court rules in criminal cases.[81] The Bhubaneswar–Cuttack Police Commissionerate, established in 2008, is a city police force with primary responsibilities in law enforcement and investigation in the Bhubaneswar-Cuttack area.[82][83] Shri S.K. Priyadarshi, IPS is the police commissioner.[84]
A wide four storied building with landscaped lawn and garden in the foreground
Odisha State Secretariat building
Public utilities
Electricity is supplied by the state-operated Central Electricity Supply Utility of Odisha, or CESU.[30] TATA Power as a private entity started Power distribution in the city by the end of 2020.[85] Fire services are handled by the state agency Odisha Fire Service. Drinking water is sourced from the Mahanadi, Kuakhai and Daya rivers. Water supply and sewerage are handled by the Public Health Engineering Organisation.[28] As of 2015, 35% of the city was covered by piped water connections, 1.4% of the households had metered water connection, and the extent of non-revenue water in the city ran to 62.5%.[86] The Engineering Department of BMC creates and maintains roads.[87]
26.7% of the city is covered by sewage network, while more than 50% of the households are dependent on onsite containment systems, such as septic tanks.[88] There is no sewage treatment plant in Bhubaneswar right now,[when?] but one is being built using JNNURM funds.[86][89] The waste from the limited sewage network flows untreated into the Daya river. There is one septage treatment plant for fecal sludge with a capacity of 75 KLD.[90]
The municipal corporation is responsible for the solid waste management in the city. The average municipal waste generated in the city is 480 kg/m3 for wet waste and 600 kg/m3 for wet waste.[91] Bhubaneswar Municipal Corporation BMC has introduced door to door collection through battery operated garbage collection vehicle.[92] It is trying to introduce segregation at source by providing two waste bins to every household, one each for dry and wet waste.[93] Landfilling is the most common method of waste disposal in Bhubaneswar.[91] State-owned Bharat Sanchar Nigam Limited, or BSNL, as well as private enterprises, among them Reliance Jio, Vodafone, Bharti Airtel, Reliance, Idea Cellular, Aircel and Tata DoCoMo, are the leading telephone, cell phone and internet service providers in the city.[94][95]
Education
See also: List of institutions of higher education in Odisha
Academic Block of Xavier Institute of Management, Bhubaneswar
Institute of Physics Bhubaneswar library
NISER, Bhubaneshwar
Indian Institute of Technology Bhubaneswar
All India Institute of Medical Sciences Bhubaneswar
Utkal University Bhubaneswar
Bhubaneswar is a centre for higher education in the Eastern Region and is considered the education hub of Eastern India with several government and privately funded Universities and colleges.[12][13] IIT Bhubaneswar, NISER Bhubaneswar, AIIMS Bhubaneswar and NIFT Bhubaneswar are some of the elite institutions of country which are located in the city. Utkal University Bhubaneswar is the oldest university in Odisha and the 17th oldest university in India.
Primary and secondary education
Odia and English are the primary languages of instruction. Schools in Bhubaneswar follow the "10+2+3" plan for Regular Graduates and "10+2+4" plan for Technical studies. Schools in Bhubaneswar are either run by the state government or private organisations. Students typically enroll in schools that are affiliated with any of the following mediums of education.
BSE, Odisha
CHSE, Odisha
CBSE
Council for the Indian School Certificate Examinations
SCTE&VT, Odisha
Notable union government schools in the city include
Kendriya Vidyalaya No. 1, Bhubaneswar,
Kendriya Vidyalaya No 2 CRPF,
Kendriya Vidyalaya, Mancheswar,
Kendriya Vidyalaya, Niladrivihar,
Kendriya Vidyalaya, Pokhriput,
Sainik School,
Notable state government schools in the city include
Badagada Government High School, Bhubaneswar
Capital High School, Bhubaneswar
Government High School, Saheed Nagar
Notable private schools in the city include
Aditya Birla School, Bhubaneswar,
BJEM School, Bhubaneswar,
DAV Public School, Unit-8, Bhubaneswar,
D.A.V. Public School, Chandrasekharpur,
D.A.V. Public School, Pokhariput
Delhi Public School, Bhubaneswar,
D M School, Bhubaneswar
KIIT International School, Bhubaneswar,
Loyola School, Bhubaneswar,
O D M School, Bhubaneswar
Prabhujee English Medium School, Bhubaneswar,
Sai International School, Bhubaneswar,
St. Joseph's High School, Bhubaneswar,
St. Xavier's High School, Bhubaneswar
Higher education
Several colleges are affiliated with universities or institution based in Bhubaneswar or elsewhere in India. Most offer a wide range of programs in STEM and applied research and are rated highly by the Ministry of Human Resource Development, India.
Engineering and applied sciences institutions
C. V. Raman Global University
Central Institute of Freshwater Aquaculture
College of Engineering and Technology, Bhubaneswar
Eastern Academy of Science and Technology
Indian Institute of Technology Bhubaneswar
Institute of Chemical Technology, Mumbai (off campus in collaboration with IndianOil and IIT Kharagpur)
Institute of Minerals and Materials Technology (IMMT, erstwhile RRL)
Institute of Physics
International Institute of Information Technology, Bhubaneswar (IIIT-BH)
Kalinga Institute of Industrial Technology
National Institute of Fashion Technology (NIFT)
National Institute of Science Education and Research (NISER)
Orissa Engineering College
Regional Institute of Education
Medical institutions
All India Institute of Medical Sciences Bhubaneswar
Hi-Tech Medical College & Hospital, Bhubaneswar
Institute of Medical Sciences and Sum Hospital
Kalinga Institute of Medical Sciences
Regional Medical Research Center
Universities
Birla Global University, Bhubaneswar
Centurion University of Technology and Management, Bhubaneswar
College of Engineering and Technology[96]
Kalinga Institute of Industrial Technology
Odisha State Open University[97]
Odisha University of Agriculture and Technology
Rama Devi Women's University
Regional College of Management[98]
Siksha 'O' Anusandhan
Utkal University of Culture
Utkal University
Xavier Institute of Management, Bhubaneswar(XIM) university
Tourism education is another field of study emerging. The Eastern Regional Centre of Indian Institute of Tourism and Travel Management (IITTM), the second in the country after Gwalior, was established in 1996. One IATA Authorised Training Centre (ATC) is also located in the city premises. Several regional management educational institutions also have travel and tourism related courses in their curriculum.[citation needed]
Transport
Mo Cycle
Bicycle
A public bicycle sharing project named Mo Cycle has been started by the Bhubaneswar Smart City Limited (BSCL) and the Capital Region Urban Transport (CRUT). The scheme aims to reduce traffic congestion, promote non-motorized transport in the city and ensure better last mile connectivity. Chief minister Naveen Patnaik in November 2011 inaugurated Mo Cycle. Around 400 cycle stands have been set up across the city. Around 2,000 bicycles have been ordered from three companies - Hexi, Yaana and Yulu. Hexi (from Hero Cycles) will provide 1,000 bicycles and Yaana and Yulu will provide 500 each. The availability of rentals Bicycles are accessed by the Dedicated mobile app - "mo app".[99]
Bus
Mo Bus
Internal public transport is maintained by "Mo Bus (My Bus)" service administrated by CRUT(Capital Region Urban Transport) along with connecting nearest cities like Cuttack and Puri. The headquarters of the Odisha State Road Transport Corporation (OSRTC) is in Bhubaneswar. The main Bhubaneswar inter-state bus terminus is at Barmunda, 8 kilometres (5.0 mi) from the city centre, from where OSRTC and private operators run buses connecting Bhubaneswar to cities in Odisha and with the neighbouring states of Andhra Pradesh, Jharkhand, West Bengal and Chhattisgarh.[100] Bhubaneswar is connected to the rest of Odisha and India by National Highway-NH 16, which is a part of the Kolkata-Chennai prong of the Golden Quadrilateral, NH 203, State Highway 13 (Odisha) and State Highway 27 (Odisha). Asian Highway- AH 45 passes through the city.[34]
Road
One of the many fly-overs in the city.
Bhubaneswar has roads in grid form in the central city. Bhubaneswar has approximately 1,600 kilometres (990 mi) of roads, with average road density of 11.82 square kilometres (4.56 sq mi).[28] Baramunda Inter State Bus Terminus (ISBT) is the major bus terminus in the city from where buses ply to all the districts in Odisha as well as to neighbouring state's cities like Hyderabad, Kolkata, Visakhapatnam, Raipur and Ranchi. City bus service (Mo Bus) runs across Bhubaneswar by Capital Region Urban Transport Authority run by Bhubaneswar Development Authority .[101] A fleet of 300+ buses cover all major destinations including Cuttack, Puri and Khordha.[101] Auto rickshaws are available for hire and on a share basis throughout the city. In parts of the city, cycle rickshaws offer short trips.[102] To ease traffic jams, over-bridges at major road junctions and expansion of roads are under construction.[103][104] In a study of six cities in India, Bhubaneswar was ranked third concerning pedestrian infrastructure. The city scored 50 points out of a maximum of 100.
Rail
Bhubaneswar railway station
Bhubaneswar has the following stations:
Station name Station code Railway zone Number of platforms
Bhubaneswar BBS East Coast Railway 6
Mancheswar MCS East Coast Railway 4
Lingaraj Temple Road LGTR East Coast Railway 3
Vani Vihar BNBH East Coast Railway 2
Patia PTAB East Coast Railway 2
New Bhubaneswar BBSN East Coast Railway 7
The East Coast Railway has its headquarters in Bhubaneswar. Bhubaneswar railway station is one of the main stations of the Indian railway network. It is connected to major cities by daily express and passenger trains and daily service to all metro cities is available from here. However, the station is overloaded by existing traffic. Currently, the station has six platforms. There are plans to add two more platforms.[105]
A satellite station New Bhubaneswar railway station is opened near Barang in July 2018 to decongest the existing installation.[106]
Air
Biju Patnaik International Airport
Biju Patnaik International Airport (IATA: BBI, ICAO: VEBS) also known as Bhubaneswar Airport, 3 kilometres (1.9 mi) south of the city centre, is the major and sole international airport in Odisha. There are daily domestic flights from Bhubaneswar to Delhi, Hyderabad, Mumbai, Kolkata, Vishakhapatnam, Chennai and Bangalore. There are international flights from Bhubaneswar to Bangkok and Kuala Lumpur thrice a week. The major carriers from Bhubaneswar are Indigo, Vistara, GoAir, AirAsia Berhad, AirAsia India and Air India. In March 2013, a new domestic terminal with a capacity of handling 30 million passengers per year was inaugurated to handle increased air traffic.[107] On 10 July 2015, the first international flight took off from terminal 2 of Biju Patnaik International Airport.
Culture
Muktesvara deula, covered with erotic ancient carvings, known for its quality of sculptures
Bindusagara water tank on a winter morning
Ravindra Mandapa, an auditorium in Bhubaneswar
Bhubaneswar is supposed to have had over one thousand temples, earning the tag of the 'Temple City of India'. Temples are made in the Kalinga architectural style with a pine spire that curves up to a point over the sanctum housing the presiding deity and a pyramid-covered hall where people sit and pray.
Famous temples include Lingaraja Temple, Muktesvara Temple, Rajarani Temple, Ananta Vasudeva Temple.[108]
The twin hills of Khandagiri and Udayagiri, served as the site of an ancient Jaina monastery which was carved into cave-like chambers in the face of the hill. These caves, with artistic carvings, date back to the 2nd century BCE. Dhauli hills has major edicts of Ashoka engraved on a mass of rock and a white Peace Pagoda was built by the Japan Buddha Sangha and the Kalinga Nippon Buddha Sangha in the 1970s. Apart from the ancient temples, other important temples were built in recent times include Ram Mandir and ISKCON.
Bhubaneswar along with Cuttack is the home of the Odia cinema industry, dubbed "Ollywood", where most of the state's film studios are situated.
Odia culture survives in the form of Classical Odissi dance, handicrafts, sand artistry and sculpturing as well as theatre and music. Boundary walls and gardens are increasingly being redone to depict the folk art of the state.[109][110] Odissi, the oldest of the eight surviving classical dance forms of India can be traced from archaeological evidence from the temples in Bhubaneswar.[111][112][113]
Odissi dance
Odissi dance is generally accompanied by Odissi music. Srjan, the Odissi dance academy founded by Guru Kelucharan Mohapatra, the legendary Odissi dancer is found here.[114][115] The Rabindra Mandapa in central Bhubaneswar plays host to cultural engagements, theatre and private functions.[116]
Odissi dance
Dress and attire
Though Odia women traditionally wear the sari, shalwar kameez and of late, Western attire is gaining acceptance among younger women.[117] Western-style dress has greater acceptance among men, although the traditional dhoti and kurta are seen during festivals.[118]
The Odisha State Museum offers archaeological artefacts, weapons, local arts and crafts as well as insights into Odisha's natural and indigenous history.[119] The Tribal Research Institute Museum hosts authentic tribal dwellings created by tribal craftsmen.[120] Nandankanan Zoological Park, located on the northern outskirt of the city, is India's first zoo to join World Association of Zoos and Aquariums.[121][122] The State Botanical Garden (Odisha) and Regional Plant Resource Center, popularly known as Ekamra Kanan, a park and botanical garden, has a large collection of exotic and regional fauna. The Ekamra Haat is a hand-loom and handicrafts market. Nicco Park and Ocean World are amusement parks. Other museums include Pathani Samanta Planetarium, Regional Museum of Natural History, Regional Science Center and State Handicrafts Museum.
Festivals
On the day of Ashokashtami in the month of March or April, the image of Lingaraja (Shiva) and other deities are taken in a procession from Lingaraja Temple to the Mausima Temple, where the deities remain for four days.[123] Hundreds of devotees participate in pulling the temple car that carries the deities, known as Rukuna Ratha.[124] Ratha-Yatra, "Temple Car Festival," is the most important festival in Odisha and Bhubaneswar.[125] The festival commemorates Jagannatha, who is said to have been the incarnation of India's revered deities, Vishnu and Krishna. Durga Puja, held in September–October, is an occasion for glamorous celebrations.[126][127]
As a part of the Ekamra Festival, many cultural sub-festivals take place in January in Bhubaneswar which include Kalinga Mahotsaba (for traditional martial arts), Dhauli-Kalinga Mahotsaba (for classical dance forms), Rajarani Music Festival (for classical music) and Mukteswara Dance Festival (for Odishi dance).[128] Residents engage in khattis, or leisurely chats, that often take the form of freestyle intellectual conversation.[129]
Other festivals celebrated include Shivaratri, Diwali, Ganesha Chaturthi, Nuakhai and Saraswati Puja. Eid and Christmas are celebrated by the religious minorities in the city.[130][131][132]
The Adivasi Mela, held in January, is a fair that displays the art, artefacts, tradition, culture, and music of the tribal inhabitants of Odisha.[133] The Toshali National Crafts Mela, held in December, showcases handicrafts from all over India and from foreign countries.[134] Other important fairs in the city include the Rajdhani Book Fair, Dot Fest[135] and Khandagiri Utsav.[136][137] Two international literary festivals are held in the city, Kalinga Literary Festival[138][139] and Mystic Kalinga Festival.[140][141] In modern times Bhubaneswar hosts a literary festival, the Odisha Literary Fest.[142]
Cuisine
Pahala rasagola, a famous sweet which originated in Odisha
Chhena Gaja, another famous sweet of Odisha
Key elements of the city's cuisine include rice and a fish curry known as Machha Jhola, which can be accompanied by desserts such as Rasagola, Rasabali, Chhena Gaja, Chhena Jhilli and Chhena Poda.[143] Odisha's large repertoire of seafood dishes includes various preparations of lobsters and crabs brought in from Chilika Lake.[144]
Street foods such as gupchup (a deep-fried crêpe, stuffed with a mix of mashed potatoes and boiled yellow peas, and dipped in tamarind-infused water), cuttack-chaat, dahi bara-aloo dum (a deep-fried doughnut-shaped lentil dumpling marinated in yogurt-infused water and served alongside potato curry) and bara-ghuguni are sold all over the city.[145] Traditional Oriya food such as dahi-pakhala (rice soaked in water with yogurt and seasonings) which is considered as a body coolant, accompanied by badi chura or saga are consumed during the months of April–June.[146]
The abadha of Lingaraja Temple and Ananta Vasudeva Temple served for devotees is considered a vegetarian culinary delight. Other vegetarian dishes are Dalma (made of lentils and vegetables boiled together and then fried with other spices) and Santula (lightly spiced steamed vegetables).[144]
Sports
Kalinga Stadium, Bhubaneswar
Bhubaneswar Golf Club
Bhubaneswar's major sporting arena is the Kalinga Stadium, having facilities for athletics, football, hockey, basketball, tennis, table tennis and swimming.[147][148][149] It is known for hosting the Odisha Hockey World Cup in November–December 2018. Kalinga Lancers, the sixth franchise of Hockey India League and Odisha FC, a Club of Indian Super League, are based in Bhubaneswar with Kalinga Stadium as their home ground. East Coast Railway Stadium, a prominent cricket stadium hosts Ranji Trophy and other matches.[150]
The construction of a gallery and stadium renovation is under way. An air-conditioned indoor stadium, with a capacity of 2000 spectators for badminton, volleyball, basketball and table tennis games is also being constructed.[147] Barabati Stadium in Cuttack, Odisha's only venue for international cricket matches, is located around 25 kilometres (16 mi) away.[151] Bhubaneswar has a franchise of Odisha Premier League, Bhubaneswar Jaguars, which started in 2010. Bhubaneswar Golf Club, a nine-hole golf course is situated in Infocity.[152]
The Kalinga Institute of Industrial Technology Stadium commonly KIIT Stadium is a new multipurpose stadium located as a part of Kalinga Institute of Industrial Technology University Campus or KIIT University in Bhubaneswar with a capacity of 40,000 currently.
The 2017 Asian Athletics Championships was the 22nd edition of the Asian Athletics Championships. It was held from 6-9 July 2017 at the Kalinga Stadium. Bhubaneswar is the third Indian city to host the Asian Athletics Championships, with Delhi being the first, in 1989, and Pune, the second, in 2013.[153]
Bhubaneswar is emerging as the new sports capital of India, as the FIH and the IOA president, Narindar Batra, recently stated in a ceremony, while unveiling the new logo for the Indian hockey team jersey, which is sponsored by the government of Odisha. The state, Batra mentioned, provides equal importance and opportunity for all sports such as cricket, football, field hockey, tennis, badminton, chess and many more.[154]
Media
The city's widely circulated Odia-language newspapers are Sambad, Dharitri, Pragatibadi, Samaja, Khabara, Orissa Bhaskara, Prameya and Samaya.[155] Orissa Post and Odia Age are the English-language newspaper that is produced and published from Bhubaneswar. Other popular English-language newspapers published and sold in Bhubaneswar include The Times of India, The Statesman, Hindustan Times, The Hindu, The Indian Express and the Asian Age.[155] Bhubaneswar has substantial circulation of financial dailies, including The Economic Times, The Financial Express, Business Line and Business Standard.[155] Vernacular newspapers, such as those in the Hindi, Bengali and Telugu languages are read by minorities.[155] Major periodicals based in Bhubaneswar include Saptahika Samaya, Saptahika Samaja and Kadambini.
All India Radio, the national state-owned radio broadcaster, airs several AM channels from the radio station located in Cuttack.[156] Bhubaneswar has five local radio stations broadcasting on FM, including two from AIR.[156][157] India's state-owned television broadcaster Doordarshan Odia provides two free-to-air terrestrial channels,[158] while a mix of Odia, Hindi, English and other regional channels are accessible via cable subscription and direct-broadcast satellite services. Some of the Odia language television channels are Colors Odia, Sarthak TV and Tarang TV. Odia-language 24-hour television news channels include News 7, Odisha TV, Kanak TV, ETV News Odia, MBC TV and Naxatra News.[159]
Notable people
The following are some of the notable people associated with Bhubaneswar:[clarification needed]
Subroto Bagchi
Ranjib Biswal
Dutee Chand
Nabakrushna Choudhuri
Bidhu Bhusan Das
Prabhat Nalini Das
Pankaj Charan Das
Baidyanath Misra
B. K. Misra
Bhubaneswar Mishra
Aparajita Mohanty
Bijay Mohanty
Debashish Mohanty
Gopinath Mohanty
Saraju Mohanty
Uttam Mohanty
Bibhu Mohapatra
Kelucharan Mohapatra
Mira Nair
Oopali Operajita
Sanjukta Panigrahi
Ramesh Chandra Parida
Prasanna Kumar Patasani
Biju Patnaik
Janaki Ballabh Patnaik
Naveen Patnaik
Sudarsan Pattnaik
Rakesh Pradhan
Trilochan Pradhan
Biswa Kalyan Rath
Mahasweta Ray
Tandra Ray
Archita Sahu
Salabega
Achyuta Samanta
Pathani Samanta
Mayadhar Swain
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Tsirigoti Sq. 7, 49100 Corfu - Τel.: 26610 87860-1 - Fax: 26610 87866 - e-mail: audiovisual@ionio.gr - URL: avarts.ionio.gr
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en
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https://avarts.ionio.gr/favicon.ico
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https://avarts.ionio.gr/en/news/all-news-f1-announcements/p8/
| ||||||
18075
|
yago
|
1
| 28
|
https://www.ranker.com/list/fantasy-movies-and-films/reference/1000%3Fpage%3D88
|
en
|
List of All Fantasy Movies
|
https://imgix.ranker.com/list_img_v2/14704/114704/original/fantasy-movies-and-films-u6
|
https://imgix.ranker.com/list_img_v2/14704/114704/original/fantasy-movies-and-films-u6
|
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[] |
[
""
] | null |
[
"Reference"
] |
2009-11-24T00:00:00
|
A list of all the best Fantasy movies ever made, many of which are streaming on Netflix and Amazon Prime. This Fantasy movie list can be sorted by cast, year, ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/fantasy-movies-and-films/reference
|
A list of all the best Fantasy movies ever made, many of which are streaming on Netflix and Amazon Prime. This Fantasy movie list can be sorted by cast, year, director and more. This list of Fantasy films also contains Fantasy movie titles that can be clicked on for more information about the film. This Fantasy films list can also be copied to start your own. For other interesting movie lists check out the mystery movies, monster movies and Star Trek movies lists.
Clint Eastwood and Woody Allen have both directed Fantasy movies, as have many other great directors.
|
||
18075
|
yago
|
0
| 64
|
https://www.yumpu.com/en/document/view/48416803/greek-cinema-100-years-of-film-history-1900-2000-hellenic-
|
en
|
Greek Cinema - 100 Years of Film History 1900-2000 - Hellenic ...
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Greek Cinema - 100 Years of Film History 1900-2000 - Hellenic ...
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en
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yumpu.com
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https://www.yumpu.com/en/document/view/48416803/greek-cinema-100-years-of-film-history-1900-2000-hellenic-
|
Page 2 and 3: © Copyright 2012, Trifon Tzavalas
Page 5: CONTENTSVOLUME 1ACKNOWLEDGMENTFOREW
Page 9: FOREWORDThis work surveys the gener
Page 15 and 16: ¯Ö¸ÓüŸÖã µÖÆü ×Ûú Ã
Page 17: 10. See Nestor P. Matsas’s articl
Page 20 and 21: the Balkans, and it was made by the
Page 22 and 23: Joseph Hepp, First Director of Phot
Page 24 and 25: 1911 was converted to become one of
Page 26 and 27: Asia Minor, including Tin Mahin Sto
Page 28 and 29: photographer and a playwright. Two
Page 30 and 31: Gaziadis for the short film Prometh
Page 32 and 33: turn was itself an adaptation of a
Page 34 and 35: with sound; and how much they were
Page 36 and 37: Trangas were the protagonists. The
Page 38 and 39: The new period (1931) started with
Page 40 and 41: known with this work in 1921. In 19
Page 42 and 43: Joseph Hepp, Giorgos Prokopiou, Dem
Page 44 and 45: ealization of that innovative and b
Page 46 and 47: can be easily imagined. The subject
Page 48 and 49: figure that is especially impressiv
Page 50 and 51: 5. See Nestor P. Matsas article,
Page 52 and 53:
however, maintains that Achilleas M
Page 55 and 56:
CHAPTER 3THE PERIOD OF TALKING MOVI
Page 57 and 58:
second film of the year was produce
Page 59 and 60:
The third movie of the year, Aravon
Page 61 and 62:
Paramount production. Katina Paxino
Page 63 and 64:
script. As Frixos Eliadis remarks w
Page 65 and 66:
Two months after Marina was release
Page 67 and 68:
In March, 1948, during the same mon
Page 69 and 70:
the movie Ta Herocrotimata (The App
Page 71 and 72:
World War II and the Greek Civil Wa
Page 73:
8. Strangely enough, in another pag
Page 76 and 77:
Mention should also be made of anot
Page 78 and 79:
Despite the big expectations by its
Page 80 and 81:
director. The film was an adaptatio
Page 82 and 83:
ealistic satire fantasy depicting t
Page 84 and 85:
chose him as their leader, he has t
Page 86 and 87:
Lady in Greek Theater.” She was a
Page 88 and 89:
The year 1958 saw an increase in mo
Page 90 and 91:
something very unusual for a Greek
Page 92 and 93:
newcomer in the field, Yannis Dalia
Page 94 and 95:
with the critic in Time Magazine 22
Page 96 and 97:
Elli Lambeti (1928- 1983) graduated
Page 98 and 99:
tax. The industry pleaded with the
Page 100 and 101:
5. See Aglaia Mitropoulou, pp. 38 a
Page 103 and 104:
CHAPTER 5THE DECADE OF 1961- 1970We
Page 105 and 106:
Lambeti reorganized the company but
Page 107 and 108:
and again as the widow of a politic
Page 109 and 110:
Kanelopoulos, the two cameramen, th
Page 111 and 112:
The story analyzes certain protagon
Page 113 and 114:
overcome that failing. There was a
Page 115 and 116:
Turkish production by Ismail Metin,
Page 117 and 118:
some critics, the movie, aside from
Page 119 and 120:
have had a very dramatic appeal. He
Page 121 and 122:
the director and his performers. Th
Page 123 and 124:
Menander’s comedies. For the succ
Page 125 and 126:
Nikos Papatakis, just before the co
Page 127 and 128:
placing all three issues in a reali
Page 129 and 130:
director Andreas Katsimitsoulias, s
Page 131 and 132:
guarantee. These were financially s
Page 133 and 134:
that revenge will not bring her son
Page 135 and 136:
the Nazis during the German occupat
Page 137 and 138:
Of the 24 farcical comedies, and 13
Page 139 and 140:
and thorough social anatomy. In mos
Page 141 and 142:
CHAPTER 6The Years 1971-1975The per
Page 143 and 144:
caused serious damages. It was very
Page 145 and 146:
of the working class. From that eve
Page 147 and 148:
attract audiences. They were target
Page 149 and 150:
With the decrease of movie producti
Page 151 and 152:
Gerasis). The leading actress Maria
Page 153 and 154:
and emotional reactions, gives us t
Page 155 and 156:
importation. Germany tried to pass
Page 157 and 158:
CHAPTER 71976-2000From 1976 to 1980
Page 159 and 160:
Halazi (The Bullets Fall like Hail)
Page 161 and 162:
Alexander). Kanellopoulos’s movie
Page 163 and 164:
On May 21, 1986, the Parliament pas
Page 165 and 166:
She accepts it so she can partake o
Page 167 and 168:
photography Christos Triandafillou
Page 169 and 170:
Though in 1985 some good movies wer
Page 171 and 172:
Proeni Peripolos (Morning Patrol) d
Page 173 and 174:
high IQ. Alkis, who is autistic, li
Page 175 and 176:
go in her life, including the above
Page 177 and 178:
One more movie of 1990 that could b
Page 179 and 180:
noteworthy. As Voulgaris cannot get
Page 181 and 182:
Camus, and others. Much of the musi
Page 183 and 184:
a momentary expression of passion,
Page 185 and 186:
O Hamenos Thisavros Tou Hursit Pach
Page 187 and 188:
of friendship as they wander throug
Page 189 and 190:
comical results. Two of the sisters
Page 191 and 192:
leave on a distant voyage as a merc
Page 193 and 194:
The love story E Agape Eine Elefand
Page 195 and 196:
The evidence indicates that cinema
Page 197 and 198:
GREEK MOVIES THAT PARTICIPATEDIN DO
Page 199 and 200:
Best Cinematography: Aristidis Kari
Page 201 and 202:
1962 International Film Festivals a
Page 203 and 204:
3. O Ouranos (The Sky); Director Ta
Page 205 and 206:
Karlovy-Vary (Czechoslovakia) FilmF
Page 207 and 208:
Best Production: OHI (No). Producer
Page 209 and 210:
Producers: Vasilis Belokas, KostasK
Page 211 and 212:
4. Ne Men Alla (Yes But); Director:
Page 213 and 214:
5. To Proxenio Tis Annas (Anna’sM
Page 215 and 216:
2. I Kinigi (The Hunters); Director
Page 217 and 218:
1979 Movies that Participated in th
Page 219 and 220:
Omichli Kato Apo Ton Elio (Fogunder
Page 221 and 222:
7. Repo (Day Off); Director: Vasili
Page 223 and 224:
Best Picture: Glikia Simmoria (Swee
Page 227 and 228:
16. Epagelma Gineka (Profession aWo
Page 229 and 230:
4. Enas Irodios Yia Tin Germania (A
Page 231 and 232:
Best Sound Recording: AndreasAchlad
Page 233 and 234:
Voulgaris; participated in the Berl
Page 235 and 236:
Best Music: Nikos Kipourgos; O Drap
Page 237 and 238:
12. Oples (Hoofs); Director: Yannis
Page 239 and 240:
22. Happy Day; Director: PandelisVo
Page 243 and 244:
Liappa; participated in the Munich
Page 245 and 246:
Bastian, Cine Odyssey, (Strasbourg)
Page 247 and 248:
Thanasi ?); Director: Dinos Katsour
Page 251 and 252:
Best Script: Nikos Panayiotopoulos,
Page 253 and 254:
participated in the St. Petersburg
Page 255 and 256:
Ton Esperidon (The Golden Apples of
Page 257 and 258:
3. Medousa; Director: GiorgosLazopo
Page 259 and 260:
participated in the Karlovy-Vary Fi
Page 261 and 262:
Vatsani; participated in the Barcel
Page 263 and 264:
Honorary Mention: Klisti Dromi (Clo
Page 265 and 266:
29. I Diakritiki Yoitia Ton Arsenik
Page 267 and 268:
GREEK PERFORMERSIN FOREIGN FILM PRO
Page 269 and 270:
1962: Phaedra; (Greece/USA/France);
Page 271 and 272:
per il cinematografo) (Greece/Italy
Page 273 and 274:
1962: Phaedra; (Greece/USA/France);
Page 275 and 276:
1965 Gimni Taxiarhia (The Naked Bri
Page 277 and 278:
1980: IdouMilos, Idou To pidima (Mi
Page 279 and 280:
1980: IdouMilos, Idou To pidima (Mi
Page 281 and 282:
BIBLIOGRAPHYBOOKSAktsoglou Babis (H
Page 283 and 284:
MAGAZINESAnonymous (Your Historian:
|
|||||
18075
|
yago
|
3
| 66
|
https://www.dailykos.com/stories/2020/7/25/1963559/-WOW2-Late-July-s-Trailblazing-Women-and-Events-in-Our-History-2020
|
en
|
WOW2: Late July's Trailblazing Women and Events in Our History - 2020
|
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2020-07-25T00:00:00
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Welcome to WOW2! WOW2 is a thrice-monthly sister blog to This Week in the War on Women. This edition covers women and events from July 23 through July 31. The next WOW2, for Early August, will post on Saturday, August 8. The purpose of WOW2 is to learn...
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en
|
Daily Kos
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https://www.dailykos.com/stories/2020/7/25/1963559/-WOW2-Late-July-s-Trailblazing-Women-and-Events-in-Our-History-2020
|
Welcome to WOW2!
WOW2is a thrice-monthly sister blog toThis Week in the War on Women. This edition covers women and events fromJuly 23 through July 31.
The nextWOW2, for Early August,
will post onSaturday, August 8.
The purpose of WOW2 is to learn about and honor women of achievement, including many who’ve been ignored or marginalized in most of the history books, and to mark moments in women’s history. It also serves as a reference archive of women’s history. There are so many more phenomenal women than I ever dreamed of finding, and all too often their stories are almost unknown, even to feminists and scholars.
THIS WEEK IN THE WAR ON WOMEN
will post shortly, so be sure to go there and catch up
on the latest dispatches from the frontlines.
Many thanks to libera nos,intrepid Assistant Editor of WOW2. Any remaining mistakes are either mine, or uncaught computer glitches in transferring the data from his emails to DK5. And much thanks to wow2lib, WOW2’s Librarian Emeritus.
These trailblazers have a lot to teach us about persistence in the face of overwhelming odds. I hope you will find reclaiming our past as much of an inspiration as I do.
Late July’sTrailblazing Women and Events inOurHistory
Note: All images and audios are belowthe person or event to which they refer
_________________________________
July 23, 1721 – Anna Dorothea Therbusch born in Germany, Polish Rococo painter; elected to the Stuttgart Academy of the Arts, the Bologna Academy, the Académie Royale in Paris, and the Academy of Fine Arts in Vienna.
July 23, 1844 – Harriet Williams Russell Strong born, American agriculturist, inventor, and conservation activist; pioneer of innovations in water storage and flood control; music composer; a leader of the West Coast woman suffrage movement; first woman member of the Los Angeles Chamber of Commerce.
July 23, 1889 – Anna Akhmatova born, Ukrainian-Russian poet and author; one of the most significant Russian poets of the 20th century.
July 23, 1892 – Icie Hoobler born, biochemist and physiologist, first woman to head a local section of American Chemical Society and to serve as its national president, Director of the Research Laboratory of the Children’s Fund of Michigan.
July 23, 1900 – Julia Davis Adams born, American author, social worker, journalist and playwright, known for historical and biographical novels, young adult books, and dramas; used the pen name F. Draco for Murray Hill mystery novels.
July 23, 1900 – Inger Margrethe Boberg born, Danish folklore researcher and author; first woman in Denmark to earn a Doctor of Philosophy, in folkloristics; worked as an archivist at Dansk Folkemindesamling (Danish Folklore Archive) from 1932-1957, but it didn’t become a full-time position until 1952, so she also took on temporary work as a school teacher. Recipient in 1945 of the Tagea Brandt Rejselegat, awarded to Danish women who make significant contributions in the sciences or arts, which enabled her to travel and further her studies; co-editor with Stith Thompson of the Motif-Index of Folk-Literature.
July 23, 1907 – Elspeth Grant Huxley born, British writer, journalist, broadcaster, magistrate, and environmentalist; author of 30 books, the best known are based on her childhood on a Kenyan coffee farm; The Flame Trees of Thika.
July 23, 1916 – Laurel Martyn born, Australian ballerina and choreographer; in 1935, she was the first Australian woman to be accepted into the Vic-Wells (later Sadler’s Wells) Ballet, and became a soloist in 1938. After returning to Australia, she performed with the Borovansky Ballet, taught dance, and created her own dance works inspired by Australian themes. She was a co-founder of the Young Dancers’ Theatre, and Classical Dance Teachers Australia.
July 23, 1917 – Barbara Deming born, influential nonviolent activist, writer, and poet; she marched for peace, civil and women’s rights, lesbian and gay rights. A number of her essays and poems were collected together in We Are All Part of One Another, published in 1984.
July 23, 1928 – Vera Rubin born, American astronomer; studied with Maria Mitchell at Vassar; she was the only graduate in astronomy from Vassar in 1948, then was barred from enrolling in the graduate program at Princeton, which didn’t allow women until 1975. Rubin got her Master’s at Cornell, and her PhD at Georgetown, in spite of having to battle sexism at almost every step. When the men at the Palomar Observatory told her, ‘It’s a real problem because we don’t have a ladies room,’ she cut a piece of paper into a skirt and stuck it on the male figure on the door to one of the men’s restrooms. She said, ‘Look, now you have a ladies room.’ Rubin did the pioneering work on galaxy rotation rates, uncovering the discrepancy between the predicted angular motion of galaxies and the observed motion, by studying galactic rotation curves, which became known as the galaxy rotation problem, work that was compelling evidence of the existence of dark matter. Rubin’s results were met with great skepticism, but over subsequent decades, they were confirmed. She was a strong advocate and mentor of women in science; honored with numerous awards, including the Bruce Medal, the Gold Medal of the Royal Astronomical Society, and the National Medal of Science, but was never honored with a Nobel Prize.
July 23, 1928 – Ruth Whitney born, pioneering editor of Glamour magazine for 31 years (1967 – 1998), among first editors to introduce relevant social topics to a woman’s magazine, and she featured the first African American on the magazine’s cover (1968).
July 23, 1931 – Te Arikinui (Paramount Chief) Dame Te Atairangikaahu born, Māori queen for 40 years, the longest reign of any Māori monarch; Te Atairangikaahu means ‘hawk of the morning sky’; in 1979, first Māori appointed a Dame Commander of the Order of the British Empire; she was a strong supporter of Māori cultural events, and a spokesperson on indigenous issues.
July 23, 1940 – Danielle Collobert born, French author, poet and journalist; she worked at the Galerie Hautefeuille, a major art photography gallery, in Paris in the early 1960s while writing what would become her novel, Meurtre (Murder), and her first published book, Chants des Guerres (War Songs). She became involved in 1962 with the Front de libération nationale (FLN), Algeria’s nationalist movement, and wrote for the Algerian magazine Révolution Africaine until it stopped being published in 1964; joined the Writers’ Union in 1968, and traveled in Czechoslovakia, writing about the Prague Spring and its aftermath; committed suicide on her 38th birthday; her last work, Survie (Survival), which was published just three months before her death.
July 23, 1942 – Sallyanne Atkinson born, Australian Liberal Party politician and journalist; Lord Mayor of Brisbane (1985-1991), the first woman to be elected to the position; worked for the Brisbane Telegraph (1960-1962) and the Courier Mail (1963-1964); Alderman on the Brisbane City Council (1979-1985); since 2017, she has been the Chair of the Museum of Brisbane, and Council President of the Women’s College at the University of Queensland.
July 23, 1957 – Jo Brand born, English comedian, writer and presenter, former psychiatric nurse, who began her comedy career doing stand-up at alternative comedy clubs in the mid-1980s billed as ‘Sea Monster.’ In 1993, she became a resident panelist on the BBC show, The Brain Drain. In 2010, she was one of the performers in Channel 4’s Comedy Gala, a benefit for the Great Ormond Street Children’s Hospital. She has written several books, including the novel The More You Ignore Me, which she adapted as a feature-film script. She was the presenter of The Great British Bake Off: An Extra Slice (2014-2017).
July 23, 1959 – Nancy Savoca born, American film director, producer and screenwriter; noted for True Love (which won the Sundance Film Festival 1989 Grand Jury Prize), If These Walls Could Talk, and The 24-Hour Woman.
July 23, 1970 – Thea Dorn born, German novelist and playwright; since 2004, also the TV host of Literatur im Foyer, a show featuring interviews with authors and book reviews.
July 23, 1976 – Judit Polgár born, Hungarian Grandmaster in chess, considered the strongest woman player of all time; achieved the Grandmaster title at 15 years, 4 months, breaking the Youngest Grandmaster record previously held by World Champion Bobby Fischer; she was also the youngest player to break into the FIDE Top 100 players rating list, ranking #55 in the world at the age of 12; in 2005, she became the first, and to date, only woman to qualify for a World Championship Tournament, to surpass a 2700 Elo, reaching a career peak of 2735, and to reach a world ranking of #8; she held the title of #1 ranked woman in the world from 1989 to 2014, when she was briefly overtaken by Chinese player Hou Yifan, but she regained her #1 ranking in 2015, shortly after announcing retirement from competitive chess; Polgár is the only woman so far to win a game against a reigning men’s World Champion, and she also defeated eleven current or former World Champions in at least one game.
July 23, 1978 – Lauren Groff born, American novelist and short story writer; known for The Monsters of Templeton, Delicate Edible Birds, and Arcadia.
July 23, 1999 – Colonel Eileen Collins becomes first woman to command a US spacecraft, Space Shuttle mission STS-93. In 1995, she was the first woman shuttle pilot.
July 23, 2001 – Megawati Sukarnoputri becomes first female president of Indonesia after the President Abdurrahman Wahid is removed from office. She is given day-to-day control of the government beginning in August 2000 and serves as President from July 2001 to October 2004, but loses in the 2004 election.
July 23, 2014 — International Women in Engineering Day was launched for the first time in the UK by the Women’s Engineering Society (WES) to celebrate its 95th anniversary. Since that launch the day has grown enormously, and it received UNESCO patronage in 2016. In 2017, National Women in Engineering Day officially became international.
July 23, 2018 —Someone in the Fox News booking department mistakenly booked Massachusetts state Senator Barbara L’Italien on Fox & Friends First, instead of former Arizona Representative Ann Kirkpatrick, to talk about Immigration and Customs Enforcement, and L’Italien didn’t correct their error until she was on the air. “Good morning, I’m actually here to speak directly to Donald Trump. I’m a mother of four, and I believe that separating kids from their parents is illegal and inhumane.” She continued, “I’m actually Barbara L’Italien. I’m a state senator representing a large immigrant community and running for Congress in Massachusetts. We have to stop abducting children and ripping them from their parents’ arms, stop putting kids in cages, and stop making 3-year-olds defend themselves in court.” She rolled right over attempts by the confused hosts to point out that Trump’s “zero tolerance” policy had been stopped, but she was then cut off. Host Rob Schmitt told the audience, “That didn’t go as planned.” L’Italien finished her message on Twitter, “I've always fought for vulnerable people, and in Congress I will use every opportunity I have to make sure powerful people like @realDonaldTrump hear their voices. Here's the full statement I would've given @FoxNews if I hadn't been cut off. Stop hurting Latino children to score political points with your base,” she said. “Please reunite these families before you cause more trauma. I refuse to believe that our only two options are open borders or traumatizing children, and shame on you for pretending that they are.” L’Italien had decided to take advantage of the Fox News’ error in contacting her office, and use the opportunity to speak her mind to Donald Trump, who was known to be a regular viewer of Fox & Friends.
July 23, 2018 —Jess Wade, a postdoctoral researcher at Imperial College London’s Blackett Laboratory, is adding biographical entries on women in science to Wikipedia every day. “I’ve done about 270 in the past year,” Wade said. “I kind of realized we can only really change things from the inside. Wikipedia is a really great way to engage people in this mission because the more you read about these sensational women, the more you get so motivated and inspired by their personal stories.” It was only as a PhD student that she was struck by how being in a minority can shape day-to-day experiences. “Being isolated is hard – this goes for all underrepresented groups,” she says. “Then there are all those challenges during your PhD that amplify that isolation. If you don’t have anyone you can really get on with around you it’s so, so hard.”
July 23, 2020 – Sixty years after the first women were ordained as priests in the Church of Sweden, women are now 50.1% of the church’s priests, but they are paid less than their male colleagues. According to the church newspaper Kyrkans Tidning, the gender wage gap averages 2,200 Swedish kronor (£196 per month, about $250 USD). Cristina Grenholm, the secretary for the Church of Sweden, claimed the gap was due to more men being in senior positions. The Church of Sweden maintains its historic threefold ministry of bishops, priests, and deacons, and has approximately 5,000 ordained clergy in total. There are thirteen dioceses, each headed by a bishop, who is elected by priests, deacons and some laity within the diocese. In 1982, Swedish legislators scrapped a “conscience clause” allowing members of the clergy to refuse to cooperate with a female colleague. The church separated from the Swedish state in 2000, and is the largest Lutheran denomination in Europe, with over 6 million members, but regular church attendance is down. The first woman bishop wasn’t elected until 1997, and Antje Jacklén became the church’s first woman archbishop in 2013. In 2017, the church urged clergy to use gender-neutral language, saying that God was “beyond our gender determinations.”
July 23, 2020 – The House Hispanic Caucus called on House Speaker Nancy Pelosi and Republican Leader Kevin McCarthy to publicly censure Representative Ted Yoho of Florida for his verbal assault of Representative Alexandria Ocasio-Cortez of New York on the steps of the nation’s capitol on July 20, and his denial on July 21, in an “apology” to her on the House floor, that he had called her a “f*cking bitch” even though it was said in front of a member of the press. Representative Ocasio-Cortez made her own powerful speech on July 23, “I am someone’s daughter too” – pointing out that verbal abuse and disrespect of women is a daily occurrence in America, and part of a much larger problem than this single incident.
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July 24, 1868 — Marie Goegg-Pouchoulin founds the Association Internationale des Femmes, the first women’s organization in Switzerland, advocating for women’s rights and peace; she later leads a successful campaign for women’s admission to the University of Geneva in 1872.
July 24, 1889 – Agnes Meyer Driscoll born, American cryptanalyst, mathematician and physicist, who was fluent in French, German, Latin, Japanese and English; she enlisted in the U.S. Navy during WWI as a chief yeoman (highest rank available to women then) in the Postal Cable and Censorship Office, then was reassigned to the Code and Signal section of the Director of Naval Communications, where she became a leading cryptanalyst, and stayed on as a civilian, except for a two year stint working for the Hebern Electric Code Company on developing an early cipher machine. She returned to the Navy in 1924, where she was an early supporter of machine support for code cracking. Driscoll was a major player in breaking the Japanese Navy manual codes – the Red Book Code in 1926, and the Blue Book Code in 1930; early in 1935, she was a leading member of the team cracking the Japanese M-1 cipher machine used by the Japanese Navy for encrypting messages to their naval attachés in embassies around the world. In 1940, she was doing critical preliminary work on JN-25, the Japanese fleet’s operational code, before she was transferred to a U.S. team working on the German Enigma cipher, but their approach proved fruitless. She was reassigned in 1943 to a team already working on the Japanese Coral cipher; however, the code was broken by others shortly after her arrival. Driscoll was in the U.S. Navy contingent which joined the Armed Forces Security Agency in 1949, and then the National Security Agency in 1952. She retired in 1959.
July 24, 1892 – Alice Ball born, African American chemist who developed the first successful treatment for Hansen's disease (leprosy). Ball was also the first African American and the first woman to graduate with a M.S. degree in chemistry from the College of Hawaii (now the University of Hawaii). She died at age 24, after being exposed to chlorine while teaching. At the time, fume hoods were not mandatory in laboratories. She was not fully credited for her discoveries until decades after her death.
July 24, 1897 – Amelia Earhart born, American aviator; first woman pilot to fly solo across the American continent (1928) and across the Atlantic (1932); in 1931, became an official of the National Aeronautic Association, promoted the establishment of separate women’s records; member of the Ninety-Nines (named for the number of charter members), a women pilots organization which promoted women in aviation; her plane went missing in the Pacific en route to Howland Island during an attempt to fly around the world in 1937; there have been numerous searches and theories about what happened, but no trace of the plane, Earhart or her navigator Fred Noonan has been found.
July 24, 1900 – Zelda Fitzgerald born, American author, poet, and socialite; she and her husband F. Scott Fitzgerald became symbols of the Jazz Age in the 1920s. Her only published novel, the semi-autobiographical Save Me the Waltz (1932), was poorly received, but F. Scott Fitzgerald had insisted she make major alternations prior to publication, as much of what she had written overlapped events he was using in his as-yet unfinished novel Tender is the Night. It has since been reevaluated somewhat more favorably. She spent much of her life from the mid-1930s until her death in and out of sanitoriums. In 1948, she was locked in a room awaiting electroshock therapy when a fire engulfed the Highland Hospital’s main building in Asheville NC, killing her and eight other women.
July 24, 1914 – Frances Oldham Kelsey born in Canada, Canadian-American pharmacologist and physician. She was hired in 1960 by the U.S. Food and Drug Administration, one of only seven full-time and four part-time physicians reviewing drugs for the FDA. One of her first assignments was to review an application by Richardson Merrell for the drug thalidomide (under the tradename Kevadon) as a tranquilizer and painkiller with specific indications to prescribe the drug to pregnant women for morning sickness. Even though it had already been approved in Canada and over 20 European and African countries, she refused to authorize thalidomide for market, and requested further studies. She resisted pressure from the drug manufacturer to approve the drug, because of an unexplained nervous system side effect in an English study, and she insisted on a full testing of thalidomide. Her concerns proved justified when thalidomide began to be linked to serious birth defects in Europe. Kelsey’s insistence on full testing, backed by her FDA superiors, made headlines and helped to pass the 1962 Kefauver Harris Amendment to strengthen drug regulation, the same year she was honored with the President’s Award for Distinguished Federal Civilian Service by President John F. Kennedy. She was appointed by the FDA as deputy for scientific and medical affairs in 1995. In 2000, Kelsey was inducted into the National Women’s Hall of Fame. She retired from the FDA in 2005, at the age of 90, after 45 years of service. In 2010, Dr. Kelsey was presented by the FDA with the inaugural ‘Dr. Frances O. Kelsey Drug Safety Excellence Award.’
July 24, 1920 – Bella Abzug born, politician, lawyer, and outspoken feminist; Congresswoman (Democrat -New York, 1971-1977); co-founder in 1971 of the National Women’s Political Caucus, and in 1991, co-founder with Mimi Kleber of the Women’s Environment & Development Organization (WEDO). She was also a notable wearer of hats.
July 24, 1922 – Madeleine Ferron born, French Canadian author and radio show host; noted for her novels Le chemin des dames (The Way of the Ladies) and Le Grand théâtre (The Grand Theatre).
July 24, 1927 – Zara Mints born, Russian-Estonian literary scientist, Slavic philologist and lecturer at the University of Tartu in Estonia. She specialized in the works of Russian lyrical poet Alexander Blok, and Russian literature of the 19th and early 20th centuries.
July 24, 1936 – Ruth Buzzi born, American comedian, voice actress and actress, best known as a member of the cast of the comedy-variety show Rowan & Martin’s Laugh-In (1968-1973), for which she won a Golden Globe, and her voice work as Frou-Frou in the animated feature film The Aristocats. Buzzi supports numerous children’s charities including Make a Wish Foundation, the Special Olympics and a children’s art summer camp. She is also a supporter and fundraiser for the Utopia Animal Rescue Ranch.
July 24, 1953 – Claire McCaskill born, American Democratic politician; regarded as a “moderate,” she frequently voted against her party’s positions, but received a 100% favorable rating from Planned Parenthood on healthcare and abortion rights, and an “F” rating from the National Rifle Association; U.S. Senator from Missouri (2007-2019), she was a ranking member of the Senate Homeland Security Committee (2017-2019); served as Auditor of Missouri (1999-2007), Prosecutor of Jackson County (1993-1998), and in the Missouri House of Representatives (1983-1988); political analyst for MSNBC and NBC since 2019, and a visiting fellow at the University of Chicago Institute of Politics.
July 24, 1960 – Catherine Destivelle born, French mountaineer; first woman to complete a solo ascent of the Eiger’s north face (1992).
July 24, 1966 – Aminatou Haidar born, Sahrawi (nomadic tribe of Berber-Arab heritage) human rights activist and advocate for the independence of Western Sahara, noted for non-violent protests; president of the Collective of Sahrawi Human Rights Defenders (CODESA); imprisoned by Moroccan authorities in 1987-1991 and 2005-2006. In 2009, she was returning from a trip to the U.S. when her passport was confiscated, and she was expelled by Morocco for refusing to state her nationality as “Moroccan” which a Moroccan official called an “act of treason.” She staged a hunger strike after being forced back to her previous stop, the airport in the Canary Islands. The UN, Human Rights Watch and Amnesty International all called on Morocco to allow her to return to her home, resulting in global headlines. After over four weeks, she was near death, and Moroccan authorities finally allowed her return, but she was placed under house arrest, and blocked from speaking to journalists. A month later, she returned to Spain for medical treatment, and was found to still be in poor health. Amnesty International reported that Haidar and her family were under constant surveillance by Moroccan security forces and were being harassed and intimidated. She has continued her non-violent struggle for the rights of the Sharawi people in spite of death threats and even physical attacks on herself and members of her family, Recipient of the 2008 Robert F. Kennedy Human Rights Award, the 2009 Civil Courage Prize, and the 2019 Right Livelihood Award, “for her steadfast nonviolent action, despite imprisonment and torture, in pursuit of justice and self-determination for the people of Western Sahara.”
July 24, 1968 – Coleen Doran born, American author, illustrator and cartoonist; noted for her artwork used along with work by others in Neil Gaiman’s The Sandman graphic novel series, and for her illustrations of his short story “Troll Bridge,” as well as her own space opera series, A Distant Soil.
July 24, 1969 – Jennifer Lopez born, American singer, actress and producer; the first Latina actress to earn over $1 million USD for a film. She is involved in political activism and philanthropy, including Amnesty International, the #MeToo and #TimesUp movements, Boys and Girls Clubs, the Children’s Hospital of Los Angeles, and the American Red Cross. She endorsed and made appearances for both Barack Obama and Hillary Clinton during their presidential campaigns. In 2017, she donated $1 million for humanitarian aid for Puerto Rico, and launched with her husband Somos Una Voz (We Are One Voice) to continue to raise funds for disaster relief to areas affected by Hurricane Maria. She is also a supporter of LGBT rights, and has raised millions of dollars for HIV/AIDS research.
July 24, 1971 – Patty Jenkins born, American film and television director and screenwriter; noted for directing Monster, for which Charlize Theron won an Oscar for Best Actress, and Wonder Woman (2017). In 2011, she won the Directors Guild of America award for Outstanding Directing in a Dramatic Series for the pilot episode of the television crime drama The Killing. Variety reported in late 2017 that Patty Jenkins closed a deal to direct Wonder Woman 1984, and her paycheck is rumored to be in the $8 million dollar range, which would make her the highest-paid woman director in history. That is still less than half what A-list male directors make. She would also receive a substantial portion of box office grosses as part of her contract. The sequel's 2020 release date has been postponed due to Covid-19.
July 24, 1973 – Amanda Stretton born, English racing driver, and broadcast journalist; the first woman driver to compete in the ASCAR Mintex Cup, which she finished in 6th place, and was on the first women’s team in the British GT championships, as well as the first woman to race in the FIA Championships. She was the first British woman to win an international long distance event at Spa-Francorchamps, and competed in the 24 Hours of Les Mans in 2006. She became a presenter on Channel 4’s Motorsport on 4, and went to work for Sky Sports, EuroSport and Silverstone TV.
July 24, 1987 – Hulda Crooks, 91-years-old, becomes the oldest person to climb Japan’s Mount Fuji.
July 24, 2018 – Mary Robinson, former President of Ireland and UN High Commissioner, launched a new initiative called Mothers of Invention, to create “a feminist solution for climate change.” It kicked off with a series of podcasts showcasing grassroots climate change activists at the local level, but also global efforts like legal challenges under way to force governments to adhere to the Paris Agreement goals. Scientists and politicians alongside farmers and indigenous community leaders from Europe, the U.S., Australia, India, Kenya, South Africa and Peru are featured.
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July 25, 1291 – Hawys Gadarn born, “the Hardy” Lady of Powys; Welsh noblewoman whose father had the forethought to insure she was a subject of the crown of England in his will. When her father died in 1293, her brother was the heir, but when he too died in 1309, he designated Hawys as his heir, but she was still 17, so her four uncles became her guardians. They disputed her claim on the grounds that women could not inherit under Welsh law, and sought take the land for themselves, and force Hawys into a nunnery. She went to the Parliament of Shrewsbury to petition King Edward II of England in person, as an English subject loyal to the Crown. He asked her to nominate a champion of her rights, and she named John Charleton, who was one of Edward’s knights. Charleton led a company of English knights escorting her back to Powis Castle. The knights ably defended the lady’s claim, capturing three of her uncles. Hawys and John Charleton were married shortly thereafter, and she became known for her support of monasteries, including the building of the Franciscan monastery in Shrewsbury.
July 25, 1806 – Maria Weston Chapman born, America abolitionist and editor of the anti-slavery journal Non-Resistant and The Liberty Bell, an annual gift book featuring works donated by notable writers and used as a fundraiser for the cause; served on the executive committee of the American Anti-Slavery Society (1839-1865).
July 25, 1840 – Flora Adams Darling born, American author and organizer, instrumental in the founding of the Daughters of the American Revolution (DAR), but the DAR does not recognize her as one of its founders. She went on to help found several other patriotic societies, apparently leaving them because of disagreements with other founders. Darling wrote articles and short stories for magazines and newspapers, and several novels.
July 25, 1871 – Margaret Floy Washburn born, American psychologist, known for her work in animal behavior and motor theory, first woman granted a PhD in psychology in the US, second woman to serve as American Psychological Association President.
July 25, 1873 – Anne Tracy Morgan born, American philanthropist and author, spearheaded, and supplied funds, for relief efforts to aid France during and after WWI and WWII; Morgan was the first American woman appointed a commander of Ordre national de la Légion d’honneur (French Legion of Honor).
July 25, 1874 – Rose O’Neill born, American cartoonist, illustrator, writer and feminist; the first published American woman cartoonist (True magazine, 1896); creator of the popular comic strip Kewpies (debut 1909); she was the highest-paid woman illustrator of her day. Kewpies also became dolls, in several versions, first manufactured in 1912.
July 25, 1881 – Crystal Eastman born, American lawyer, suffragist, socialist and writer. Co-founder and co-editor with her brother Max of the radical arts and politics magazine, The Liberator. She was a founding member of the Women’s International League for Peace and Freedom, and of the American Civil Liberties Union. She managed the hard-fought but unsuccessful 1912 Wisconsin suffrage campaign, when the Wisconsin Federation of Women's Clubs and teachers (80% of the state’s teachers were women) lobbied the state legislature for a statewide referendum on woman suffrage. They had already gained the right to vote in school board elections, and they were pushing to extend the vote to all offices. Eastman then joined with Alice Paul, Lucy Burns and others in founding the militant Congressional Union, which became the National Women’s Party. Though most socialists at the time opposed the Equal Rights Amendment, she endorsed it, and warned that “protective” legislation for women would be used to discriminate against women. Eastman said you could judge the importance of the E.R.A. by the intensity of the opposition to it.
July 25, 1896 – Josephine Tey born, Scottish author of mystery novels; also wrote historical plays under the name Gordon Daviot like Richard of Bordeaux; noted for her novel The Daughter of Time, and other books in her Alan Grant detective series.
July 25, 1898 – Kay Sage born, American Surrealist artist and poet.
July 25, 1900 – Zinaïda Aksentieva born, Ukrainian-Soviet astronomer, worked on mapping gravity and tidal deformation of the earth; Director of the Poltava Observatory (1951-1969).
July 25, 1901 – Ruth Krauss born, American author, known for children’s book such as The Carrot Seed and poems for adults, and for her collaboration with Maurice Sendak on I’ll Be You and You Be Me.
July 25, 1901 – Welfare campaigner Emily Hobhouse begins addressing public meetings across Britain to raise money to improve the appalling conditions which were causing thousands of deaths in the segregated concentration camps during the second Anglo-Boer War, where the British held Boer women and children, and black African non-combatants. South Africa made her an honorary citizen for her humanitarian work there. When she died in Kensington in 1926, her death went unreported in the local press, but her ashes were ensconced in a niche in the National Women’s Memorial Monument at Bloemfontein, South Africa.
July 25, 1918 – Jane Frank born, American painter and sculptor, also known for her work in mixed media and textile art.
July 25, 1920 – Rosalind Franklin born, British physical chemist and X-ray crystallographer; she made contributions to the understanding of the molecular structure of DNA which was foundational for the work of Watson and Crick, co-recipients of the Nobel Prize for their studies of DNA’s double helix form. She didn’t receive the recognition her independent work deserved, but she had died of cancer four years before the Nobel Prize was awarded to Crick and Watson. The Nobel Prize is not awarded posthumously.
July 25, 1923 – Maria Gripe, Swedish author children’s and young adult books, recipient of the Hans Christian Andersen Medal.
July 25, 1925 – Jutta Zilliacus born in Finland, Swedish-language Estonian author, journalist, and politician. Member of the Finnish Parliament for the Swedish People’s Party (1975-1986) and member of the Helsinki City Council (1968-1984). Among her books are Vägskäl (Crossroads), and Gå över gränser (Across Borders).
July 25, 1930 – Alice Parizeau born in Poland to Jewish parents who died in the Holocaust; French Canadian author, journalist, criminologist, and essayist; associated with the sovereignty movement in Quebec.
July 25, 1944 – Sally Beauman born, English journalist and novelist; worked for New York magazine, and was an editor at Queen magazine and The Sunday Telegraph magazine; also worked as an investigative journalist for several leading British publications; author of eight best-selling novels, including The Visitors.
July 25, 1954 – Sheena McDonald born, Scottish journalist and broadcaster; producer and presenter for BBC Radio Scotland (1978-1981), then worked for STV (a Scottish television channel – 1981-1986), then worked on several different programmes until she was struck by a police van responding to an emergency, and seriously injured in 1999. She was out of broadcasting for almost five years while painfully recovering; currently, she presents a news programme for the cable channel Teachers’ TV.
July 25, 1955 – Iman born as Zara Abdulmajid, Somali fashion model, founder of an ethnic cosmetics company, and philanthropist; a Supermodel active from 1976 to 1990, she went on to start her own cosmetics firm in 1994, specializing in difficult-to-find foundation shades for women, and expanding into the home shopping fashion market in 2007. She is actively involved with several children’s charities, including Keep a Child Alive, Children’s Defense Fund, and Save the Children’s East African programs. She played a key part in the Enough Project’s campaign against blood diamonds, including terminating her contract with the De Beers diamond conglomerate over ethics conflicts.
July 25, 1964 – Anne Applebaum born, American-Polish journalist and author; 2004 Pulitzer Prize (General Nonfiction) for Gulag: A History; 2012 National Book Award Nonfiction finalist for Iron Curtain: The Crushing of Eastern Europe 1944-1956. She is a staff writer for The Atlantic and a senior fellow at The Agora Institute at Johns Hopkins University School of Advanced International Studies.
July 25, 1965 – Illeana Douglas born, American actress, producer, director and screenwriter; noted for writing and directing the comedy short The Perfect Woman, the documentary Everybody Just Stay Calm—Stories in Independent Filmmaking, and Boy Crazy, Girl Crazier. She also produced several projects for the Sundance Channel, including Illeanarama, for which she also has writing and acting credits.
July 25, 1966 – Diana Johnson born, British Labour politician; Member of Parliament for Kingston Upon Hull North since 2005, Hull’s first woman MP; Parliamentary Under-Secretary of State for Schools (2009-2010); Member of the London Assembly for the Labour Party (2003-2004); in 2014, she proposed a Bill that would require sex and relationships education, including discussions around issues such as consent, to be made a compulsory part of the National Curriculum.
July 25, 1967 – Ruth Peetoom born, Dutch Christian Democratic Appeal (CDA) politician, CDA Party Chair since 2011.
July 25, 1969 – Annastacia Palaszczuk born, Australian Labor politician; Premier of Queensland since 2015; Labor member of the Legislative Assembly of Queensland since 2006; as Leader of the Opposition of Queensland (2012-2015), the first woman Premier of a state from an Opposition party; first Australian premier to have a majority of women ministers (8 out of 14); served as Minister for Disabilities (2009-2011), and for Multicultural Affairs (2009-2012).
July 25, 1970 – Ariel Gore born, American author, editor-publisher of Hip Mama, alternative press publication covering the culture and politics of motherhood.
July 25, 1974 – Lauren Faust born, American animator, director, producer and screenwriter; known for creating the animated series My Little Pony: Friendship Is Magic.
July 25, 1974 – Nisha Ganatra born in Canada of Indian subcontinent ancestry, film director, producer, screenwriter and actress, best known for her films Chutney Popcorn and Cosmopolitan.
July 25, 1978 – Louise Joy Brown, first in-vitro fertilization test-tube baby, is born in England.
July 25, 1984 – Svetlana Savitskaya becomes first woman to perform a spacewalk as a cosmonaut aboard Salyut 7.
July 25, 2007 – Pratibha Patil sworn in as India’s first woman president (Indira Gandhi was India’s first woman Prime Minister).
July 25, 2018 – Elin Ersson, a 21-year-old Swedish student activist, was on board a Turkish airline flight at Gothenburg airport when she prevented the deportation from her country of an Afghan asylum seeker by refusing to sit down until the man was removed from the flight. She livestreamed the standoff after learning that the man would be dispatched on arrival in Istanbul to another plane bound for war-torn Afghanistan. The footage went viral and got over half a million hits. Struggling to maintain her composure, Ersson said, “I don’t want a man’s life to be taken away just because you don’t want to miss your flight. I am not going to sit down until the person is off the plane.” When asked by a steward to stop filming, she said emphatically, “I am doing what I can to save a person’s life. As long as a person is standing up the pilot cannot take off. All I want to do is stop the deportation and then I will comply with the rules here. This is all perfectly legal and I have not committed a crime.” Replying to an irate English-speaking man who attempted tried to snatch her phone, she said: “What is more important, a life, or your time? . . . He is not safe in Afghanistan. I am trying to change my country’s rules, I don’t like them. It is not right to send people to hell.” Some passengers applauded when the asylum seeker was taken off the plane. Ersson was also escorted off. The German international broadcaster, Deutsche Welle, reported that the man was still in custody. He was later deported. In Sweden, opinion was been split on the issue of giving asylum to an increasing number of asylum seekers, with the government taking a harder line on expelling them as the numbers have risen. Ersson was fined 3,000 krona ($324 USD) for failing to comply with the instructions of the flight crew.
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July 26, 1745 – First record of a women’s cricket match takes place near Guildford, England. It was a match “between eleven maids of Bramley and eleven maids of Hambledon, all dressed in white,” according to The Reading Mercury.
July 26, 1869 – Donaldina Cameron born, social justice advocate in San Francisco. At age 25, she became head of the Presbyterian Mission Home for Girls, and began her battle to end the illegal smuggling of Chinese girls and young women by the Tongs to be used as prostitutes or slave labor. She rescued over 3,000 Chinese women held by the traffickers, developing a network of informers to discover the brothels and opium dens where they were held, then leading police to raid them, sometimes carrying an axe and chopping down doors or panels hiding the victims herself. The traffickers called her Fahn Gwai, “white devil.” Enlisting support from church and civil groups, as well as working with lawyers and legislators, she is credited with breaking the back of the early 20th century Chinese slave trade in the city.
July 26, 1895 – Gracie Allen born, American comedian and vaudevillian, best known as part of the comic duo Burns and Allen, with her husband George Burns, on stage, radio, film and television. She always wore sleeves long enough to cover scars from a severe scalding accident in her childhood. Burns downplayed his own comic brilliance, crediting Allen with their success, “All I had to do was say, 'Gracie, how's your brother?' and she talked for 38 years.”
July 26, 1900 – Sarah Kafrit born in the Russian Empire, Israeli teacher and politician; member for Mapai of the Knesset (Israeli legislature) between 1951 and 1959; a founding member in 1927 of the moshav (farmers’ collective) Kfar Yehoshua; member of the secretariat of Women’s Councils.
July 26, 1906 – Irena Morzycka-Iłłakowicz born in Berlin, Polish 2nd Lieutenant of the National Armed forces, and an intelligence agent working with the Polish resistance movement during WWII. She lived separately from her husband under assumed names to make it more difficult for the Gestapo to find either one of them. She was fluent in seven languages: Polish, French, English, Persian, Finnish, German and Russian. Between 1941 and 1942, her section was systematically destroyed by the Nazis, and numerous other underground activists were arrested. She was arrested in 1942, undergoing harsh interrogations without revealing anything. Her husband arranged for a guard to be bribed to put her in a group of non-political prisoners being transported to the Majdanek concentration camp. A group of fighters dressed in Gestapo uniforms presented a falsified document claiming her for further interrogation in Warsaw. She moved from Lublin to Klarysek-Janówek, then returned to Warsaw to work with the Soviet intelligence network in Poland, while her husband was sent to London in 1943 as a representative of the National Armed Forces. He wanted her to come with him, but command decided she should go separately later. Nine days before she was to leave, she was summoned to a meeting, but was murdered in unknown circumstances. Her husband eventually found her body, and she was buried under an alias, as Barbara Zawisza. To prevent the Gestapo from capturing them, her husband was at the funeral disguised as a gravedigger, and her mother posed as a cemetery helper. She was posthumously decorated with the Krzyż Narodowego Czynu Zbrojnego, one of Poland’s highest honors.
July 26, 1918 – Emmy Noether's paper, which became known as Noether's theorem, is presented by a colleague at a meeting the Royal Society of Sciences (because she was not a member of the society), at Göttingen, Germany. Her theorem, from which conservation laws are deduced for symmetries of angular momentum, linear momentum, and energy, is regarded by many physicists as one of the most important mathematical theorems ever proved, which guided the development of modern physics. Even though the importance of her paper was recognized, Noether was not appointed to a paid position, as a lecturer, until 1923. Before that, her family had to support her while she worked as an untenured professor without being paid.
July 26, 1923 – Jan Berenstain born, author and illustrator, co-author with her husband Stan of children’s book series The Berenstain Bears, and cartoons for magazines.
July 26, 1923 – Bernice Rubens born, Welsh novelist; noted for Madame Sousatzka, and The Elected Member, which won the 1970 Booker Prize for Fiction.
July 26, 1925 – Ana María Matute born, Spanish author and member of the Real Academia Española; honored with the prestigious Miguel de Cervantes Prize for lifetime achievement Spanish letters in 2010; Fiesta al noroeste (Celebration in the Northwest) won the 1952 Café Gijón Prize.
July 26, 1939 – Jun Henmi born as Mayumi Shimizu, Japanese author and poet; known for her fiction and nonfiction works about people affected by WWII. She won the Nitta Jirō Culture Prize in 1984 for her book Otoko-tachi no Yamato (published in English as Yamato: The Last Battle).
July 26, 1945 – Dame Helen Mirren born, notable English actress, began her career with the Royal Shakespeare Company in 1967; one of the few actors to achieve acting’s ‘Triple Crown’ – a 2007 Oscar and an Olivier Award for Best Actress as Queen Elizabeth II in The Queen; and a Tony Award for Best Actress in a Play, for the same role in the play The Audience, which inspired the film. In 2017, Mirren narrated Cries from Syria, a documentary film about the Syrian Civil War, directed by Evgeny Afineevsky. She has publicly stated that she is an atheist, and a naturalist, and is “happiest on a nude beach with people of all ages and races.”
July 26, 1950 – Anne Rafferty born, Lady Justice Rafferty, British justice; Lady Justice of Appeal of England and Wales since 2011, member of the Privy Council; first woman Chair of the Criminal Bar Association of England and Wales; also Chancellor of the University of Sheffield since 2015; High Court Justice 2000-2011; Deputy High Court Justice (1999-2000) Recorder (1991-1999), and Queen’s Counsel (1990-1991).
July 26, 1952 – Dame Glynis Breakwell, British social psychologist and an active public policy adviser and researcher specialising in leadership, risk management and identity process. She has been a Fellow of the British Psychological Society since 1987 and an Honorary Fellow since 2006. Appointed Dame Commander of the Order of the British Empire in 2012, and is also a Deputy Lieutenant of the County of Somerset.
July 26, 1964 – Anne Provoost born in Belgium, Flemish author of novels for young adults, and essays; noted for her novels My Aunt is a Pilot Whale, which deals with sexual abuse, and Falling, which examines the allure of Neo-Nazi rhetoric, and has won Belgian, Dutch and French literary awards.
July 26, 1964 – Sandra Bullock born, American actress, producer and philanthropist; she was twice nominated for an Academy Award for Best Actress for The Blind Side and Gravity, and won the Oscar for The Blind Side. She is the founder of Fortis Films, and was an executive producer on the sitcom George Lopez (2002-2007). Fortis Films produced the movie All About Steve in 2009. Bullock is a supporter of the American Red Cross, donating $1 million USD each for least five different disasters, including the 2004 Indian Ocean earthquakes and tsunamis, the Haiti earthquake, and Hurricane Harvey in Texas. She did a public service announcement urging people to sign a petition for clean-up efforts after the Deepwater Horizon oil spill in the Gulf of Mexico. Bullock made a large donation to Warren Easton High School in New Orleans, which was heavily damaged by Hurricane Katrina. She is also a supporter of the Texas non-profit The Kindred Life Foundation, which assists struggling teen parents and their children.
July 26, 1969 – Tanni Grey-Thompson born, Baroness Grey-Thompson of Eaglescliff, British Life Peer in the House of Lords since 2010, and academic. She was born with spina bifida, she was a successful wheelchair racer (1984-2007), winning many gold and silver medals in the Paralympic Games and World Championships; after a stint as a BBC television presenter, she became Chancellor of Northumbria University (2015 to present); created a Life Peer in 2010, she took her oath of office for the House of Lords in English and Welsh.
July 26, 1980 – Jacinda Ardern born, New Zealand Labour politician; Prime Minister of New Zealand and leader of the NZ Labour Party since 2017; Member of the New Zealand Parliament for Mount Albert since 2017, and Leader of the Labour Party since 2017; Member of Parliament for the Labour Party List (2008-2017). When Arden took office as Prime Minister, she was 37 years old, New Zealand’s youngest PM since Edward Stafford in 1856. She is also New Zealand's first prime minister to be pregnant in office; when her daughter was born in June, 2018, she became the second head of state after Benazir Bhutto to give birth while in office. Ardren has drawn international praise for her response to the deadly terrorist attacks on two Christchurch mosques in 2019, and her leadership of New Zealand during the coronavirus pandemic, rated one of the most effective responses in the world, with 1,504 cases, and only 22 deaths out of a population of 4.886 million. Compare this with the death toll of 8,202 to date in San Diego County in California, with a population of 4 million.
July 26, 2016 – Hillary Clinton becomes the first woman nominee for U.S. President by a major political party at the Democratic National Convention in Philadelphia.
July 26, 2017 – An investigation by USA Today reveals that the U.S. is the most dangerous developed county in which to give birth. Every year, over 50,000 American women are severely injured giving birth, and about 700 women die. An estimated 50% of these injuries and deaths can be presented if hospitals would provide better care. There is no tracking system for doctors to record childbirth issues, while doctors and hospitals alike regularly miss or ignore obvious signs of both pre-natal and post-natal complications. The negligence has resulted in a sharp increase in maternal mortality rates, up from 17 deaths in 100,000 births in 1990 to 26.4 deaths per 100,000 in 2015. The rest of the developed world saw steady or improved death rates, with many below 10 deaths per 100,000 births, according to statistics kept by the World Health Organization (WHO). The average cost of delivering a baby without complications in the U.S. is also much higher than many other countries – almost $11,000, compared to about $3,200 in Canada, or just over $2,500 in Germany or France.
July 26, 2018 – Ahmed Alit Dahir, attorney general of Somalia, announced the nation’s first prosecution for female genital mutilation after a 10-year-old girl bled to death following begin cut the previous week. The announcement was described as a “defining moment” in a nation where 98% of all women and girls undergo FGM, the highest rate anywhere in the world. Speaking at a conference on FGM in the capital, Mogadishu, Dahir said he had sent a team of 10 investigators to interview Deeqa Dahir Nuur’s parents and the village cutter who performed the fatal operation. “We are ready to take it to court,” Dahir told an audience of officials, journalists, and religious leaders. Deputy prime minister Mahdi Mohamed Gulaid, who was also at the event co- hosted by the Global Media Campaign to End FGM and the Ifrah Foundation, said: “It is not acceptable that in the 21st century FGM is continuing in Somalia. It should not be part of our culture. It is definitely not part of the Islamic religion.” The announcement has been welcomed by campaigners all over the world. FGM survivor and activist Ifrah Ahmed, 26, said the declaration “had taken everyone by surprise.” Ahmed added, “It shows just how quickly things can move when there is political will.” Most girls in Somalia undergo the most severe form of circumcision between the ages of five and nine, during which external genitalia are removed or repositioned and the vaginal opening is sewn up, leaving only a small hole through which to pass menstrual blood. The operation is often performed by untrained midwives or healers using knives, razors or broken glass.
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July 27, 1202 – Battle of Basiani: during the Georgian-Seljuk Wars, the army of Tamar, Queen regnant (1184-1213) of the Kingdom of Georgia wins a decisive victory over the army of Süleymanshah II, Sultan of Rum (Selijuqid ruler of Anatolia), north of Erzurum in what is now Turkey.
July 27, 1768 – Charlotte Corday born, Girondin assassin of Jacobin leader Jean-Paul Marat; Marat was a key figure in the mass execution of the Girondins, who tried to stem the Reign of Terror.
July 27, 1841 – Linda Richards born, American nurse and educator, one of the first nurses professionally trained in the U.S.; establishes training programs in the U.S. and Japan, creates system for hospital medical records.
July 27, 1853 – Elizabeth Plankinton born, American philanthropist who inherited a fortune and a tradition of giving from her father, businessman John Plankinton; she never married because her engagement was broken when her fiancé ran off with a dancer whom he married instead; she gave $100,000 (equivalent to over $2.5 million USD today) for the building of the first YWCA hotel in Milwaukee Wisconsin, to provide affordable housing to single working women.
July 27, 1853 – Lucy Maynard Salmon born, American historian and educator; pioneered the use of artifacts from everyday life – laundry lists, advertisements, bulletin-board notices, architectural plans, ledgers, packing slips – in historical research and in the teaching of history; first woman member of the executive committee of the American Historical Association; professor and founder of the history department at Vassar College. She was active in the National College Equal Suffrage League and on the Executive Advisory Council of the Congressional Union for Woman Suffrage, and led the suffrage movement at Vassar, despite disapproval of the trustees and the college’s male president, James Monroe Taylor (1886-1914). His goals for Vassar’s graduates were characterized by his successor, Henry Noble MacCracken, as: “to be cultured . . . not leaders but good wives and mothers, truly liberal in things intellectual but conservative in matters social.” MacCracken continued, “Throughout Taylor’s term Vassar was a college for women developed by men.” Vassar students were finally given permission to form an on-campus suffrage club in 1914.
July 27, 1875 – Mary Olszewski Kryszak born, American educator and politician, Polish newspaper editor, librarian, and bookkeeper; served seven times as a member of the Wisconsin State Assembly; in spite of her impressive list of accomplishments, when running for office, the national press stated that “Mrs. Kryszak ‘takes in’ hemstitching work at home when not engaged in lawmaking.”
July 27, 1889 – Vera Karalli born, Russian ballerina, choreographer, and silent film performer.
July 27, 1891 – Myrtle Lawrence born, sharecropper and labor organizer, worked within biracial Southern Tenant Farmers’ Union from 1936 to 1943, honored on the 1976 Bicentennial Freedom Train Exhibition.
July 27, 1904 – Lyudmila Rudenko born in the Russian Empire, Soviet chess player, second Women’s World Chess Champion (1950-1953), the first woman awarded a FIDE International Master title, and Woman Grandmaster (1976). During WWII, she organized a train to evacuate children from the siege of Leningrad.
July 27, 1906 – Helen Wolff born, editor and publisher, published many acclaimed translations under the imprint “A Helen and Kurt Wolff Book” at Harcourt Brace Jovanovich, founded Pantheon Books with husband in 1942.
July 27, 1907 – Irene Fischer born in Austria, American mathematician and geodesist; she and her family fled Nazi Austria in 1939; she worked on stereoscopic projective geometry trajectories for John Rule at MIT; she then began her career (1951-1976) in the Geodesy Branch of the Army Map Service working on what became the World Geodetic System, rising through the ranks to branch chief; her contributions to geodetic science gave scientists a more accurate picture of the size and shape of the earth, and helped determine the parallax of the moon, crucial information for NASA’s Mercury and Apollo moon missions; National Academy of Engineering Member; Fellow of the International Geophysical Union, Inductee of the National Imagery and Mapping Agency Hall of Fame, and the third woman to be honored with the 1967 Distinguished Civilian Service Award, given by the U.S. Army to civilians for outstanding public service which aids the accomplishment of the Army’s mission.
July 27, 1916 – Elizabeth Hardwick born, American author and literary critic, co-founder of The New York Review of Books; Fellow of the American Academy of Arts and Sciences; noted for her novel The Simple Truth, and four collections of her criticism.
July 27, 1930 – Shirley Williams, Baroness Williams of Crosby born, British politician and scholar, one of the “Gang of Four” founders of the Social Democratic Party in 1981, served as Leader of the Liberal Democrats in the House of Lords from 2001 to 2004, still active in the House of Lords and Professor Emerita at Harvard University.
July 27, 1930 – Joy Whitby born, English radio and television producer, director and writer of innovative children’s programmes for the BBC (1956-1967), including Play School and Jackanory; produced dramas for London Weekend Television (1967-1969); founded her own company, Grasshopper Productions (1970-1975); Head of Children’s Programmes for Yorkshire Television (1975-1985); since 1985, has produced animated films based on quality picture books; first TV producer to win the Eleanor Farjeon Award for contributions to children’s literature.
July 27, 1940 – Pina Bausch born, German dancer and choreographer, leading influence in modern dance, creator of the company Tanztheater Wuppertal Pina Bausch.
July 27, 1948 – Betty Thomas born, American actress, director and producer of television and motion pictures. Known for her work on the television series Hill Street Blues (1981-1987), for which she won a Best Supporting Actress Emmy for the 1984-1985 season. She directed several episodes of TV series like Hooperman, Doogie Howser MD, and Arresting Behavior, then won a Best Director Emmy for her work on the series Dream On. Her feature film debut as a director was 1992’s Only You. Her second feature, The Brady Bunch Movie, was a domestic box office hit, grossing almost $47 million USD, one of the highest grossing movies directed by a woman up to that time. She followed that with other successes, including Dr. Dolittle (starring Eddie Murphy), 28 Days, and 2009's Alvin and the Chipmunks: The Squeakquel.
July 27, 1951 – Roseanna Cunningham born, Scottish National Party politician, Cabinet Secretary for Environment, Climate Change and Land Reform since 2016; Minister for Community Safety and Legal Affairs (2011-2014); Depute (deputy) Leader of the Scottish National Party (2000-2004); Member of the Scottish Parliament for Perthshire South and Kinross-shire Perth (1999-2011).
July 27, 1955 – Cat Bauer born, American novelist; known for Harley, Like a Person (2002), which won an American Library Association Best Books for Young Adults award.
July 27, 1960 – Emily Thornberry born, British Labour politician and barrister who specialized in human rights law (1985-2005); Member of Parliament for Islington South and Finsbury since 2005; vice-chair of the All-Party Parliamentary Pro-Choice and Sexual Health Group; advocate for affordable housing, the environment and gender equality, and an opponent of detention of terrorist subjects without charge for 90 days, and renewal of the Trident nuclear weapons programme.
July 27, 1968 – Sabina Jeschke born in Sweden, German academic and mechanical engineer; professor at the RWTH Aachen University; member of the management board of Deutschen Bahn AG, a railway company, for digitalization and technology since 2017, and involved with building the think tank “Strong Artificial Intelligence” at the Volvo Car Corporation in Göteborg.
July 27, 1973 – Cassandra Clare born as Judith Lewis, American author of Young Adult Fiction, best known for her series, The Mortal Instruments. Her book, City of Ashes, was a awarded a 2009 ALA Teens Top Ten Title.
July 27, 1977 – Foo Swee Chin born, Singaporean comic book artist and illustrator; she is noted for A Lost Stock of Children, and Flush, a comic about social inequality and environmental issues
July 27, 1979 – Marielle Franco born, Brazilian PSOL (socialist party) politician, feminist, human rights activist, and an outspoken critic of police brutality and extrajudicial killings. She ran in 2016 as a black bisexual woman and single mother from the favelas (slums), and won a seat on the city council of Rio de Janiero (2017-2018), where she fought against gender violence, for reproductive rights, and for the rights of favela residents. Franco chaired the Women's Defense Commission, and worked with the Rio de Janeiro Lesbian Front. She and her driver were shot to death in March, 2018. Franco was 38 years old. In 2019, two former police officers were charged with her murder, and convicted, but they have continued to deny they were the shooters. Paramilitary gangs – mafias made up of serving and former police officers who control vast swathes of Rio state – are widely believed to have been involved in her murder. This is a documentary about Franco’s murder:
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July 27, 2006 – In Peru, president-elect Alan Garcia makes good on his campaign pledge to draw talent for his cabinet from across the political spectrum by appointing five women, including Mercedes Cabanillas Bustamante as the first woman Minister of Education, and Labor Minister Susana Pinilla. He also appointed Rosario Fernández as a justice.
July 27, 2019 – Romania's prime minister Viorica Dancila has called for a referendum on harsher penalties for crimes like murder, rape and pedophilia in the wake of the rape and killing of Alexandra Macesanu, a 15-year-old girl, that has shocked the country. She also called for reducing the authorities' reaction time in similar cases. On July 25th, Police took 19 hours to respond after the victim's first call saying she had been beaten and raped by a man who picked her up in his car as she was hitchhiking. They waited for a search warrant, even though it wasn’t legally required in a life-threatening emergency. She made three separate phone calls for help to the country's emergency hotline. The girl’s uncle released a transcript of one of her desperate calls in which the responder tells the schoolgirl to get off the line because she is blocking it for other emergency calls. Romania's national police chief was fired over the handling of the case. Thousands of people took part in protests, blaming Romanian officials for negligence, incompetence and a lack of empathy. Protesters in Bucharest marched from Victoria Palace, the government headquarters, to Revolution Square, where they lit candles outside the Interior Ministry. Some taunted police officers with shouts of "Hide, your hands are stained with blood!" while holding up placards saying "I am Alexandra" and "Hello 112, I am Romania. Save me." Authorities have detained the suspect in the case on suspicion of trafficking minors and rape. After his arrest, he confessed to the rape and killing, and also to abducting and murdering 18-year-old Luiza Melencu in April, 2019.
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July 28, 1347 – Margaret of Durazzo born, married at age 22 to the quarrelsome Charles III of Naples; when her husband was killed in 1386, she became regent (1386-1393) for her son, Ladislaus of Naples, who was 9 years old. Charles was assassinated on orders from Elizabeth of Bosnia, whose daughter, Queen Mary of Hungary, he had deposed, in spite of Margaret being much against toppling Queen Mary. During her regency, Margaret was able to make peace with Pope Boniface IX, who had excommunicated Charles (and Margaret too, just for being married to Charles) for plotting against the papacy.
July 28, 1609 – Judith Leyster born, Dutch painter during the ‘Golden Age’ of Dutch painting. She was one of the first women members of the Haarlem Guild of St. Luke, the local guild for artists. Within two years of her entry into the Guild, she had taken on three male apprentices. Ironically, her work received more recognition after she filed a lawsuit against the much better-known painter Franz Hals, who accepted a student who left her workshop without Guild permission. Hals settled by paying the fine, and keeping the student. Though her work was highly regarded during her lifetime, it was largely forgotten until 1893, when the Louvre purchased a much-admired painting, The Jolly Companions, purported for over a century to be a ‘Frans Hals’ which turned out to a Judith Leyster painting when the Louvre discovered Leyster’s distinctive monogram under the faked Hals signature.
July 28, 1819 – Louise A. Knapp Smith Clappe born, American teacher and author, came to California in 1849; her letters to her sister giving her impressions of life in the gold-mining camps, were published as a serial in The Pioneer periodical, from January 1854 to December 1855; taught in San Francisco public schools (1854-1878).
July 28, 1855 – Louisine Waldron Elder Havemeyer, American philanthropist, art collector and patron, feminist and advocate for women’s suffrage, supporter of Alice Paul and the National Woman’s Party, and a patron of Edgar Degas.
July 28, 1866 – Beatrix Potter born, beloved English author-illustrator of Peter Rabbit, and a total of 23 children’s storybooks. She was also naturalist, especially noted for her studies and watercolours of fungi, and contributions to the understanding of fungi spore germination and hybridisation. Potter used the money earned by her books to purchase Hill Top Farm in the Lake District. She was also a pioneer in land conservation, buying hundreds of acres of farmland to preserve the unique landscape of the English Lake District, which she left in her will to the National Trust. The land she preserved is now a large portion of the Lake District National Park.
July 28, 1866 – By a vote of Congress, Vinnie Ream receives a commission from the U.S. government for a statue of Abraham Lincoln. She was only 18 at the time, making her the first and youngest woman to receive an artistic commission from the U.S. federal government.
July 28, 1874 – Alice Duer Miller, American author and poet, suffragist, known for satirical poems in her collection Are Women People? and the novel Come Out of the Kitchen.
July 28, 1877 – Florence Thorne born, American labor researcher and editor. She earned her PhB from University of Chicago in 1909, taught liberal arts (1899-1912); she worked for the American Federation of Labor (AFL) as researcher, writer and executive assistant to president Samuel Gompers (1912-1917), and became the principal writer and editor of the AFL’s publication, the American Federationist. She left the AFL during WWI to work on the Subcommittee on Women in Industry of the Advisory Committee of the Council of National Defense (1917), then transferred to assistant director of the Working Conditions Service, War Labor Administration, U.S. Department of Labor (1918). At the end of WWI, she returned as director of research at the AFL (1933-1953); and served as a delegate to the Federal Advisory Commission for Employment Security during WWII. She was also an adviser to the International Labor Organization (ILO). She wrote Samuel Gompers, American Statesman (1957).
July 28, 1879 – Lucy Burns born, American suffragist and women’s rights advocate, who formed the National Woman’s Party with Alice Paul; she attended Columbia University, Vassar College and Yale before becoming an English teacher at Brooklyn’s Erasmus High School (1904-1906), then, supported by her father, she continued her language studies in Germany at the Universities of Bonn and Berlin (1906-1909), and enrolled at Oxford to study English. It was during this time that she became involved with the woman’s suffrage movement after meeting the Pankhursts. She went to work for the Women’s Social and Political Union (WSPU – 1910-1912), and participated in organizing parades and demonstrations. She made numerous court appearances, charged with “disorderly conduct.” During one of her arrests in 1912, she met Alice Paul, also under arrest, at a London Police Station, and they decided to return to the U.S. and apply the tactics they had learned in England to the suffrage cause in America. Their partnership over the next eight years would make woman’s suffrage a national issue in the U.S., and pushed forward passage and ratification of the 19th Amendment in 1920. Burns would endure more time behind bars and harsher treatment than any other American suffragist, including repeated violent forced feeding, and being chained overnight to her cell bars by her raised arms. She was one of the first people to define the term "political prisoner." By the time Tennessee became the 36th state to ratify the Amendment, she was completely exhausted: “I don't want to do anything more. I think we have done all this for women, and we have sacrificed everything we possessed for them, and now let them fight for it . . . I am not going to fight anymore." She retired from political life, and devoted herself to Catholic charities and raising her orphaned niece.
July 28, 1896 – Barbara La Marr born as Reatha Watson, American silent film star and screenwriter. She appeared as an actress in 27 films between 1920 and 1926. She was originally hired as a screenplay writer for Fox Film, where she wrote several scripts which became successful movies before she was “discovered” by Douglas Fairbanks, who cast her in his 1921 film, The Nut, and then as Milady de Winter in his version of The Three Musketeers. But as La Marr ‘s fame and success grew, so did her partying and drinking. She was playing the vamp off-screen as well as on. In 1924, after a series of crash diets damaged her health, her attempts at restoring her career failed, and she died of pulmonary tuberculosis and nephritis in 1926, at age 29.
July 28, 1908 – Dame Annabelle Rankin, Australian politician, second woman member of the Australian Senate, first woman from Queensland to sit in the Parliament, first woman appointed as Opposition Whip in the Senate, first Australian woman to have a federal portfolio (cabinet position) and first to head a foreign mission, to New Zealand.
July 28, 1909 – Aenne Burda born, German publisher of the Burda Group, her family’s media company, which expanded into women’s magazines under her direction, including Burda Moden, which was launched in 1950, and is still being published. In 1977, she started Burda CARINA, a fashion and lifestyle magazine targeting younger women. She also started two charitable foundations, to support young academics and senior citizens.
July 28, 1929 – Jacqueline Bouvier Kennedy Onassis born, American cultural icon; First Lady (1961-1963), started White House Historical Association; widow of John F. Kennedy, then married to Greek shipping magnate Aristotle Onassis; book editor for Doubleday; advocate for historic buildings preservation.
July 28, 1929 – Shirley Ann Grau born, American novelist and short story writer; her multi-generational novel, The Keepers of the House, won the 1965 Pulitzer Prize for Fiction.
July 28, 1932 – Natalie Babbit born, American author-illustrator of children’s and YA books; Tuck Everlasting and The Eyes of the Amaryllis.
July 28, 1942 – Tonia Marketaki born, Greek film director and screenwriter; her first short film in 1967 resulted in her imprisonment by the Greek Military Junta (1964-1974); when released, she left Greece, and worked as an assistant editor in the UK, and director of educational films for farmers in Algeria. She came back to Greece in 1971, made three full-length films, Ioannis o Viaios (John the Violent), Krystallines Nyhtes (Crystal Nights), and I timi tis agapis (The Price of Love). She also directed a number of theatrical productions, and the TV series Lemonodasos. She died in 1994 at age 51.
July 28, 1946 – Fahmida Riaz born, Pakistani Urdu-language writer, poet, human rights activist, part of the progressive writers movement, and a feminist; she has published over 15 books of fiction and poetry, most considered controversial at the time, especially her second verse collection Badan Dareeda, regarded as too shockingly erotic and sensual for a woman poet. Founder and publisher of Awaz, a liberal and politically charged Urdu magazine, for which she was arrested and Awaz shut down. She was bailed out by a fan of her work, and sought asylum in India with her children and sister, where her husband, who had also been arrested, was able to join them after his release. They were in exile in India for seven years (1980-1987), before returning to Pakistan.
July 28, 1966 – Sossina M. Haile born in Ethiopia, Ethiopian-American chemist, whose family fled to America seeking asylum during the 1974 coup in Ethiopia, after her historian father was nearly killed. She is known for developing the first solid acid fuel cells, working in the field of sustainable energy technologies. Currently a professor of Materials Science and Engineering at Northwestern University and an editor for the Journal of Materials Research; previously at Caltech (1996-2015). NSF National Young Investigator Award (1994–99), Humboldt Fellowship (1992-1993), Fulbright Fellowship(1991-1992), AT&T Cooperative Research Fellowship (1986-1992), 2001 J.B. Wagner Award of the High Temperature Materials Division of the Electrochemical Society, 2000 Coble Award from the American Ceramic Society, and 1997 TMS Robert Lansing Hardy Award.
July 28, 1971 – Ludmilla Lacueva Canut born, Andorran author of fiction and nonfiction, columnist for the Catalan-language newspaper Bondia; her first published book, Los pioneros de la hoteleria andorrana, a history of the hotel industry of Andorra, won the Research Prize from the General Council of Andorra, and became a local best-seller for Saint George’s Day, when it is traditional for Andorran women to give the men in their lives a book.
July 28, 2009 – Tanzania Women's Bank, under the leadership of Margaret Chaca, opens in Dar es Salaam. The idea started during the Dar es Salaam International Trade Fair in 1999. Women participants petitioned Tanzanian President H.E Benjamin Mkapa, asking that the government facilitate establishment of a women’s bank, so women could open checking and savings accounts, and apply for loans, more easily than at traditional banks, which were not geared for small accounts and microloans. It took eight years to get the bank listed as a Registered Financial Institution with the Tanzania Central Bank, and two more years before it opened its first office. It now has three more branches.
July 28, 2018 – In China, out of over 50 million court verdicts from 2010 to 2017 available publicly, only 34 focused on sexual harassment, according to a study by the Beijing Yuanzhong Gender Development Center. Only two of the 34 cases involving sexual harassment were brought by victims suing alleged harassers, and both of those cases were dismissed for lack of evidence. In fact, the majority of the 34 cases were brought by alleged harassers themselves, claiming breach of contract after they were dismissed by employers for sexual harassment, or for defamation-related reasons after accusations were made public by victims or employers. It’s not that sexual harassment isn’t a problem in China, as nearly 40% of women in China say they have experienced sexual harassment in the workplace. The absence of court cases indicates instead the difficulties women face seeking legal redress for abuse. But the #MeToo movement is having some effect. In 2018, several university professors were accused on Chinese social media of sexually harassing female students, and a woman accused prominent anti-discrimination activist Lei Chuang of sexual assault. A slew of prominent journalists, intellectuals, and activists have since been accused on social media of sexual misconduct. Some of the accused made public apologies. One journalist, Shangguan Luan, wrote “given the lack of systemic redress,” China’s #MeToo movement is more about “easing depression” than “seeking accountability.” In a telling case, a woman said on July 25 after she reported to the police that prominent TV host Zhu Jun had sexually harassed her, police forced her to withdraw the complaint, claiming that Zhu, as host of the annual Spring Festive gala at the state media, had “enormous ‘positive influence’ on the society.” Soon after the exposé, posts about the case began to be removed from Chinese social media. Chinese law banning sexual harassment of women in the workplace doesn’t clearly define what is meant by sexual harassment, or make provisions creating a specific cause of action against harassment.
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July 29, 1742 – Isabella Graham born in Scotland, American philanthropist and educator, leader in founding the Society for the Relief of Poor Widows, the Orphan Asylum Society, and the Society for Promoting Industry among the Poor.
July 29, 1846 – Sophie Menter born, German pianist and composer; one of Franz Liszt’s favorite students, she was a piano virtuoso noted for her electrifying playing style.
July 29, 1862 – Belle Boyd, Confederate spy, the ‘Siren of the Shenandoah,’ arrested after the Union officer that she had been vamping for information reported her. She aided General Stonewall Jackson the previous May by eavesdropping on the plans of Union General James Shield, and discovering the number of his troops, then riding through the night to deliver the news. After her arrest in July, she was taken to the Old Capitol Prison in Washington DC, held for a month, then released in a prisoner exchange. Boyd was arrested again in June 1863, but released after contracting typhoid fever. In 1864, she attempted to go to England, but her ship was intercepted by a Union blockade, and she was sent to Canada. There, she met a Union naval officer, and they were married in England. After his death in 1866, she became an actress on the English stage to support their daughter, but returned to the U.S. in 1869, she settled in New Orleans, married and divorced, and then married again. In 1886, she began touring the country giving highly colored dramatic lectures on her life as a Civil War spy. She died in 1900 while on tour, of a heart attack in Wisconsin, at the age of 56.
July 29, 1884 – Eunice Tietjens born, American author, poet, lecturer, WWI correspondent for the Chicago Daily News; she was also an editor at Poetry: A Magazine of Verse.
July 29, 1896 – Maria L. de Hernandez born, Latina activist, first Mexican woman radio announcer. Co-founder of Asociación Protectora de Madres in 1933, which helped expecting mothers, including providing financial aid if needed. She was a vocal opponent against injustice and inequality, speaking out for both the Mexican American and African American communities.
July 29, 1900 – Mary V. Austin born, Australian community worker and political activist; Regional Commandant of the Red Cross Society; National Vice President of the Australian Liberal Party (1947-1976); life member of the Victoria League for Commonwealth Friendship.
July 29, 1900 – Teresa Noce born, Italian labor leader, founding member of the Italian Communist Party, politician, journalist, and feminist. Noce was editor of Il Grido del Popolo (The Cry of the People), where she called for better working conditions and the abolition of the Special Tribunals used to imprison anti-Fascists. In the 1950s, she served as a member of the Chamber of Deputies, where she was aligned with Unione Donne Italiane (Italian Women's Union), advocating for broad social legislation benefiting working women. Their efforts won the passage of a law in 1950 which protected the jobs of working mothers and gave five months of paid leave to working pregnant women.
July 29, 1903 – Diana Vreeland born, fashion icon, born in Paris, started as a columnist (1936), then was fashion editor at Harper’s Bazaar until 1962, when she became editor-in-chief at Vogue (1962-1971).
July 29, 1905 – Clara Bow born, American silent film star known as “The It Girl” for her role as the spunky shopgirl in the 1927 film It, but also appeared in Wings the same year, which won the first Academy Award for Best Picture. Her films were consistent box office hits, and she successfully made the transition to talking pictures, but in 1931, she married, retired from acting and became a rancher in Nevada. She began to suffer from chronic insomnia and became socially withdrawn. In 1944, her husband was running the U.S. House of Representatives, and she tried to commit suicide, writing a note that she preferred death to a public life. She complained of abdominal pains, which were written off as delusional, underwent shock treatment and a battery of psychological tests, and was labeled schizophrenic, even though she had no auditory or visual hallucinations, considered a major symptom of the disease at the time. She checked herself out, and moved into a bungalow in Culver City, with a full-time nurse to care for her. In 1965, she died at age 60 of a heart attack. Atherosclerosis was discovered in an autopsy, a narrowing of the arteries caused by plaque buildup, which in later stages can cause kidney problems, chest pains, nausea, and arrhythmias.
July 29, 1905 – Mary Roebling born, first woman president of a major bank (1937), first woman American Stock Exchange governor (1958-1962); Roebling helped establish the first nationally-chartered bank founded by women (1978).
July 29, 1918 – Mary Lee Settle born, American author; won 1978 National Book Award for her novel Blood Tie; co-founder of the PEN/Faulkner Award for Fiction.
July 29, 1932 – Nancy Landon Kassebaum born, Republican Senator from Kansas (1978-1997), the first woman to represent Kansas in the U.S. Senate, instrumental in creation of Tallgrass Prairie National Preserve; noted for co-sponsoring the bi-partisan Kennedy-Kassebaum Health Insurance Portability and Accountability Act with Democratic Senator Edward Kennedy; was a strong supporter of anti-apartheid measures against South Africa in 1980s, and traveled to Nicaragua as an election observer.
July 29, 1936 – Elizabeth H. Dole born, American conservative Republican politician; first woman elected to the U.S. Senate from North Carolina (2003-2009), first woman to serve as U.S. Secretary of Transportation (1983-1987), also served as U.S. Secretary of Labor (1989-1990), becoming the first woman to hold two different cabinet positions, each under a different president. She was president of the American Red Cross (1991-1999).
July 29, 1940 – Betty W. Harris born, African American chemist, noted for work on the chemistry of explosives at the Los Alamos National Laboratory; patented a spot test for detecting 1, 3, 5-triamino-2, 4, 6-trinitrobenzene (TATB) in the field. Harris was chief of chemical technology for Solar Turbine Inc., where she managed the technical laboratories and investigated cold-end corrosion of super alloys, which was caused by sulfuric acid and soot in gas turbine engines. She also worked on hazardous waste treatment and environmental remediation; American Chemical Society member.
July 29, 1940 – Solita Collas-Monsod born, aka “Mareng Winnie,” Filipina broadcaster, economist, academic, and writer; Director General of the National Economic Development Authority (1986-1989); Professor Emeritus at the University of the Philippines School of Economics, where she has taught since 1963; member of the UN Committee for Development Planning (UNCDP – 1987-2000).
July 29, 1945 – Sharon Creech born, American author of children’s novels; first person to win both the American Newbery Medal, in 1996 for Walk Two Moons, and the British 2002 Carnegie Medal, for Ruby Holler; first American to win the Carnegie Medal.
July 29, 1946 – Ximena Armas born, Chilean painter, who lives in Paris; notable for the symbolism and mysterious quality of her artwork.
July 29, 1950 – Jenny Holzer born, American painter and author; she is noted as a neo-conceptual feminist artist, who works primarily on large-scale installations designed for public spaces. In 1990, Holzer won the Golden Lion at the Venice Biennale, and in 1982, she won the Art Institute of Chicago’s Blair Award. In 2018, she was elected as a member of the American Academy of Arts and Letters.
July 29, 1951 – Susan Blackmore born, British writer, lecturer and broadcaster, whose fields of research include memes, evolutionary theory, psychology, parapsychology, and consciousness; best known for her book, The Meme Machine; PhD in parapsychology – her thesis was titled “Extrasensory Perception as a Cognitive Process,” but after years of experiments, she has become a skeptic.
July 29, 1952 – Marie Panayotopoulos-Cassiotou born, Greek politician; Member of the European Parliament (2004-2009) with the New Democracy, part of the conservative-centrist European People’s Party coalition; was Vice Chair of the EP’s Committee on Petitions, and seated on the Committee on Employment and Social Affairs, and the Committee on Women's Rights and Gender Equality.
July 29, 1958 – Gail Dines born in Britain, radical feminist and academic; Professor Emerita of Sociology and Women’s Studies at Boston’s Wheelock College; an outspoken leader of the anti-pornography campaign, founding member of Stop Porn Culture, and author of Pornland: How Porn Has Hijacked Our Sexuality.
July 29, 1963 – Julie Elliott born, British Labour politician; Member of Parliament for Sunderland Central since 2010; vice-chair of the All-Party Parliamentary Group on State Pension Inequality for Women; previously a regional organiser for the Labour Party (1993-1998) and for the National Asthma Campaign and the GMB Trade Union.
July 29, 1970 – Adele Griffin born, American young adult author; she is noted for The Unfinished Life of Addison Stone; Sons of Liberty; and Where I Want to Be.
July 29, 1974 – “Philadelphia Eleven” deacons (Merrill Bittner, Alla Bozarth-Campbell, Alison Cheek, Emily Hewitt, Carter Heyward, Suzanne Hiatt, Marie Moorefield, Jeannette Piccard, Betty Schiess, Katrina Swanson, and Nancy Wittig) are ordained as the first women Episcopal priests.
July 29, 1978 – Bidisha, born as Bidisha Bandyopadhyay, the daughter of Indian emigrants; British filmmaker, broadcaster and journalist, covering international affairs, social justice issues, arts and culture, and international human rights; she’s been a contributor to The Guardian and The Huffington Post, a presenter for the BBC on Woman’s Hour, The Word, and several other programmes; author of Beyond the Wall and other nonfiction; she does outreach work in UK detention centres and prisons for the English affiliate of PEN International; in 2017, she launched her filmmaking career, directing the short, An Impossible Poison.
July 29, 2018 – A midwife training centre in Jalalabad, Afghanistan, was attacked by militants, who killed two guards and a driver, and wounded at least eight others. The attackers set off explosives and fired gunshots at the centre. One of the attackers was killed while detonating a bomb, and a second attacker was killed by Afghan security forces, who gained control after a gunfight lasting over six hours. There was no immediate claim of responsibility, but Islamic State extremists have carried out numerous attacks in the area, and the Taliban has also caused some incidents. Both groups oppose women working outside the home, and some individual midwives have been attacked before. Afghanistan has one of the highest maternal and child mortality rates in the world, and a number of centres have been opened to train midwives in recent years.
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July 30, 1751 – Maria Anna Mozart born, nicknamed “Nanneril,” older sister of Wolfgang Amadeus Mozart, she was trained from the age of seven by their father Leopold to play the harpsichord and the fortepiano. She and her brother were taken on tour. She was a talented player, and sometimes received top billing in the early days, but her career was cut short when she reached the age of 18, the age her parents considered her marriageable, at which point she was no longer permitted to perform in public. Dominated by her father, she was forced to turn down a marriage proposal from the man she loved, and was married instead to a magistrate, already twice a widower, with five children from his previous marriages. She returned to her family’s home to give birth to her first child in 1785. Her father Leopold, for whom the boy had been named, took over the infant, raising him in the Mozart household until the elder Leopold died in 1787, and the boy was finally returned to his mother. After her husband died in 1821, she returned to Salzburg, with her two children and four of her stepchildren, to work as a music teacher. In 1825, she became blind, and died in 1829 at the age of 78. Though she and her brother had been very close in childhood, their last visit was in 1783, and she received his last letter to her in 1788, three years before he died.
July 30, 1818 – Emily Brontë born in Yorkshire, English novelist and poet, best known for Wuthering Heights. She and her sisters Charlotte and Anne had their first book published, a volume of their poetry, using male pennames, calling it Poems by Currer, Ellis and Acton Bell, to slip past the prejudice against female writers. It only sold two copies, so they switched to writing novels.
July 30, 1852 – Emma Gillett born, American lawyer and women’s rights activist, co-founder of the Washington College of Law, the first law school founded by women.
July 30, 1893 – Fatima Jinnah born in British India, dental surgeon, biographer, stateswoman and one of the founders of Pakistan; she was a close advisor of her older brother Muhammad Ali Jinnah, who would become the first Governor General (1947-1948) of the new nation, and was a leading member of the All-India Muslim League; after independence in 1947, she co-founded the Pakistan Women’s Association which did much to help the resettlement of women migrants. But after her brother’s death in 1948, she was banned from speaking on the radio until 1951, and her radio address to the nation then was heavily censored by Liaquat Ali Khan’s administration. She wrote a biography of her brother in 1956, but it wasn’t published until 1987 because of censorship, and accusations that she had written ‘anti-nationalist material.’ Even when it was finally published, several pages were left out. She came out of political retirement in 1965, to run for president against the military dictator Ayub Khan, but the military rigged the election. When she died in 1967, rumors spread that it was not a natural death, and her family demanded an inquiry, but the government quashed any inquiry. Honored by the people for her support of civil rights, her funeral was attended by almost half a million people. She is often referred to as Māder-e Millat (Mother of the Nation).
July 30, 1939 – Eleanor “Ellie” Smeal born, women’s rights activist, co-founder and president of the Feminist Majority Foundation (1987) and publisher of Ms. Magazine, president of National Organization for Women (1977-1982 and 1985-1987).
July 30, 1940 – Pat Schroeder born, Democratic politician, U.S. Representative from Colorado (1973-1997), first woman to serve in U.S. Congress from Colorado; first woman on the House Armed Services Committee. She was a prime mover behind the Family and Medical Leave Act of 1993, and the 1985 Military Family Act. She briefly ran for U.S. President after Gary Hart dropped out of the 1987 race, but was derailed when she teared-up during a speech, instantly branding her as “weak,” even though male candidates doing the same thing were praised for showing their feelings. She was an advocate of stronger copyright laws, and after leaving the House of Representatives, she became President and CEO of the Association of American Publishers (1997-2008). Now retired in Florida, she is on the board of the League of Women Voters of Florida. Schroeder was named to the National Women’s Hall of Fame in 1995.
July 30, 1942 – Pollyanna Pickering born, English wildlife artist and environmentalist ; conservation partner to the government of Bhutan; she went on expeditions to study animals in their natural habitat; founder of the Pollyanna Pickering Foundation, which fundraises and campaigns for animal welfare and conservation.
July 30, 1942 – President Franklin Roosevelt signs bill creating a women's auxiliary agency in the Navy known as Women Accepted for Volunteer Emergency Service (W.A.V.E.S.).
July 30, 1947 – Françoise Barré-Sinoussi born, French virologist and Director of Unité de Régulation des Infections Rétrovirales (The Regulation of the Retroviral Infections Division), and a Professor at the Institut Pasteur in Paris. Best known for her pioneering work identifying the human immunodeficiency virus (HIV) as the cause of AIDS. She and Luc Montagnier jointly received the 2008 Nobel Prize in Physiology or Medicine for their work in the discovery of HIV. She has served a consultant for the World Health Organization (WHO) and the UNAIDS-HIV, and initiated collaborations with developing countries and multidisciplinary networks to pool resources and share information. In 2012, she became president of the International AIDS Society.
July 30, 1948 – Julia Tsenova born, Bulgarian composer and pianist. Noted for symphonic and chamber music, as well as choral works. Her interest in ancient Eastern philosophies, particularly Indian philosophies, has been an influence on her compositions. She died of cancer in 2010.
July 30, 1949 – Dame Sonia Proudman born, judge of the High Court of England and Wales in the Chancery Division (2008-2017); Deputy High Court Judge (2001-2008); became a Bencher in 1996, and was a Recorder in 2000. Proudman was called to the Bar in 1972, after being one of the first women to win an Eldon Law Scholarship to study for the English Bar, awarded to University of Oxford students who earned either a first class honours degree in the Final Honours School, or a distinction on the BCL or MJur (academic degrees in law).
July 30, 1950 – Harriet Harman born, British solicitor and Labour Party politician; Member of Parliament for Camberwell and Peckham since 1982; Harman holds the current record for the longest continuously-serving woman MP in the House of Commons. She was Deputy Leader and Chair of the Labour Party (2007-2015); Acting Leader of the Opposition in 2015.
July 30, 1956 – Anita Hill born, American lawyer and academic, professor of social policy, law, and women's studies at Brandeis University and a faculty member of the university’s Heller School for Social Policy and Management. She became a national figure during the 1991 U.S. Senate hearings on Supreme Court nominee Clarence Thomas when she testified that he had sexually harassed her as her supervisor at the U.S. Department of Education and the Equal Employment Opportunity Commission (EEOC). Though initially pilloried for her testimony, public opinion began to shift in her favor as time passed. Congress passed a bill later in 1991 that gave harassment victims the right to seek federal damage awards, back pay, and reinstatement, signed into law by President George H W Bush. By 1992, harassment complaints to the EEOC were up by 50%. Private companies started training programs to deter sexual harassment. The manner in which the all-male Senate Judiciary Committee challenged and dismissed Hill's accusations of sexual harassment angered female politicians, lawyers and feminists. According to D.C. Congressional Delegate Eleanor Holmes Norton, Hill's treatment by the panel was a contributing factor to the large number of women elected to Congress in 1992. "Women clearly went to the polls with the notion in mind that you had to have more women in Congress," she said. In their anthology, All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave, editors Gloria T. Hull, Patricia Bell-Scott, and Barbara Smith described black feminists mobilizing "a remarkable national response to the Anita Hill-Clarence Thomas controversy.”
July 30, 1956 – Soraida Martinez born, American abstract expressionist painter and designer of Puerto Rican descent; she is the creator of the art movement, Verdadism, which juxtaposes figurative abstract paintings with written social commentaries.
July 30, 1960 – Jennifer C. Barnes born, American-English musicologist, university administrator, opera singer and a leading authority on composers Gian Carlo Menotti, Thea Musgrave and Ethel Smyth. In 1999 Barnes established a Leverhulme research partnership between Imperial College, Manchester University and the Royal College of Music. Seeing the potential in wireless EEG biofeedback, she designed a program to analyze the role of alpha, beta and theta waves in musicians and dancers under performance stress. Subsequent findings have been integrated into the curricula of performing arts institutions worldwide.
July 30, 1964 – Laine Randjärv born, Estonian Reform Party politician; Minister of Culture (2007-2011); Vice-President of the Riigikogu (Parliament) since 2011; Mayor of Tartu (2004-2007); Deputy Mayor (2002-2004).
July 30, 2018 – Sexual abuse of vulnerable women and girls by international aid workers is "endemic" and has been happening for years, with perpetrators easily moving around the sector undetected, according to a scathing report by the UK House of Commons International Development Committee. Alleged abuses included sexual harassment, withholding food and supplies sent as aid to extort sex, and rape. The inquiry heard "horrifying" stories of aid staff sexually exploiting the very people they were meant to be helping, including a homeless girl in Haiti who was given $1 by a worker for a nongovernmental organization (NGO) and then raped. Several top NGOs were implicated in the growing scandal, including Save the Children and Oxfam. United Nations workers have also been accused of sexual exploitation.
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July 31, 1811 – Jane Currie Blaikie Hoge born, American nurse, welfare worker; fundraiser for the Union war effort; Chicago Home for the Friendless founder; Chicago Sanitary Commission co-administrator during U.S. Civil War; her Civil War memoir is The Boys in Blue.
July 31, 1816 – Lydia Moss Bradley born, businesswoman and philanthropist, managed her own fortune after the death of her husband, successful in real estate and banking, endowed the Bradley Polytechnic Institute, first woman member of a national banking board; she was the first American woman known to have drawn up a prenuptial agreement to protect her assets.
July 31, 1831 – Sarah J. Thompson Garnet, American suffragist and educator, first African American woman school principal in the New York City public schools, founder of the Equal Suffrage League in Brooklyn.
July 31, 1833 – Amelia Stone Quinton born, American social activist, advocate for Native American rights, a founding member of the Women’s National Indian Association.
July 31, 1858 – Marion Talbot born; when she had difficulty gaining admission to Boston University in spite of her father being the dean of its School of Medicine, she became a tenacious supporter of higher learning for women, and campaigned against efforts to restrict equal educational opportunities. She was Dean of Women at the University of Chicago (1
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https://urban.aphrodite.mywire.org/getting-to-know-greek-cinema-films-and-history/
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In this resource page, I explore and share an overview of Greek film and cinema. While this topic is not a central urban issue, film and creative industries flourish in urban environments, and in turn may shape urban life. Rather than stretch this justification, I will just admitted that I am curious about this topic and wanted to share it, so I am using this platform. But I do summarize some research that specifically focuses on Greek cinema and urban issues.
Before digging into the research on Greek cinema, this is all I knew about Greek films:
Black and white comedies from the 1950s, colorful musicals and movies featuring Greek beaches from the 1960s-1970s (I watched a couple of these), Zorba the Greek (1964), Never on a Sunday (1960), Z (1968) and A Touch of Spice (Politiki Kouzina, 2003).
A recent conversation with my friend’s teenage daughter inspired me to learn about the history and evolution of films in Greece and share what I learned. My friend’s daughter (also my friend of course) has lived in the U.S. for a few years after spending most of her childhood in Greece. Recently she re-discovered classic Greek films, particularly the black and white comedies from the 1950s. When she told me this, I immediately recalled the summer a few years ago when I watched several of these films. Later that year, I moved to Greece and watched several colorful, extravagant classic Greek films from the 1960s and 1970s, including a couple musicals: A Greek Woman in the Harem (Μία Ελληνίδα στο Χαρέμι, 1971, by Giannis Dalianidis) and My Aunt the Hippie (Η Θεία Μου η Χίπισσα, 1970, by Alekos Sakellarios). They were so extravagant, festive and cheery that I found it surprising that they were filmed during the years Greece was under a military dictatorship. At the time, I could not find a full overview of the history of the Greek film industry to explore why this might be. My young friend’s interest in classic Greek films rekindled my curiosity about Greek cinema. Why do the movies of the 1950s-1970s seem to be the most prolific and popular, or most broadcast on Greek television to this day? Were there any popular films after the 1970s? How did extreme political events affect film production in Greece?
Recent developments spark further questions about how Greek cinema evolved and changed. Films by Greek directors and producers have been gaining international acclaim. For example, Yorgos Lanthimos works with famous Hollywood actors and has received Academy Award nominations for his films. During the pandemic, Greece began priding (and praising) itself for opening up to serve as a location for major Hollywood productions, especially Thessaloniki. At the same time, however, people in Athens are rallying to save key historic cinemas (Astor and the Ideal) from redevelopment into hotel and office spaces – with the same Greek directors of internationally acclaimed films, like Lanthimos, joining their efforts. There appears to be a contradiction between Greece’s pride and support of filmmakers and filmmaking on the international arena and a seeming disregard for its few remaining historic cinemas even in the heart of Athens.
To follow my curiosity, I did some research to learn about the history and evolution of Greek cinema. I like to share what I learn, so this resource page is for anyone who is just discovering Greek films or is curious about the topic.
This is an introductory resource, rather than an analysis, or critical analysis, because as I mentioned, I am still learning about Greek cinema, and I have only seen a few films. I hope this provides an interesting overview and inspires people who may want to do their own further research and analysis on Greek cinema in general or on various specific aspects of this cinema.
I consider this a first edition, and as I learn more, I hope to update it in a second edition.
The main sources I used are:
a 2002 article by Dan Georgakas,
Stratos E. Constantinidis’s introduction to a special issue of the Journal of Modern Greek Studies in 2000,
Vrasidas Karalis’s 2012 book A History of Greek Cinema, and
the 2012 volume Greek Cinema: Texts, Histories, Identities edited by Lydia Papadimitriou and Yannis Tzioumakis.
I cite many more sources throughout. Refer to these works for more detailed information and in-depth research and analysis. The sources available for most of the 20th century are inadequate. According to Georgakas and Constantinidis, the majority of studies on Greek film and cinema were published beginning in the 1990s, and some were incomplete or had errors.[1] Most of the resources I found and refer to here are published after 2000.
In the sections that follow, I first describe what I consider ‘Greek film’ or ‘Greek cinema’, because this can include or exclude different things, and it has been used differently in some books and articles. I then provide a brief overview of the relevant political, economic and social developments in Greece since the arrival of film. While I try to keep this overview short, I elaborate more on some of the events or periods that receive less attention in public discussions, online English-language descriptions of Greek history, or even in academic research, including the civil war. This is followed by the overview of the evolution of filmmaking and cinema in Greece, and finally, sections that focus on women and queer representation in Greek cinema.
What is Considered Greek Film or Greek Cinema?
“A national cinema is fashioned on the desire to summon the nation on film.” – Philip E. Phillis (2020, p. 16)
It is important to recognize that Greek film and cinema may include Greek-language films made for Greek audiences by directors of Greek origin (living in Greece or Greek diaspora filmmakers living abroad) as well as films with a Greek theme made by Greek diaspora or non-Greek directors for international audiences. Phillis (2020) shows that as Greek society became more transnational after decades of Greek people emigrating, Greece’s integration in the European Union, increasing international co-productions, and new waves of people arriving since the early 1990s, Greek cinema should also be recognized as transnational and include for example Albanian directors living and/or filming in Greece.
An overview of the political, social and economic context in Greece
The evolution of filmmaking and the film industry from the beginning of the 20th century was affected in many ways by dramatic events and changes in the political, social and economic context in Greece and the country’s international relations and position. These circumstances influenced filmmakers and the interests and behaviors of audiences and they affected the development of the film industry. I provide a brief overview of this context and will refer back to it while discussing specific developments in Greek cinema.
As the 20th century arrived, Greece was in the process of forming as a nation state and still under the influence or control of foreign powers. Greece was under the rule of the Ottoman Empire for almost 400 years until the Greek revolution in 1821 when it began gaining its independence and becoming a formally recognized nation state, the Hellenic Republic. Still, in those early years the so-called Great Powers of Britain, France and Russia installed a Bavarian Prince to rule Greece as king.
The early part of the 20th century was, as historian Mark Mazower called it, a time of “nation-making through force” (2004, p. 331). In the first years of the 1900s, northern Greece and many islands, including Crete, were still under direct Ottoman control, revolts and battles with the Ottomans and with Bulgaria continued, and the Great Powers influenced the evolution of the emerging Greek nation’s borders and its governance, external relations and financial affairs. Thessaloniki and Macedonia in northern Greece were not liberated and annexed to the Hellenic Republic until 1912-1913. World War I was a part of the violent ending of empires, including the Ottoman Empire. The struggles over borders for newly independent nation states like Greece continued through this war and its aftermath, including the international treaties that followed.
As WWI began, there was a significant political divide in Greece between the royalists that supported King Constantine I, and Eleftherios Venizelos who led the liberal party and was elected Prime Minister in 1910. The royalists were siding with the Germans, so the British and the French forced Constantine I to leave the country in 1917 and Greece officially entered the war allied with the Entente (the Allies).
The interwar period (1918-1939) was a time of monumental change for the population and society in Greece. Armed conflict and battles between Greece and the Turkish National Movement continued from 1919 to 1922 as Greece tried to gain back ancestral territory in Asia Minor while the Allies were still partitioning the Ottoman Empire. The 1922-1923 Asia Minor Catastrophe involved a mandatory, violent and traumatizing exchange of populations between Greece and the newly forming nation of Turkey, formalized in the Convention Concerning the Exchange of Greek and Turkish Populations and the Treaty of Lausanne (signed 1923). Even before this unprecedented mandated population exchange, voluntary exchanges, expulsions and discussions about population exchanges were occurring since 1913 (Mazower, 2004). The mandatory and forced exchange uprooted the lives of the Christian population of Turkey and the Muslim population of Greece. An estimated 350,000-400,000 Muslims were displaced from Greece, and between 1.3 and 1.5 million displaced people arrived in Greece, amounting to over 25% of the total population. This had significant implications for housing, labor, social relations, land use policy and urban transformations. It also fueled an ongoing debate about ‘Greekness’, infused with pain and a persistent focus on who does not belong.
Rural migration and the arrival of refugees from Asia Minor shaped the early urbanization developments in Greece. Athens and other smaller cities needed permanent settlements for workers arriving from rural areas and temporary or permanent settlements for refugees. As a result, the concept and practice of the state playing a role in housing and settling certain socio-economic segments of the population emerged at this time. The first town plans of many current cities were drawn up, but the foundation for unplanned and uncontrolled construction and urban sprawl was also established as the government struggled to facilitate the housing needs of a rapidly changing and growing population. (Gizeli, 2009)
Political instability, including coups and dictatorships, occurred throughout the interwar period. The monarchy was abolished via a referendum in 1924, but from 1924 to 1928, 11 coups and three general elections “produced no less than 10 prime ministers” (Georgakas 2002, p. 3) and the dictatorship of General Theodoros Pangalos from 1925-1926. Political turmoil, corruption and labour unrest continued. In 1935, a royalist took power after a coup, held a rigged referendum, and restored a monarch (King George II). This monarch then enabled a dictatorship under General Ioannis Metaxas from 1936-1941.
During World War II, German, Italian and Bulgarian Axis forces occupied Greece, and Greeks had a strong but internally divided resistance movement that included a communist and left-wing branch and an anti-communist branch. At the end of WWII, 3,742 villages and 183,717 houses had been totally or partially destroyed (Van Boeschoten, 2014, citing Voglis, 2009, p. 98) and “23% of all buildings had been seriously damaged (Karadimou-Yerolympou, 2009)”.
After WWII, Greece descended into a brutal Civil War from 1943-1949 (officially beginning in 1946). Communist and left-oriented groups fought against the government of the (then) Kingdom of Greece and Greek royalists even before WWII and the Axis occupations ended. In November 1944, the government published a law to prosecute Axis occupation collaborators, but in early December Greek police fired on a rally in central Athens demanding the punishment of the Security Battalions (established by the collaborationist government to help the Nazis). They killed 28 people, mostly youth. British troops were present, as the British were tied to the Greek monarchy, and some thought they joined the Greek police in firing (Pritchard, 2015, citing André Gerolymatos). This event sparked a series of armed clashes over the next weeks, known as the Dekemvriana (‘December events’), with British military forces now actively involved (even bringing in tanks and conducting air raids). It ended with the leftists agreeing to disarm and disband, but the Greek government was emboldened to turn on communists and leftists. It began persecuting and sentencing them more extensively and more harshly than local Nazi collaborators, even using the collaborationist Security Battalions to fight them, and purged them from the civil service. In 1945, collaborationist ministers and the wartime head of the Special Security police that were on trial became defiant and claimed ‘defending the state against communism’ to justify their collaboration with the Germans. Right-wing paramilitary groups and the National Guard became emboldened to increase violence in the provinces. With thousands of assaults and more than 1,200 murders, this wave of right-wing violence throughout 1945 became known as the ‘white terror’ (Mazower, 1995, pp. 273-274). Communists and suspected leftists fled to the mountains and launched attacks against government forces and supporters across Greece in 1946. The communist party was publicly calling for reconciliation in the form of a general amnesty and an all-party conference, but the conservative government, army, Guard and police refused (Mazower, 1995). A referendum in September 1946 again brought back the King.
Atrocities were committed by all sides throughout the extended civil war (Siani-Davies & Katsikas, 2009). Through this conflict, an estimated 60,000-80,000 people lost their lives, 700,000 people (10% of the population) were displaced mostly from the countryside and into poverty in and around cities (Van Boeschoten, 2014, citing Laiou, 1987, p. 98), 286,000 houses were destroyed (Van Boeschoten, 2014, citing Karadimou-Yerolympou, 2009, p. 98) and three quarters of schools were destroyed. Torture, rape, sexual violence, and the threat of rape were used during and after the war as a political strategy to repress and politically discredit women leftist partisans and activists, to create social chaos in communities through stigmatization, and to maintain patriarchal nationalism. Slavic-speaking women were especially targeted, and juvenile political detainees were also interrogated and tortured through sexual abuse (Stefatos, 2012).
In the decades following the civil war, the divisions and traumas of the war were kept alive through institutional persecution of communists and leftists and leftist ideology, the people and politics remained polarized, and while the country was developing as a democracy, it still had a European king. The monarchy was not abolished until after the military dictatorship (1967-1974), under the conservative government of Constantine Karamanlis. The communist party had been banned before the wars, in 1936 by the Metaxas dictatorship, and was not legalized until the fall of the military dictatorship.
At the end of the civil war conflict, 18,000 people remained political prisoners and 31,400 people were in exile on inhospitable islands or abroad or in ‘reformation camps’ (Van Boeschoten, 2014, citing Voglis 2002, p. 98), and 140,000 people left the country (Van Boeschoten, 2014, citing Close, 1995, p. 98). In the first years after the war, relief financing from foreign aid (UN and US) strengthened the conservative government, as distribution of aid goods was run by the Greek government and supportive local elites (Van Boeschoten, 2014). There was a long period of political repression and persecution of communists and leftists and their relatives, and many Greeks were excluded from fundamental freedoms and public life. Laws deprived people of property, citizenship, pensions, employment and civil liberties for being leftist participants in the resistance against the Axis occupation or for ‘antinational behavior’. The persecution extended to entire families and communities with relatives being blocked from access to work, pensions and higher education (Mazower, 1995). In 1947, mass internment camps were established, where political prisoners endured hard labour and torture (Voglis, 2004) and the government introduced loyalty statements and police certificates that were used to intimidate and shame people, enforce ideological submission, and purge leftists from employment and education. At the same time, former Security Battalionists were incorporated into the army and National Guard, and most people charged with collaboration were acquitted or released before trial (Mazower, 1995). Extremists, or secret right-wing militias linked to the state, police and military, grew so brazen that in May of 1963, they assassinated the pacifist politician Grigoris Lambrakis in Thessaloniki, sparking massive demonstrations. A new constitution in 1952 was supposed to safeguard civil liberties, but emergency laws and measures from 1946-1951 remained in force under parliamentary resolution enabling continued discrimination and exclusion (Van Boeschoten 2014 and Mazower 1995, referencing Alivizatos, 1986). Pressure to change civil war legislation began in the early 1960s, though there was still clear resistance (Mazower, 1995). The more liberal government of Georgios Papandreou released most remaining political prisoners and encouraged public discussion of the war, but still demonstrated censorship and was opposed by hardline conservative and extreme right elements in state institutions. In this environment, there were confrontations and clashes at public commemoration and celebration events (Mazower, 1995).
This institutional persecution amounted to collective punishment and a form of “political apartheid” (Close, 2004, p. 259). This lasted nearly three decades, and some regard this as the “permanent civil war” (Voglis, 2002).
Even children were deliberately and traumatically used in the political, nationalist and propaganda strategies of the civil war and its aftermath. An estimated 20,000 to 28,000 children (about half from Slav-speaking families) were evacuated from northern Greece to Eastern Europe by the Greek Communist party, claiming this was for their protection and education, while the government and monarchy considered it a mass abduction (Siani-Davies & Katsikas, 2009; Van Boeschoten, 2014; Van Steen, 2019), though many parents did give their children for evacuation (Van Steen, 2019). This is referred to as the paidomazoma (‘collection of the children’). In a competing effort, the queen (wife of the monarch restored in 1946) with the Greek state set up 52 child towns (paidopoleis) that gathered about 18,000 children that were orphaned, poor, or whose leftist parents were imprisoned or exiled to ‘save them’ from communism and to Hellenize those from Slavic-speaking villages and eradicate their Macedonian dialect (Van Boeschoten, 2014; Van Steen, 2019). There is an emerging consensus that the queen and the government began institutionalizing children first (Van Steen, 2019). The queen’s role expanded from setting up these nationalist child towns to involvement in the country’s new child welfare system taking shape during the war (Greek legislation concerning adoptions and the first Greek school for social work were established in 1946). The queen helped shape the emerging child welfare system into an autocratic system that would, throughout the 1950s, focus on getting children adopted overseas rather than developing domestic support services for families, children and unwed mothers. The overseas adoptions, especially to the United States, were interwoven with the monarchy and the government’s efforts to attract aid and investments, and with the evangelical anticommunist movements emerging in the US calling for intercountry adoption to “save” children (Van Steen, 2019). The queen’s involvement also reinforced the politicization and anticommunist motivations of the child welfare system (Van Steen, 2019). When the war ended, the government initially allowed children in Eastern Europe to return to Greece, but then changed its position as many returned “with positive reports”, “were Slavic-speaking children who had developed a Macedonian national identity” (Van Boeschoten, 2014, p. 104, citing Lagani 1996; Ristovic 2000) and it feared the older children would be returning as communists (Van Steen, 2019).
There was no real reconciliation after the devastating and traumatizing war decade of the 1940s in Greece. There was a reconstruction of the state and its political and governance institutions but for decades, the identity of the nation (the delineation of who does and does not belong) and social relations within local communities and in society overall were subjected to divisions and exclusion reinforced by political elites, state institutions, the hardcore Right and foreign powers (Van Boeschoten, 2014). If we understand post-conflict reconciliation as “a total restoration of social trust between former enemies, based on a shared knowledge of past events and on a mutual recognition of both the wrongdoings of one’s own side and the suffering of the other” (Van Boeschoten, 2014, p. 96) and “the public recognition of collective trauma” (p. 113) which is the basis for truth and reconciliation commissions and efforts in South Africa (post-apartheid) and Rwanda (post- brutal conflict), there was no post-war truth and reconciliation in Greece.
Creating shared knowledge or a shared narrative entails remembering, forgetting, and absencing – intentionally silencing or restricting information in an effort to forget it (Monteil et al., 2020). The Greek governments actively absenced information and memories of the resistance, the civil war and the subsequent persecution of the Left. Partisan groups routinely destroyed the files and records of opposing sides, but the most brazen case of official government absencing occurred in 1989 when a newly elected conservative government, in agreement with a communist and leftist coalition party, burned nearly 17.5 million surveillance files on leftists formerly suspected by the police (despite the existence of a law about preserving public records). The files dated from the 1930s to the 1980s. The Communist party wanted the files destroyed to ensure there would be no further intimidation and persecution, the conservative government claimed the destruction was necessary to assure the public that citizens would not be monitored like that anymore and to assure police informers that they would not be exposed. Representatives of the PASOK socialist party protested the burnings in many locations, many members of resistance groups protested, and academics signed an open letter of protest against the erasure of the archive of 50 years of state repression and information about the national resistance and civil war (Close, 2004).
Memories were kept alive by the various sides (for example, by veterans associations) but Greek party alignment and public opinion remained divided along the 1940s partisan lines well into the 1980s (Close, 2004). Radio and television (under a state monopoly until the late 1980s) avoided recent history. Academic discussions and publications about the wars and the resistance in the 1940s were not possible in Greece until after the fall of the military dictatorship in 1974 (Mazower, 1995; Close, 2004). For information, people had to seek out memoirs, newspaper articles, academic studies and films that only emerged after 1974 (Close, 2004). For decades, the civil war was not mentioned in school textbooks, or it was mentioned with an anticommunist lens, or mentioned but not taught (Close, 2004).
In April 1967, a right-wing group of colonels carried out a coup d’état and established a junta, or military dictatorship that lasted until 1974. This coup was a reaction to a growing demand for a more liberal society and government in the early 1960s. These were years where socioeconomic changes, urbanization, coming of age of younger generations, and broader socio-political trends helped embolden people to challenge social taboos, and raise controversial social issues in public life, art, movies and their political demands. A women’s rights movement was active and becoming more organized at this time (more on this in the Women in Greek Cinema section). The more liberal centrist government of Georgios Papandreou (1963-1965) declared it would struggle against the far-right and promoted liberalization policies for more democratic governance, including removing some of the persecution measures against leftists (Siani-Davies & Katsikas, 2009).
The colonels of the junta suppressed civil liberties, suspended democratic governance and imprisoned, tortured and exiled political opponents, particularly communists and leftists, but they enacted populist economic policies, welcomed funds from foreign entities and corporations, allowed Western film and music (with some censorship for political themes), and encouraged a growing tourism industry.
The junta ended in 1974 after a series of events and developments: the regime’s violent actions on November 17, 1973 to suppress the massive student strike and sit-in at the National Technical University of Athens, or Polytechnic (they rolled a tank through the gates and 24 people were killed); the divisions and power struggles among hardliners and those that wanted some reforms grew; and the Turkish invasion of Cyprus following the junta-sponsored Cypriot coup d’état overthrowing the president. The colonels were arrested and brought to trial for high treason by the new government in a mass trial staged at a prison and televised. The leaders were sentenced to death, but later the sentences were commuted to life in prison. There was a second trial for the events of the Polytechnic uprising, and a third for the torturers. These militarized and theatrical trials were rushed and the verdict was that the crimes happened over two days at the beginning of the coup. This prevented further prosecution of collaborators and there was no public, inclusive process to work through, acknowledge, punish or reconcile all the abuses, oppression, and trauma of the dictatorship years. In 1990, the Greek government planned to grant amnesty to the junta principles, but dropped it after backlash.
It took the occurrence of a military dictatorship in ‘the cradle of democracy’ that ended only after it interfered and triggered a Turkish invasion in another nation (Cyprus) for a sort of political and politicized reconciliation to be discussed and debated openly in politics and electoral campaigns. Political leaders and parties used the term reconciliation symfiliosi (reconciliation), but it meant different things to different parties (Siani-Davies & Katsikas, 2009). Even newspapers detailed the events of the civil war, but in context of political campaigns (Close, 2004). In the 1981 general election, PASOK used the term reconciliation to refer to recognizing the role of the Left in the resistance during WWII and undoing the official persecution of the Left. Political reconciliation was a theme of the general election in 1989, but the New Democracy party used it with calls for katharsis (cleansing the political system from PASOK scandals) to attack PASOK (Close, 2004). All this may be attributed more to the political players finally seeing the necessity for an inclusive electoral democratic system than a commitment to honest, deep reconciliation (Siani-Davies & Katsikas, 2009). As a result of parties politicizing the process of recognizing some of the events of the past (including the Left’s role in the national resistance) and overturning the laws of persecution and exclusion, painful subjects were exposed and many differing points of view, memories and interpretations of the past were expressed in public (Close, 2004; Siani-Davies & Katsikas, 2009). But there was no process to come to any shared truth or collective healing, or to right the wrongs of the past and commit to social justice.
The 1960s and 1970s were decades of mass emigration, with more than one million Greeks moving to Western Europe, the U.S., Australia and Canada (Pratsinakis, 2022). At the same time, from the 1950s through the 1970s, there was rapid and largely unplanned urbanization and construction (encouraged during the junta) though public expenditure for urban infrastructure was inadequate. The population of metropolitan Athens more than doubled during these three decades and by 1981, the number of cities with populations over 100,000 jumped from three to six (Economou et al., 2007). The key features of this post-war land policy were the predominance of small land plots, the extensive scope of unauthorized construction that expanded town boundaries and urban sprawl, and the weakness and ineffectiveness of urban, land use and spatial planning and regulation by the government (Economou et al., 2007). During this period of urbanization and construction, the living conditions of many Greeks improved and purchasing power increased.
In 1981, Greece officially joined the European Community that went on to become the European Union (EU). (Greece adopted the euro in 2001). Yet throughout the 1980s Greece was still the most polarized country of the European Economic Community (EEC) according to polls – political elites, party leaders and even Church leaders were in large part people who had taken an active part in the civil war (Close, 2004).
The socialist party PASOK was elected to power from 1981 to 1989 at the leadership of Andreas Papandreou. In 1982, it passed a law providing official recognition to the national resistance, and Papandreou delivered a speech in parliament about recognizing the National Resistance groups of various political ideologies (New Democracy deputies walked out). In 1983, a ministerial decree annulled many past decrees that deprived the leftists of the 1940s of their political rights, and two years later, Law 1543 restored pension rights to public servants formerly dismissed for political reasons and provided pensions to disabled or partly disabled veterans of the resistance. Also in 1983, Papandreou allowed ethnic Greeks from former Soviet Union republics in central Europe and central Asia to ‘return’ to Greece. This included people that fled Greece as political refugees during the Civil War and historic ethnic diaspora Greeks that lived there for generations (Pratsinakis, 2021). The return excluded former Greek citizens who spoke Slav Macedonian and lived in northern Greece (during the 1940s at least 30,000 fled to Yugoslavia, while others were expelled or forcibly relocated by Greek authorities trying to suppress their existence since 1920s or earlier) (Mazower, 1995). But for “Greeks by race” (ellines to genos), the invitation was unconditional, resulting in large numbers of people arriving in Greece. Many were newcomers, as they never lived in Greece previously and did not speak the language. By 1993, an estimated 120,000 people arrived from these areas, and they continued arriving through the 1990s (Voutira, 2004). The government gave the repatriated Greeks financial assistance and incentives to build houses in agricultural areas in northern Greece and in satellite villages around the big cities, but it did not expect the large numbers, so the settlement policies and experiences were not well planned or thought through. The arrival of large numbers of newcomers, even if they were ethnic Greek, and the support they received from the government resulted in tensions and resentment with the local population and renewed debates about “Greekness”, or who is Greek and who belongs.
At the same time, as communist regimes collapsed and to escape the genocide in the former Yugoslavia, more people migrated to Greece from the Balkans through the 1990s, beginning with large numbers of Albanians after the collapse of the communist regime there in 1991. People also began arriving from the Middle East, Asia and Africa, whether to remain in Greece or continue to other European countries. Greece remained restrictive towards immigration of non-Greeks, even as it benefited from the labor of large numbers of Albanian and other migrants, adding to the tensions and heightened focus on difference and division. Cities and large towns started to become more diverse and multicultural, though tensions, xenophobia and conflicts continued and to this day a sense of belonging is still slow to develop for long-time immigrants and newcomers.
In 1989 there was again political instability, with two elections resulting in hung parliaments, and in the election the following year, a conservative government under Constantine Mitsotakis took office with only a one-seat majority.
From the late 1990s into the early 2000s, Greece superficially and temporarily benefited from European Union funding and economic activity that exploited the cheap labour of migrants. This period culminated with Greece welcoming athletes, visitors, volunteers and attention from around the world as it hosted the 2004 Summer Olympics in Athens. However, underlying problems remained: political corruption, clientelism, dysfunctional democratic institutions, societal conflicts, reliance on European funds that were often wasted and misused, and already-declining industry, especially in and around Thessaloniki.
Beginning in 2009, Greece went through a sovereign debt crisis, triggered by the 2007-2008 global financial crisis and the revelation that the government debt was more than was reported in previous years. This led to severe austerity measures, bailout loans and control of government decisions from the International Monetary Fund (IMF), the Eurogroup of the EU and the European Central Bank (ECB). These measures created and exacerbated economic, political and social problems in Greece and created an era of depression with high unemployment, especially for youth.
Another wave of increased migration flows began in 2015, with mostly refugees and asylum seekers from Syria, Iraq and Afghanistan fleeing conflict and persecution. The number of people arriving in Greece increased dramatically that year (Greece recorded about 880,000 arrivals in 2015) as more people crossed the Aegean Sea by boat from Turkey to Greece, in part because it became more difficult for people to travel from North Africa to Italy. Most arrived on Greek islands, particularly Lesvos, and the government created camps throughout Greece, mainly just outside of cities and towns. The urgent needs of the people arriving and Greece’s limited capacity to provide them with basic needs and process their asylum applications as it was still under austerity measures brought in the presence of many international humanitarian organizations. This situation inspired many solidarity, social cohesion and multi-cultural initiatives, though there were also public attitudes of hostility and intolerance expressed as perceived economic threat as well as racism and Islamophobia. The situation was also highly politicized by political parties, elites and media. (Kousis, Chatzidaki & Kafetsios, 2022)
The History and Evolution of Greek Film and Cinema
The history and evolution of Greek cinema began with the arrival of the first film projections in 1896 and evolved with different phases, often influenced by changes in technology and developments in international production and the by political, social and economic context in Greece. Researchers divide this history into overlapping periods in different ways, but I use Constaninidis’s (2000) approach and divide this history into five periods that align with the quarters of the last century and first part of this century.
First period – Turn of the century through 1920s
In 1896, moving pictures arrived in Greece. Through her research in the Greek press, Delveroudi (2022) found that “the first Athenian film exhibition [of short silent clips] took place November 28, 1896, in a hall specifically rented for that purpose, before an audience of journalists and scientists” (p. 85), and they were open to the public the next day. Delveroudi (2022) explores how films arrived in Athens, how the business of Greek cinema developed and the transnational factors that shaped these developments from 1896-1908.
In 1905, the Manakia brothers made the first known Greek film, The Weavers (Gyanikes pou klotoun). They were in Abdela, near Grevena in northern Greece, which was still part of the Ottoman Empire until it was annexed to Greece in 1913. This was a multi-ethnic environment and the brothers spoke several languages. They are more appropriately considered Balkan filmmakers, as they produced films throughout that region of Southeast Europe. Today they are claimed as the first cinematographers of six countries across the region, including Greece, Yugoslavia, North Macedonia, Romania, Turkey, and Albania (Delveroudi, 2022).
In 1910, Spiros Dimitrakopoulos founded the first production company in Athens, and formal movie theaters opened in Athens and Smyrna. By 1923, film studios opened in Patras and Thessaloniki, and later in other cities (Karalis, 2012).
In 1914, the first Greek feature film, Golfo, was written and directed by Konstantinos Bahatoris. Georgakas (2002) described this as “a kind of Romeo and Juliet in a Greek mountain setting”. It was very influential, with remakes in 1932 (the first Greek talking picture) and 1955.
From 1906 to 1920, filmmakers made short “journal” films that celebrated the Olympic games, King Constantine, and archaeological sites, or focused on current issues in the Balkans (Georgakas 2002).
1918 – The studio Dag-Film was founded and began producing history films, operettas and literary adaptations, and pioneered the foustanella genre based on folkloric tradition (Kuhn & Westwell, 2020).
In the early 1920s, more comedies were made, the first film reviews appeared in newspapers, a regular audience for films developed, and an urban melodrama was the first box office hit in 1925 (Georgakas 2002).
Open-air cinemas and the shaping identity of urban Athens
Film arrived and took hold in Greece during the initial stages of modern urban development in Athens. Outdoor open-air movie theaters were an important infrastructure for the expansion of cinema in Greece and for social interaction and the early development of an Athenian urban identity and culture (Christofides & Saliba, 2012). Early film projections for audiences took place in a network of open spaces that existed for Karagiozis shadow puppet theater (featuring a fictional folklore trickster character that became popular in Asia Minor), puppet theater and touring theatrical plays. In today’s terms: pop-up cinema! Eventually, as film grew in popularity and phased out other forms of theater entertainment, these spaces transformed into open-air cinemas. These cinemas served as spaces for social interaction, especially in working class neighbourhoods and suburbs that spread out around the city unplanned, with few spaces reserved for open public community use. In the majority of these neighbourhoods, the ticket price was kept low compared to first-run theaters in the city center to keep this entertainment affordable.
In this period, many residents were from rural areas and new to an urbanizing environment. The physical open-air characteristic of these cinemas was more familiar to the people from rural areas, and many of the early locally produced Greek films showed the countryside and idealized the traditional way of life (particularly the foustanella dramas). At the same time, most films were from abroad, especially the U.S. and Europe, so they brought images of the most developed modern metropolises. Christofides and Saliba (2012) found that many Greek newspaper articles of the time expressed a desire “to relate Greek culture to other urban cultures of Europe” (p. 105) while some journalists argued that Greeks were imitating or conforming to Western culture rather than learning about it (or from it). As a medium that brings people images of other places, film creates connections “between the real, the symbolic and the imaginary perception of the city” and its possible futures (p. 101). There were signs that the public wanted the Athenian landscape to be captured on film, based on newspaper articles of the time. The Greek foustanella films were a contrast to early film productions globally that featured developed urban areas and were related to technology and progress (for example one of the first films was the Lumière brothers’ 1896 film featuring a train) (p. 106). But for many Athens residents, these foustanella films brought familiarity.
The combination and contrast of the images brought by imported films and the traditional and rural images of Greek films fed the public discussion and debate about the emerging urban culture and identity of Athens and what it should become. Some reviewers found the foustanella films “not suitable for the emerging identity of people in Athens” (p. 107). A notable film in this genre was Maria Pentayiotissa (1929, Ahilleas Madras), promoted in the press and based on a widely known story (Karalis refers to Maria Pentayiotissa as the “Greek Calamity Jane”, p. 13). A number of critics appreciated that the film was professional looking and contributed to the development of a national film industry (Madras spent time in the U.S. and introduced technical, methodological and artistic practices to local production), but critics were “reluctant to recognize it as a prime example of a national genre or style” (p. 107). However, one reason for the production and appeal of foustanella films with the idealized and sanitized portrayal of rural life and tradition may be that the trauma of displacement was still very recent for the many refugees from Asia Minor living in the villages and expanding suburbs around Athens after 1922 (Karalis, 2012).
This demonstrates how films fueled the debates, imagination and aspirations related to urban and ethnic and national culture that is always changing as populations, technologies and knowledge move and evolve.
Second period – 1920s through 1950
The exchange of populations between Greece and Turkey in the early 1920s was the most traumatic event in modern Greek history and had an extensive and lasting impact on many lives, Greek society and collective memory. It has an ongoing impact on themes of national identity, relations to homeland and loss, and attempts to define “Greekness”. Karalis suggests that, “Its presence can be felt either implicitly or explicitly as the anxiety substratum of most Greek films, indeed of all cultural production, to this day” (p. 10). Josef Hepp, a German-Hungarian who played a significant role in the early development and technological advances of cinema in Greece, released a documentary about the population exchange in 1923, The Exchange of Captives in Asia Minor (Karalis, 2012). The film Social Decay (Koinoniki Sapila, 1932, Stelios Tatassopoulos, made in studios of Istanbul) was “perhaps the first, Greek movie of socialist realism that addressed the fresh trauma of the Asia Minor Catastrophe” (Karalis, 2012, p. 24)
According to Constantinidis (2000), films in this period overall reflected the interests and tastes of elites rather than a wider collective Greek consciousness. Still, from 1925 to 1935, film production and ticket sales increased. Production companies in Athens, Patras and Thessaloniki produced 30 silent features, with as many as 40,000 viewers and “the concept of a movie star began to take hold” (Georgakas 2002, p. 3).
Films with sound, or talking pictures, emerged globally from the mid to late 1920s. The first talking picture produced in Greece was the 1932 remake of Golfo. For some years after the mid 1930s, films had to be sent to Egypt or Germany for sound to be added, because Greece did not have studios with adequate sound facilities.
The 1931 film Daphne and Chloe, a lyrical romance adaptation of an ancient Greek story, may be the first Greek film with a script written for the cinema (Karalis, 2012, p. 25). In this film, the heroine appears nude during a bathing scene, without sexuality and desire in the scene’s context and presentation. This nudity was a first in cinema, even predating Ecstasy (1933) where an extended nude scene featuring Hedy Lamarr gained global attention.
In the 1920s and 1930s, film themes and production in Greece were impacted by Greek dictatorships, and restrictions by other governments. The Pangalos dictatorship (1925-1926) exerted control over film production so many films presented patriotic and melodramatic stories. Pangalos introduced the first legislation restricting filmmakers and film content, and enacted rules dictating the public conduct of audiences at cinemas (behavior, dress code, exclusion of minors) (Karalis, 2012). According to Karalis, “beginning in 1927, every kind of filming of public events required special permission from the police” (p. 21). Cinema attendance was heavily taxed; with almost 60 percent of the ticket price going government tax and distributors taking another large portion, only a small percentage went to the producer, director, actors and others involved in the production. As a result, there was a strike at all the cinemas of Athens in 1927 to protest the heavy taxation and lack of support for Greek films (Karalis, 2012).
Under Prime Minister Eleftherios Venizelos (1928-1932), a center-right liberal, there were reduced taxes and some support for local film production, but he also introduced the first anti-communist laws in 1929 that had the effect of censorship on film content (Karalis, 2012).
The Metaxas dictatorship (1936-1941) enacted strict censorship on media, a Law on Cinema, and a 70 percent tax on all “public spectacles” (Karalis, 2012, p. 31). A 1937 Metaxas law on cinema restricted what could be said and depicted in films and established a committee of army and police officers to rate films. The committee went so far as to claim that going to the cinema would lead to physical and mental health problems. Film production declined, and only a handful of scripted feature films were made in Greece from 1935-1943. Seven Greek language films were produced in studios in Egypt from 1937-1939. However, the Metaxas dictatorship was interested in supporting film production for the purposes of propaganda and took actions “to sustain production firms through commissioned documentaries” (Stassinopoulou, 2012, p. 133-134). Documentaries glorified Metaxas’ tours around the country as the “Father of the Nation” and the Fascist Youth Organization (EON), and the regime imported projection machines to screen these reels for the public (Karalis, 2012). Companies that profited most during the earlier Venizelos rule (DAG-Gaziadis and Olympia-Dadiras) did not appear in the film industry during the Metaxas regime.
Film production was also challenging through the 1930s due to the absence of a studio system with the necessary technology, including sound facilities. Filmmakers could not take on grand historical or imaginative stories because technology limited what they could produce in comparison to Italy, for example, where historical reconstructions and period dramas were produced at that time (Karalis, 2012).
In 1939, Filopimin Finos produced and directed his first film. He went on to produce many films in the 1950s through his Finos Films studio and took a “leading role in the creation of the Greek studio system” (Constantinidis, 2000, p. 4).
Film production slowed during WWII and the Greek Civil War in the 1940s but did not stop. During WWII, German and Italian forces occupied parts of Greece, and Greeks continued to produce films while Greek audiences boycotted German and Italian films, but Finos and others were arrested by the Germans for participating in the Resistance (Georgakas 2002). During the occupations, the German state-owned film company bought its former agent in Greece, Damaskinos, and founded Hellas Film AG, with Damaskinos on the board of directors. The Italians also founded Esperia Film, though Stassinopoulou (2012) notes that, “There are almost no traces of the production activities of either Hellas Film or Esperia Film” (p. 135).
Even with the extreme political divisions, occupations, violent conflict and efforts for propaganda and censorship, politics did not have full control over cinema. Stassinopoulou (2012) found that in the films produced from 1942-1944 (mostly dramas), “the cast and crew had different backgrounds and political affiliations” (p. 135). The same family companies controlled film imports, distribution and/or productions from the 1930s to the late 1950s, and some of these companies also made profits from owning first-run cinemas in Athens (Anzervos Films and Skouras Films), so their conflicting interests may have influenced decisions regarding what films to produce (aiming for feature films that would easily sell tickets) and rapid overinvestment in the industry (Stassinopoulou, 2012).
Third period – 1950s through mid 1970s
After the Greek Civil War, U.S. aid to support the Greek royalists against the Greek communists contributed to an increase in film and cultural production (Constantinidis 2000). Greek film production in this period was “spectacular” (Constantinidis, 2000, p. 4), and audiences also turned out for imported American, British, French and Italian subtitled films.
The studio era: Through the 1950s and 1960s, rapid urbanization and increased incomes contributed to the growing demand for mass entertainment and movies – especially comedies, melodramas and musicals (Papadimitriou, 2013). The Lykourgos Stavrakos Film School was established in 1951, as well as other new film schools around this time (Constantinidis 2000). A studio system based on the Hollywood model produced hundreds of films in different genres, though comedy and melodrama were dominant as they were “popular and politically ‘safe’ genres” for that time (Kokonis, 2012, p. 43). (Georgakopoulou (2000) examines the popular comedies produced by Finos Films in 1960s and how they serve as indices of sociocultural processes.) Six studios were dominant in this period: Finos Films, Anzervos Films, Novak Films, Spentzos Films, Karayiannis-Karatzopoulos, and Damaskinos-Mihailidis (Constantinidis, 2002).
Films followed the classical Hollywood model, including an emphasis on characters, especially because the Greek industry produced national movie stars such as George Foundos, Aliki Vougiouklaki, Jenny Karezi, Thanassis Vengos and Rena Vlahopoulou.
The Greek film industry differed from Hollywood in a few ways: the sets and action were more theatrical because more actors and writers came from a stage background, there were more static shots due to a lack of advanced camera equipment, and the scripts were simple potentially because the audience was largely uneducated people from rural areas that moving to the cities (Kokonis, 2012, citing Athanasatou 2001) or because scriptwriting was not valued as an art form and it was assumed only the director would write the script for his film vision (Karalis, 2012).
Production and audiences peaked in 1966 (177 Greek films released) and 1968 (137 million tickets sold). When admissions reached 100 million per year, that was equivalent to 10-15 visits to the movie theater per person (Kokonis, 2012, p. 41). In the mid-1960s, the Greek film industry produced more films per capita annually than Hollywood (Karalis, 2012, p. 79). The number of movie theaters in urban centers grew – in Athens there were 350 year-round cinemas and 600 in summer with the open-air outdoor theaters (Karalis, 2012; Constantinidis, 2000).
Greek filmmakers like Melina Mercouri, Michael Cacoyannis, and Irene Papas gain international fame, and Greek films introduce bouzouki music and the work of composers Manos Hadjidakis and Mikis Theodorakis to a world audience (Georgakas 2002). In 1960, Never on a Sunday, debuted and became an international success. It was directed by American expatriate Jules Dassin and starred Melina Mercouri and Dassin. According to Karalis (2012, p. 93), “Dassin was the first international director who not only made a number of films in Greece, but also attracted international funds and casts for films in the country”. This golden era would not last and the reasons for its decline were inherent in the way the industry was structured – and ways it was not regulated. Despite the successful studio industry, no Film Academy to educate new talent was established, and there was no legislation to regulate the film market, so a profit motive dominated the industry. Production companies, distribution offices and cinemas multiplied too fast for the size of the Greek market; there were 243 companies, though only a handful had active production every year (Kokonis, 2012, p. 42).
In 1960 and 1972, the National Film Festival and the Thessaloniki International Film Festival were established, respectively, and they hosted films with controversial social topics and unconventional cinematic styles (Constantinidis 2000).
1963 – The Greek Film Archive (Ταινιοθήκη της Ελλάδος) was established to preserve a film record. Karalis notes that in recent decades, the Greek Film Archive and the Greek Film Center made efforts to restore and preserve films from 1910-1939 (p. 41).
Postwar Urbanization, Inequity, Cinema and Censorship
One group of films in the 1950s and early 1960s characterized as ‘neo-realist’ are important for understanding the role of cinema through the period of rapid urbanization in Greece, especially Athens, and the country’s development and identity-building efforts after the decade of war. As rapid urbanization and construction of homes and physical infrastructure from 1950-1970 transformed the Athens cityscape, the government actively promoted the country’s reconstruction, development and tourism industry, and controlled cinema to align with these efforts. Poupou (2012) shows that while “Greek cinema…projected an idealized view of Athens as a locus of modernity and prosperity, a symbol of national unity, and a showcase for the development of the tourist industry” (p. 257), neo-realist films contested the idealized image of Athens (and Greece) and revealed marginalized and exploited populations and parts of the city. Poupou examines two of these films that were both censored by state film or tourism agencies because they were deemed to hurt the city’s image and efforts to attract tourism.
Magic City (Magiki Poli, 1953) featured the poverty and living conditions in the Athens slum Dourgouti. Director Nikos Koundouros, who was imprisoned in the ‘exile’ camp of Makronissos after the Civil War, undertook field research in the neighbourhood and some of the residents appeared in the film. When the film was selected to participate in a film festival in Venice in 1954, the Greek Committee for the Control of Films censored it. After 10 days of deliberation, it allowed the film to be exported to be shown in the festival only after shots of the recently reconstructed upper-class residential area of the city center were added in (p. 261). The delay meant the film could not participate officially in the festival, and had to be shown afterwards. Dream Neighbourhood (Sinikia to Oniro, 1961, Alekos Alexandrakis) was filmed in a refugee settlement called Asirmatos near Athens center (now upper Petralona) and “presents a violent image of social exclusion” (p. 264). It was selected for the Thessaloniki Film Festival in 1961 but was censored and excluded after the Organisation of Greek Tourism complained that it did not contribute to the tourist image of the city. Its distribution in cinemas was also prohibited for a short time, then the government allowed limited screenings in big cities, but it was distributed widely a few months later after reactions by the press (p. 264).
Cinema during the Dictatorship of the Colonels
The military dictatorship from 1964 to 1975 had a significant impact on the industry and existing and emerging filmmakers. The junta censored “and occasionally butchered films, both Greek and foreign” (Constantinidis 2000, p. 6). This censorship and political repression resulted in less film production and pushed several high-profile filmmakers to leave the country, including Cacoyiannis, Koundouros, Mercouri and others, and Voulgaris was sent to exile (Kokonis, 2012; Constantinidis, 2000). Despite the censorship and decrease in film production, both high art films and low art films (tsonta, or pornographic film) were popular, indicated by increased ticket sales in Athens (Constantinidis, 2002). Many films produced during the junta glorified patriotism and the soldier as hero, and while they had war themes based on the Italian, German and Bulgarian invasions, they ‘erased all references’ to the left-wing and communist resistance that also occurred in Greece (Karalis, 2012, p. 138). The patriotic films were not solely the products of filmmakers in Greece. Greek-American James Paris produced many such films with support from the Greek state (Karalis, 2012).
The junta encouraged tourism, and musicals grew along with the tourism industry. They were popular in the 1960s and early 1970s. Musicals expressed the tensions and conflicts between Westernization influences and traditional Greekness and other versions of Greekness through their portrayals of the Greek tourism and leisure industry, characters working for this industry and the downsides or potential risks of tourism for the country (Papadimitriou, 2000). Papadimitriou’s (2013) analysis reveals how popular musical films also expressed these conflicts by playing with types of music (jazz and rock versus bouzouki and syrtaki for example) and structural elements of the American musical or other theatrical formats, such as the epitheorisi (the Greek version of music hall or revue with sketches, songs and satire). Specifically, she examines the popular musicals Some Like it Cold (Μερικοί το προτιμούν κρύο, 1963), Girls for Kisses (Κορίτσια για φίλημα, 1965), and Mermaids and Lads (Γοργόνες και μάγκες, 1969)
Fourth Period mid to late 1970s – 1990s
This is the period of the New Greek Cinema and a new generation of filmmakers. But it is also a period when Greek films began losing viewers to Greek television, movies for home video, and to foreign films, particularly American movies. Several studios closed during this period, including Finos Films (Constantinidis 2000).
New Greek Cinema: The dictatorship and its censorship fueled the motivation of independent Greek film directors to create a new style of films and deliver social and political critiques. For example, in 1968, the political thriller Z (standing for the first letter of the Greek word Zi ([He] Lives) by Greek-French director Costa-Gavras was released, based on the political novel Z by Vassilis Vassilikos, inspired by the life and assassination of Lambrakis.
A new generation of filmmakers aimed to make more modernist, artistic films rather than films that would be popular with a broad audience and aim for commercial success. These filmmakers adopted the auteur style, with the director featuring on their own distinct style or approach through the film (Georgakas, 2002; Kokonis, 2012). This is referred to as the New Greek Cinema period. Many of the New Greek Cinema films of the1970s and 1980s delivered a critical focus on political and collective or national history, particularly the Greek Civil War and the persecution of the Left (Chalkou, 2019).
Filmmaker Theodoros (Theo) Angelopoulos played a leading role in the New Greek Cinema. When his film Reconstruction (Anaparastasi) won an award at the 1970 Thessaloniki Film Festival, this was considered a turning point in Greek cinema by Greek commentators (Kokonis, 2012). Angelopoulos is regarded as a “lynchpin for the recognition of a New Greek Cinema” focusing on social and political issues openly in film content (Kokonis, 2012, p. 43). His four-hour epic The Travelling Players (1975) presented Greek political history from a leftist perspective and won the Special Critics Award at the 1975 Cannes film festival.
Films of the New Greek Cinema had a limited, elite and progressive audience. Filmmakers had difficulty showing their films to the wider public because distribution agencies controlled movie theaters, television focused on popular culture, and they could not access foreign markets.
These filmmakers were often self-financed or they would seek out the financing themselves (Kokonis, 2012) from wealthy individuals or through co-productions with other Europeans (Georgakas 2002).
Eventually, the Greek Film Center, a government agency founded in 1970, financed film production and implemented other measures to support Greek films, such as tax incentives for theater owners to screen Greek films.
But the New Greek Cinema films still lost audience, partly to television, and partly because films became more about the eccentricities and self-indulgence of the filmmakers, according to analysis of Kokonis and Georgakas.
In 1973, the Greek Directors Guild (GDG) was founded in Athens, as a professional association of screen, theatre, and television directors.
In 1974, the first year after the Junta dictatorship, many documentaries were produced, including on the 1973 Polytechnic uprising and the Turkish invasion of Cyprus following the Greek Junta sponsored Cypriot coup d’état, such as Cacoyannis’s Attila 74. A number of experimental films also appeared, including Model (Montelo) and Metropolis by Kostas Sfikas (Karalis, 2012).
In 1975, the Greek Film Critics Association was founded.
After the junta and as Greece joined the European Union in 1981, the Greek government tried to help revive the film industry by restructuring the Greek Film Center, increasing financial support to Greek film productions, and establishing Hellas Films to oversee co-productions with foreign partners and promote Greek films abroad (Constantinidis 2000).
The ideology and underdog or victim mentality of the ruling socialist party during the 1980s impacted the film industry. PASOK abolished the 1942 law that imposed strict censorship on the film industry, made Melina Mercouri a lifelong minister for culture, and “after 1982, the state would fund almost every proposal for film submitted to the Greek Film Center” (Karalis, 2012, p. 195). However, as Karalis argues, films had to conform to the ideology of the ruling socialists. They preferred representations of a continuous class war, the struggles against the “privileged”, the oppression and persecution of the left and the common people, so many films and television series portrayed “political persecutions of dissidents and the common people” (p. 196). In films produced in the 1980s about the Civil War, the left-wing fighter was portrayed as the hero and/or “perpetual victim”, according to Karalis’s analysis. Apparently, brutality committed by the left was censored by the government: when Nicholas Gage requested permission to film the story about his mother who was executed by the communists during the Civil War on the mountains of Epirus, the government refused him permission (Karalis, 2012).
In this context, many filmmakers chose to reject additional portrayals of the past and nation-scale political themes acceptable to the government and instead focused on stories of individuals, especially the histories, experiences and perspectives of marginalized groups long ignored, oppressed or excluded by mainstream society (Karalis, 2012). There were films depicting or exploring the relatively new urban life and the new lower-middle class, the treatment of people with mental disabilities, the experiences and perceptions of homosexuals, and the perspectives and agency of women.
The 1980s were a period of very low movie theater attendance because the ruling government ideology preferred art films over commercial entertainment cinema, and because of the technological development allowing widespread distribution of films on videotape. The films that tended to be popular on video were slapstick comedies (the prolific movies featuring Stathis Psaltis is a notable example) and soft porn (Karalis, 2012, p. 207). Even among Greeks abroad, as Needham (2012) found in a study of Greek films released in the UK from 1978-1984 through websites of online DVD retailers, “by far the most widely seen films in this period in the UK would qualify as (s)exploitation” (Papadimitriou & Tzioumakis, 2012, p. 13).
Television also pulled people away from movie cinemas. Television broadcasting began in 1966 in Greece, and it spread rapidly in the early 1970s. Until 1988, TV was a state monopoly with two initial channels, and ultimately three National Radio-Television (ERT) channels. Private television channels were established after the airwaves were deregulated in 1988, and drew more viewers and more attention from producers.
Greek public television overwhelmingly favored the films of the Old Greek Cinema, from the 1950s and 1960s studio era. It aired Greek films “repeatedly, daily, and uncontrollably” (Mikelidis 1997, cited in Constantinidis, 2002, p. 10), but from the 1980s – 2000, channels aired films produced in the 1950-1975 period (a time when conservative or right-wing governments were in power and this ideology was prominent) more than those produced in the 1975-2000 period. Constantinidis (2002) argues this is only partly because there was greater number of films produced in the earlier period. After studying 50 films, he found that the films from the studio era (1950s-1960s) distorted history and the experiences of Greeks from the time of the wars in the 1940s through the 1960s and the junta, in some cases ‘blending them with fairy tale’ (p. 14). These films contributed to changing the historic memory on several themes: divisions between lower and middle socio-economic classes; patriarchy, gender inequality and even femicide; the conflict between traditional values and modern/Western ones; and the role of hierarchical military institutions in relation to democracy and equality.
Fifth Period – 1990s through the early 21st century
After the significant decline of film production and movie theater attendance through the 1980s, the government’s Greek Film Center finally responded through a new funding program for new directors with experimental projects (Karalis, 2012). A new generation of filmmakers in Athens made independent films, often on tight budgets, and aimed to bring Greek audiences back to Greek language films (Constantinidis 2000). Beginning in the early 1990s, Greek cinema relied more on co-sponsorship, co-productions and non-Greek financing, including funding from the EU or European and American companies. For example, Martin Scorsese supported Pentelis Voulgaris’s Brides (2004).
Multiplex cinemas with upgraded screens and surround sound began opening in the early 1990s and Hollywood blockbusters took over audience attention as Hollywood increased its globalized marketing, production and distribution. Many traditional theaters closed and the spaces converted to “parking spaces and supermarkets” (Kokonis, p. 44). Local municipalities started funding cinema theaters to screen art house films and convene public discussions (Karalis, 2012).
Greek filmmakers continued to face the challenge of maintaining obth their artistry and cinematic style as well as the enthusiasm and attention of mass Greek audiences (Georgakas, 2002). After 1995 and through the 2000s, there was a small set of Greek films that had ‘blockbuster’ success at the box office, while most remained unsuccessful at drawing an audience (Kokonis, 2012). The film Safe Sex that came out in 2000 and used well-known actors from TV sit-coms was a big hit and attracted an increased audience with more than 100,000 tickets. The success of Safe Sex contribute to an increase in annual film production. The ‘blockbusters’ success of select films, including Safe Sex, A Touch of Spice (Politiki Kouzina, 2003), Brides (Nifes, 2004), Loafing and Camouflage: Sirens in the Aegean (Loufa ke Parallagi: Sirines sto Egeo, 2005), and El Greco (2006), can be attributed partly to the fact that they managed to obtain big budgets, connected with international distribution companies and arrange spectacular productions with the help of new companies using new digital technologies for technical and visual aspects of production, and use more narrative elements that an international audience could relate to (Kokonis, 2012).
During this period, there were more women filmmakers [see more in the Women in Greek Cinema section below] and quality documentaries (Georgakas 2002).
As immigration to Greece increased in the 1990s, Karalis (2012) describes how many filmmakers explored diversity, difference and identities based on gender, self-definition, sexuality, class, and migration experience, and the experience of “otherness”, exclusion and “the inability of the society to accept difference and divergence” (p. 244). The displacement, migration journey and experiences of people coming to Greece and questions of ethnicity and national belonging became a prominent theme in films. Some directors migrated to Greece and produced films, including Bujar Alimani who migrated from Albania to Greece and directed the first Greek-Albanian co-production films. However, many of these films are difficult for international audiences to access (See Phillis 2020 for a filmography and analysis of migration and Greek cinema).
One way that films in the 1990s and 2000s focused on micro-histories, individuals and everyday life is by centering stories around a child or adolescent and their coming-of-age experiences and memories of the past. (Child-centered films began appearing in European cinemas in the 1980s.) Chalkou (2019) presents an analysis of how this subgenre of films dealt with the past, the present, and hope for the future. These films did not try to present national history, but focused on the importance of everyday life and how sociopolitical historical events and the traumas they cause have intergenerational impacts on individual life trajectories, families and everyday collective life. Using a child’s viewpoint allowed filmmakers to use humor, playfulness and imagination in new ways, so they could refer to historical traumas while also conveying the optimism, joy and potential of childhood. In particular, these films often focused on the years of the Junta (the time when many of the film makers grew up) or the population exchanges and ethnic and religious persecution, though the politics and history are mentioned “momentarily” or “cause fleeting ruptures in the narrative” (p. 189). Chalkou describes how this is in contrast to many of the New Greek Cinema films that focused on national politics and history and where children were mostly absent.
In the years of economic depression following the economic crisis of 2009, there was less funding available from the Greek government but the number of films began increasing again, from 27 produced in 2010 to 46 produced in 2014. Low-budget art films produced during this period received critical acclaim and prizes at international film festivals. These films produced in the 2010s constituted the Greek New Wave or Greek Weird Wave, including Dogtooth (Kynodontas, 2009) by Yorgos Lanthimos, Little England (Mikra Anglia, 2013) by Pantelis Voulgaris, and Chevalier (2015) by Athina Rachel Tsangari (Kuhn & Westwell, 2020). In November 2009, many important film makers, producers and actors established an independent Hellenic Film Academy (Elliniki Akadimia Kinimatografou). It is a self-funded organization that hosts annual awards decided by film makers (Karalis, 2012). This Academy commissioned the Foundation for Economic and Industrial Research (FEIR) to prepare an in-depth analysis of the local film industry. The report was published December 2014 and is available in Greek here.
In 2010, there were about 400 cinemas in Greece, most of them multiplexes belonging to international companies, with only 10 percent of them independently owned (Karalis, 2012, p. 276).
In 2013, directors, producers, scriptwriters and film editors came together to establish the Greek Documentary Association.
Greece as location for Hollywood and foreign film productions: In 2017, the National Center of Audiovisual Media and Communication in Greece (EKOME) was set up to attract and support productions from around the world. From April 2018 to April 2021, EKOME supported 125 productions, including 60 international productions, with a total investment of €127M ($150M) through competitive funding incentives, cash rebates and tax relief (Lodderhose, 2021).
Women in Greek Cinema
In the early period of filmmaking in Greece, depictions of women in silent movies and early talking pictures were based on the male-dominated society’s traditional values and stereotypes. For example, Komninos (2011) points out that three box office hits from 1926-1931 had shepherdesses as protagonists, and there were strong elements of voyeurism in one of the notable films of this time, Daphnis and Chloe (1931, Orestis Laskos). Greek films in this period did not represent actual women, or even the glamorous or flapper types of Hollywood in the first half of the century (Komninos, 2011). A 1930 law included “family values, love, maternal affection” as acceptable content for “proper” films (Karalis, 2012, p. 21).
Interestingly, in this same early period, the “first serious film reviewer” was a woman (Karalis, 2012, p. 28).
In the decade after WWII and the civil war, Greek society and public debate was trying to suppress the issue of women’s emancipation. Women in Greece were granted the right to vote in 1952 but other important changes did not come until much later. Women were active in the resistance during WWII and women’s organizations developed at the end of the war, but by the end of the Civil War, these organizations along with other progressive movements were dissolved, their records confiscated, and thousands of women were imprisoned (Stamaris, 1987).
Women were making important productions, however. Lila Kourkoulakou directed The Island of Silence (To Nisi tis Siopis, 1959), a “controversial and groundbreaking” semi-documentary film about the people with leprosy forcibly interned on the small island of Spinalonga off Crete. It was partly filmed on the island, with the participation of real patients, and the impact of the film contributed to the closure of this leper colony (Karalis, 2012). Kourkoulakou was the first Greek woman director to participate in an international film competition, with her film representing Greece at the Venice Festival.
Greece missed the sexual liberation and feminist revolution happening in the U.S. and Western countries through the 1960s and into the 1970s because of the Junta (Karalis, 2012; Stamaris, 1987). Even leftist intellectuals were hostile to feminism, and leftist politicians did not regard gender as a political issue.
Two of Cacoyannis’s successful films, Stella (1955) and Zorba the Greek (1964) portrayed femicides – Stella is fatally stabbed by her fiancé after she did not show up to the wedding, and the young widow is stoned to death by the villagers in Zorba the Greek for rejecting a local boy as a husband and defying the village patriarchal code. In both cases, critics of the films at the time complained about the films portraying an imperfect image of Greeks to international audience, rather than addressing the status and treatment of women in Greek society (Komninos, 2011). Some leftist critics even protested against the feminist suggestions in Stella and called for the film to be banned (Komninos, 2011).
The women’s movement in re-emerged and new groups formed in the early 1960s, but under the junta, these organizations again were dissolved and feminists imprisoned or interned (Stamaris, 1987). In patriotic films during the Junta, women were represented as “the passive and ‘available’ victims of rape by invaders, who maintained their inner dignity in the fact of acts of violation by reciting patriotic verses” (Karalis, 2012, p. 138).
Through the 1960s and 1970s, women’s employment in service sector and achievements in higher education increased, but marriage and motherhood were the main expectation for women, and there was still pressure against women using contraceptive pills. A law against discrimination in employment and occupation on the basis of sex or marital status was not enacted until 2006, in response to an earlier EU Directive.
The women’s movement again re-emerged after the Junta but it was integrated with the wider struggle to return to a democratic parliamentary system and establish more progressive politics. Greek feminists in this period demanded equal rights, equal access to employment and affirmative action to achieve this; protested against capitalist structures and class exploitation; and made a case for the state’s obligation to provide for the social welfare of the workforce, including people in the informal economy, in unpaid caretaking roles or in piece-work industries, by providing day care, parental leave, and other services (Stamaris, 1987). After the Junta, the women’s movement aligned with the political parties of the Left, because this affiliation allowed them to spread their ideas and mobilize throughout the country. Some male party members still resented the women’s organizations, because they claimed the party should promote one set of goals, or they “resented the autonomy and exclusiveness” of the women’s groups, or they thought the more militant groups were asking for too much (Stamaris, 1987, p. 84).
The efforts of the women’s movement bore fruit in the 1980s, when the Socialist government took power. Many of the reforms that women’s groups demanded were in the new Family Law of 1983. This law finally abolished the dowry, provided gender equality in marriage, allowed civil marriage, and gave equal rights for children born outside wedlock. Adultery was also decriminalized that year, though domestic violence was not criminalized until 2006. Female equality was institutionalized throughout government: a General Secretariat for Equality was established in 1985 to recommend policy; a network of Equality bureaus in every prefecture was established; every major ministry and the Manpower Employment Agency introduced reforms to advance equality; rural women were finally allowed to participate in agricultural cooperatives; family planning services were introduced; day care centres were set up; school books were rewritten with the involvement of women’s organizations to express equality; and more (Stamaris, 1987, p. 85).
These legal and institutional changes in the mid 1980s were still “like drops in a sea of discrimination” (p. 86). Gender hierarchies keep men in leadership positions, especially in science and technology fields, and women were largely employed in unskilled jobs, or underemployed and underpaid at bottom of salary scale. The stagnant economy of Greece at this time made it difficult for women to leverage these legal changes and achieve results in the workforce. Because the women’s movement had focused on equal rights and worked with leftist political parties to achieve legislative, policy and regulatory changes, it lost its radical edge for a while, but it continued to expand its grassroots base and take on new activities: women’s bookshops opened as centres of information, research and documentation centres appeared, feminist teachers and students informally introduced women’s studies programmes, and a range of magazines circulated in Athens and the provinces (Stamaris, 1987, p. 86).
At this time, the women’s movement was also making a renewed effort for women’s basic right to control their bodies and reproductive health, confronting the issues of abortion, birth control and sexuality. Women’s groups and feminists argued for sex and contraceptive education in schools, against the stereotypical image of women portrayed in mass media including state-controlled radio and television, against the exploitation of the female body through sexualized images in advertising. They also focused on the issue of violence against women and demanded the establishment of women’s shelters for victims of domestic abuse, and the General Secretariat for Equality launched a training program for professionals supporting battered women. (p. 86)
In the 1980s, Greek films began to reflect some of the struggles, tensions and experiences that emerged from the changing gender roles in society. Films made by women in the first years of the 1980s, including Love Wanders in the Night (I Dromi tis Agapis Ine Nihterini, 1981) by Frida Liappa and The Price of Love (I Timi tis Agapis, 1983) by Tonia Marketaki, inspired other women filmmakers and were catalysts for more representation of women struggling to shape their own lives and achieve sexual emancipation against the pressures and restrictions of patriarchal structures and societal norms (Komninos, 2011). Marketaki was one of the most influential Greek women filmmakers, and her international award winning film The Price of Love is considered one of the most important films made in Greece. The protagonist is a woman who demonstrates agency and resilience: the man she loves leaves her because she is poor, but she makes it through the challenges of the industrial revolution’s impact on the island, and when he decides to return to her, she is strong and decided enough to send him away (Apostolidis, 2002). Some male filmmakers during this period portrayed the darker aspects of some women’s experiences in films that addressed sex trafficking in more or less direct ways (Komninos, 2011).
By the 1990s, Greek women filmmakers were producing more feature film with different kinds of female characters dealing with career and personal issues in different ways. Two of the influential filmmakers who inspired others with their work starting in the early 1980s, Marketaki and Liappa, passed away in the early 1990s. Karalis (2012) highlights some of the notable women filmmakers and films of the 1990s and 2000s.
In the early 2000s, a new generation of women filmmakers emerged. Women made many films in 2001 that were “bold, complex, interesting” and portrayed changes to the imbalance of gender roles in relationships (Apostolidis, 2002). Greek women took most of the national prizes at the 2002 Thessaloniki Film Festival (Georgakas 2002, p. 8, in footnote). From these films, Katerina Evangelakou’s Think it Over (Tha to Metaniosis, 2002) is a more directly feminist: her female protagonist falls and has a flashback of several decisions and life events under the patriarchal societal culture that she regrets, and then she decides to live the life she wants.
However, the child- or adolescent-centered films of the 1990s and 2000s predominantly featured boys, even when made by female directors, so female perspectives and narratives of the national past and its affects on personal and family lives remained marginalized in this subgenre (Chalkou, 2019). This may be because boys could move freely in public space and public life, and it was more socially acceptable to depict boys’ sexual awakenings, as some of the films did. Several of these films also had a significant focus on the science and technological innovation of that period (p. 195). Given that this theme was presented predominantly through boys’ perspectives, the films may have demonstrated and reinforced a bias that only boys would be interested and engaged in these fields. Regarding family dynamics and the socially accepted roles for men and women, Chalkou identified a trend in these films portraying the impacts of a problematic and insecure masculinity and the patriarchal role of men, and maintaining the image of mother as “symbol of familial stability and cohesion” (p.192).
Importantly, women’s marginalization and underrepresentation in politics and decision-making remains, whether in Parliament, Cabinet leadership positions, regional and local government elected leadership positions, and at the leadership level in powerful public institutions.
In 2018, the Greek film portal Flix.gr produced a video featuring 36 women in the film industry – producers, directors, actors, composers, directors of photography, screenwriters and more – sharing their thoughts on the contributions, joys, challenges and opportunities for women in the industry, as women in the industry (Pastras, 2018). While most of the women agreed that there are many women in Greek cinema today, including documentary filmmaking, some noted that there are few women in film photography and composing musical scores, and some observe a distrust of women’s capacities in technical departments and behind the camera. Most agreed there is still sexism in the industry, and while some have not encountered it, many shared specific examples of disparaging and blatantly sexist comments and incidents. Sexism can take different forms, some more overt and some almost imperceptible. Papadaki (screenwriter/author) noted that the comment “You write like a man” is still considered a great compliment. Panayotopoulou (director) said, “There’s a covert violence men use on women. Sometimes, your male colleague’s ultimate weapon to pressure/convince you is this fear. I, at least, have been subjected to it.” Some women suggested that the negative behaviors are often more about power, not necessarily about man or woman.
In response to the question of whether there are many women in Greek cinema today, Antouanetta Angelidi (director) offered a different question: “Is these women’s work as well known proportionately to the number of women in the field?” This calls on Karalis’s (2012) observation that there is a need for more research on the audience of movies – who goes to movie theaters but also what are people’s impressions, preferences and awareness of films and the film industry? Angelidi also pointed out that women “have to face selective oblivion”, which she described as “a certain silence concerning the work of women, this lack of equality in Greek cinema history”. Finally, there may be more women in the Greek film industry today, but several of the women expressed that female stories are still few, and there are few Greek movies in recent years that have a desirable lead female role or say something new about women. There is a need and an opportunity for far more representation, creativity and contribution from women and featuring women.
Queer Representation in Greek Cinema
In the first book-length study on the history of queer representation in Greek cinema, including discreet or disguised references and related themes, Konstantinos Kyriakos (2017) explored an extensive filmography from 1924-2016 and seven themes or aspects of this representation. The first period of queer representation in Greek cinema is considered to be the 1950s and 1960s when the stereotype and caricature “of a hysterical effeminate being” was the only homosexual figure portrayed in farce-comedy films (Kyriakos, 2017, p. 434). This portrayal kept the homosexual characters in positions of being ridiculed or being secondary, and reconfirmed the stereotypes held by audiences. However, there were subtle allusions to queer relationships and themes in Cacoyannis films in the 1960s.
In the second period of queer history of Greek cinema, the film portrayal changes but maintains homophobia: “Homosexuals are presented either as depressed and self-destructive, or as hedonistic and dangerous for social cohesion” (Kyriakos, 2017, p. 434). These portrayals appear “even in politically progressive films by major Greek directors” (Psaras, 2018, p. 127).
The third period occurred after the fall of the Junta and through the time of the global HIV/AIDS epidemic (beginning in 1981), as sexual liberation movements came out in the open. The Greek Homosexual Liberation Movement (Apeleftherotiko Kinima Omofilofilon Elladas, AKOE in Greek) founded in 1978 was one of the first openly gay organizations in the country. Lesbians who helped form AKOE soon left it in 1980 to join a feminist House of Women and published a lesbian journal called Lavris. Lesbians faced challenges in allying with straight feminists, and continued forming their own groups (Gianoulis, 2004).
The third period involves films that first appeared in the avant-garde scene of the 1970s and in mainstream cinema from the 1990s, largely from young directors educated in Europe who want to “bring about a change in the perception of the homosexual condition” (Kyriakos, 2017, p. 434). There was also an effort to create a Greek queer history through fiction and documentary films, including through biographical films of figures important for Greece and known as being gay: the Greek poet Napoleon Lapathiotis (Meteor and Shadow, 1985, Takis Spetsiotis); the philhellene Lord Byron (Byron, Ballad for a Demon, 1992, Nikos Koundouros); and the Greek poet from Alexandria, Egypt, Constantine P. Cavafy (Cavafy, 1996, Yannis Smaragdis) (Kyriakos, 2017).
The melodrama film Angel (Angelos, 1982, Yorgos Katakouzinos) was a turning point in queer representation in Greek films (Kyriakos, 2017). The film, based on real events, explored and portrayed masculinity, same-sex desire, sexual exploitation, transgenderism, and the fate and public perception of homosexuals in Greek society in a way that “invites emotional responses other than that of disgust, fear, or laughter” (Psaras, 2018, p. 128).
The films of the 1990s constitute the Greek version of the New Queer Cinema, from directors such as Alexis Bistikas, Constantinos Giannaris, Christos Dimas, Panos H. Koutras, Angelos Frantzis, and Athina Rachel Tsangari (Kyriakos, 2017, p. 436). New Queer Cinema, or films by openly gay film directors and representing queerness with honesty, diversity and a ‘be yourself’ approach, began in the early 1990s in Europe and the U.S.A., and a little more slowly in Greece. Kyriakos’s book includes chapters dedicated to examinations of the representation of feminine homosociality and homosexuality and the representation of transvestite, transgenderedness and social marginalization. The film Strella (2009) by director Panos H. Koutras first film with a trans woman as the lead.
Ancient Greece and Greek folklore
It is interesting to note, as Karalis points out, that cinema in Greece has rarely dealt with ancient or classical Greece, though there are a several Hollywood action and fantasy movies based on figures and stories from ancient Greece and Greek mythology (Troy, Hercules, Leonidas and the Spartans, etc).
An interesting recent Greek film features a famous folklore character. In 2022, the first Greek 3D animated film Καραγκιόζης, The Movie (Karagiozis) was released. It is based on the trickster main character of the Karagiozis shadow puppet theater shows that became popular in Asia Minor. The Karagiozis theater shows were actually phased out by cinema when it grew in the 1930s.
Challenges that remain today
There is little systemic political critique: Overall, Karalis (2012) argues that filmmakers in Greece still demonstrate a self-imposed censorship and avoid critiquing structural socio-political oppression by state institutions and social systems. He writes that, “despite the supposed “social” nature of most films, none of them is about political figures and their political actions, the way we have seen in Italy…” (p. 281). What is most needed now, he argues, is “a new political cinema” (p. 283).
Script writing remains weak: There is increasing recognition that most Greek films, even the successful ones, have a key weakness: the script, or screenplay. Even Greek filmmakers are more aware of this (Horton, 2002). In much of Greek filmmaking, the directors also wrote the scripts. The industry did not have a culture of collective scriptwriting. Horton reported that directors he spoke with “basically work alone or with only one or two friends” (p. 37). The film industry also did not recognize scriptwriting as an art form that can be developed rather than emerge solely from “a ‘genius’ writer” (Karalis, 2012, p. 282). There was no strong script program at a film school or classes at tertiary education teaching applied cinema. Even the Scriptwriters Guild of Greece was not established until 1989 when the first private television channels were created.
Lack of effort to understand movie audiences and use cinema and movie theaters to foster social connection and cohesion: There is also little information about audience demographics (who goes to the movies, and what do they like watching?) and no studies on the affordability of movie ticket prices, relative to average wages and disposable income (Karalis, 2012).
[1] For example, Ephraim Katz’s The Film Encyclopedia (2001) ignores Greek film production the first quarter century and according to Georgakas (2002, p. 7), Mel Schuster’s The Contemporary Greek Cinema (1983) is “highly inaccurate regarding the New Greek Cinema”.
References
Apostolidis, Persephone Tselentis. (2002). Female Presence and Male Absence: Recent Films by Greek Women. Film Criticism, 27(2), 43-59.
Chalkou, Maria. (2019). Childhood memories, family life, nostalgia, and historical trauma in contemporary Greek cinema. In T. Stauning Willert & G. Katsan (Eds.) Retelling the past in contemporary Greek literature, film and popular culture (pp. 185-199). Lexington Books.
Christofides, Yiannis & Saliba, Melissanthi (2012). Open-air cinema in Athens: The rise of the city and urban identities. In L. Papadimitriou & Y. Tzioumakis (Eds.), Greek cinema: Texts, histories, identities (pp. 97-113). Intellect.
Close, David. (2004). The road to reconciliation? The Greek Civil War and the politics of memory in the 1980s. In Carabott, P. & Sfikas, T. D. (Eds), The Greek Civil War: Essays on a conflict of exceptionalism and silences (pp. 257-278). Ashgate.
Constantinidis, Stratos E. (2000). Greek Film and the National Interest: A Brief Preface. Journal of Modern Greek Studies, 18(1), 1–12. https://doi.org/10.1353/mgs.2000.0004
Constantinidis, Stratos, E. (2002). The Greek Studio System (1950-1970). Film Criticism, 27(2), 9-30.
Delveroudi, Eliza Anna (2022), Transnational Factors in the Shaping of the Early Greek Cinema Business, 1896–1908. In A. Dietze & A. Vari (Eds.), Urban Popular Culture and Entertainment: Experiences from Northern, East-Central, and Southern Europe, 1870s–1930s (pp. 81-108). First edition, Routledge. https://doi-org.proxy.lib.sfu.ca/10.4324/9781003247401
Economou, Dimitris, Petrakos, George & Psycharis, Yannis (2007). National urban policy in Greece. In L. v. d. Berg, & E. Braun (Eds), National policy responses to urban challenges in Europe (pp. 193-216). Routledge. https://doi.org/10.4324/9781315597430
Georgakas, Dan. (2002). Greek Cinema For Beginners: A Thumbnail History. Film Criticism, 27(2), 2–8.
Georgakopoulou, Alexandra. (2000). On the Sociolinguistics of Popular Films: Funny Characters, Funny Voices. Journal of Modern Greek Studies, 18(1), 119–133. https://doi.org/10.1353/mgs.2000.0006
Gianoulis, Tina. (2004). Greece: Modern. glbtq Encyclopedia Project online archive. http://www.glbtqarchive.com/sshindex.html
Gizeli, Vika D. (2009). Social and urban transformations before and after the Asia Minor Catastrophe. In Lagopoulos, A. Ph. (Ed.). A history of the Greek city. Archaeopress.
Karadimou Gerolympou, Aleka. (2017, January 6). 1917: The destruction and rebirth of a city. TO VIMA. (Καραδήμου Γερολύμπου, Αλέκα. “1917: H καταστροφή και η αναγέννηση μιας πόλης.” TO BHMA) https://www.tovima.gr/2017/01/06/culture/1917-h-katastrofi-kai-i-anagennisi-mias-polis/
Karalis, Vrasidas. (2012). A History of Greek Cinema. Continuum.
Kokonis, Michalis (2012). Is there such a thing as a Greek blockbuster? The revival of contemporary Greek cinema. In L. Papadimitriou & Y. Tzioumakis (Eds.), Greek cinema: Texts, histories, identities (pp. 37–53). Intellect.
Komninos, Maria. (2011). Representations of Women in Greek Cinema. Journal of the Hellenic Diaspora, 37(1&2), 75-89.
Kousis, M., Chatzidaki, A., & Kafetsios, K. (2022). Challenging mobilities in and to the EU during times of crises: The case of Greece (1st Edition 2022). Springer Nature. https://doi.org/10.1007/978-3-031-11574-5
Kuhn, Annette & Westwell, Guy. (2020). Greece, film in. In A Dictionary of Film Studies (2nd ed.). Oxford University Press.
Kyriakos, Konstantinos. (2017). Politics and desire: The queer history of Greek cinema (1924 – 2016). Aigokeros.
Lodderhose, Diana. (2021, July 6). Hot Spots: How Greece Has Emerged As A Top Location For Hollywood & Foreign Productions. Deadline.
Loukopoulou, Katerina. (2018). “A Campaign of Truth”: Marshall Plan Films in Greece. In H. Wasson & L. Grieveson (Eds.), Cinema’s Military Industrial Complex (pp. 321–338). University of California Press. https://doi.org/10.1515/9780520965263-020
Mazower, Mark. (1995). The Cold War and the appropriation of memory: Greece after liberation. East European Politics and Societies, 9(2), 272–294. https://doi.org/10.1177/0888325495009002005
Mazower, Mark. (2004). Salonica, city of ghosts: Christians, Muslims and Jews, 1430-1950. HarperCollins.
Monteil, Charlotte, Barclay, Jenni & Hicks, Anna. (2020). Remembering, forgetting, and absencing disasters in the post-disaster recovery process. International Journal of Disaster Risk Science, 11(3), 287–299. https://doi.org/10.1007/s13753-020-00277-8
Papadimitriou, Lydia (2000). Traveling on Screen: Tourism and the Greek Film Musical. Journal of Modern Greek Studies, 18(1), 95-104. https://doi.org/10.1353/mgs.2000.0004
Papadimitriou, Lydia (2013). Greece. In C. K. Creekmur & L. Y. Mokdad (Eds.), The International Film Musical (pp. 92-104). Edinburgh University Press. https://doi.org/10.3366/j.ctvxcrvf9.12
Papadimitriou, Lydia, & Tzioumakis, Yannis (Eds). (2012). Greek cinema: Texts, histories, identities. Intellect.
Pastras, Nikos. (Director). (2018) Women of Greek Cinema [Film]. Flix.gr. https://vimeo.com/258135602
Phillis, Philip E. (2020). Greek Cinema and Migration, 1991-2016. Edinburgh University Press.
Poupou, Anna (2012). The geography of neo-realism in Greece: City images, urban representations and aesthetics of space. In L. Papadimitriou & Y. Tzioumakis (Eds.), Greek cinema: Texts, histories, identities (pp. 253-269). Intellect.
Pratsinakis, Manolis. (2021). Ethnic Return Migration, Exclusion and the Role of Ethnic Options: ‘Soviet Greek’ migrants in Their Ethnic Homeland and the Pontic Identity. Nations and Nationalism 27(2): 497–512.
Pratsinakis, Manolis. (2022). Greece’s emigration during the crisis beyond the brain drain. In M. Kousis, A. Chatzidaki, & K. Kafetsios (Eds.), Challenging mobilities in and to the EU during times of crises (pp. 27-44). Springer Nature. https://doi.org/10.1007/978-3-031-11574-5
Pritchard, Stephen. (2015, March 28). The readers’ editor on … Athens, 1944The Guardian. https://www.theguardian.com/media/201
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"10+1" Eleven young visual artists make a comment on 80's Greek cinema
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2010-10-01T17:05:00+00:00
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“10+1” Eleven young visual artists make a comment on 80’s Greek cinema In the line of the tribute “Greek Cinema of the 80’s Decade”, the Panorama of European Cinema, the Cultural Affairs of the Cyprian Embassy in Athens (House of Cyprus) and the Michael Cacoyannis Foundation present the exhibition entitled “Eleven young visual artists make […]
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en
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Ίδρυμα Μιχάλης Κακογιάννης
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https://mcf.gr/en/el-2345/
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In the line of the tribute “Greek Cinema of the 80’s Decade”, the Panorama of European Cinema, the Cultural Affairs of the Cyprian Embassy in Athens (House of Cyprus) and the Michael Cacoyannis Foundation present the exhibition entitled “Eleven young visual artists make a comment on 80’s Greek Cinema”. The exhibition will be hosted in Michael Cacoyannis Foundation and its duration will be until the November 7th. The inauguration ceremony will take place on Tuesday October 19th at 20:30, just two days before the official premiere of the 23rd Panorama of European Cinema. During the inauguration event Anna Stereopoulou will be performing live on piano.
The 11 artists took over to work individually on one film, creating this way original visual artworks for the exhibition.
The participating artists are:
Athena Agorgianiti – Mania (Giorgos Panousopoulos)
On an ordinary day Zoe, a Greek corporation’s executive, is chosen for promotion, via further training in the US. She feels hanging between two different and important obligations, her family and her career. This situation seems like drowning her, so she decides to take a walk in the park with her daughter. But since they step of a park’s path and start walking through the trees they found themselves trapped in a parallel world haunted by an incarnation of an ancient god.
Giorgos Panousopoulos/ Films
Honeymoon (1979)
A Foolish Love (1981)
Love Me Not? (1989)
Love Knot (1995)
A day in a night (2001)
Testosterone (2004)
Nikos Arvanitis “Day off” (Vasilis Vafeas)
The activities of a husband and a father, in his day off from his job. One day during which he must address some remaining issues, his family, but the extramarital relationship, facing absurd and hilarious situations that turn the day off to a nightmare.
Films/ Vasilis Vafeas
Eastern Periphery (1979)
The Love of Ulysses (1984)
120 Decibel (1987)
The Red Margarita (1990)
Female Conspiracies (2007)
Vangelis Theodoridis – Morning Patrol (Nikos Nikolaidis)
In a post-apocalyptic landscape of destruction, Nikos Nikolaidis directs a lyrical tale of two people falling in love and searching, in vain, for a way out. Within the ruins of a consumerist world, the protagonists try to bare the violence that conquers. The only way to keep hoping is keeping together.
Nikos Nikolaidis/ Films
25/10/1939 – 5/9/2007
Euridice BA 2O37 (1975)
The Thrushes Are Still Singing (1979)
Sweet Bunch (1983), Singapore Sling (1990)
Tha se do stin Kolasi, agapi mou (1999)
The Loser Takes All (2002)
The Zero Years (2005)
Anna Karatza – The Price of Love (Tonia Marketaki)
Corfu, dawn of the 20th century. A pregnant woman disregards the social conventions, refuses to get married and decides to raise the child herself, when she finds out that her partner is a fortune hunter. The film is based in the Costandinos Theotokis book ΄΄The Price and the Money΄΄.
Tonia Marketaki/ Films
28/7/1942-26/7/1994, Greece
O Giannis ki’ o dromos (1967)
John the Violent (1973)
Crystal Nights (1992)
Kyriakos Kousoulidis – The Children of the Swallow (Kostas Vrettakos)
During the Greek Civil War six brother from Helidona village are separated. Three of them join the communist guerrilla army and the others go to the city in search of a better life. When, 40 years later, one of them dies, the others go back to their village. They look back at their lives, memories and self-criticism dominate their conversations.
Emi Palogianidou – Arpa Kolla (Nikos Perakis)
In Arpa Colla, a director and a screenwriter who have just won a prize at a festival are attempting to make film, true to their vision. They turn to producers and sponsor, they get obsessed and dream on, they get disappointed and angry. They realize that filmmaking in Greece is a though thing.
Nikos Perakis/ Films
(11/9/1944), Egypt
Loaf and Camouflage (1984)
Living Dangerously (1987)
Prostatis oikogeneias (1997)
The Bubble (2002)
Loafing and Camouflage: Sirens in the Aegean (2005),
Cool (2007)
Artherapy (2010)
Mpampis Papagiannis – The tree we hurt (Dimos Avdeliodis)
Chios Island in the 1960s. Two boys, classmates at primary school and close friends, fall out just before school is over for the summer. In the sunny Greek summer the boys soon make up and spend a wonderful summer. The carefree days, their friendship, hanging out with their buddies, their childish mischief, and their loves are only disrupted when autumn sets in.
Dimos Avdeliodis/ Films
Chios, 1952
Nike of Samothrace (1990)
The Four Seasons of The Law (1999)
Aliki Pappa – Love Wanders in the Night (Frinda Liappa)
Nikos Sepetzoglou Varieté (Nikos Panayotopoulos)
A director in a creative block is trying to find the story for his next film. Its a story about a man leaving his quiet, bourgeois life behind him and goes in a search for adventure. Varieté is a poetic elegy of moments, filled with melancholic images and humour.
Nikos Panagiotopoulos/ Films
Colors of the Iris (1974)
Idlers of the Fertile Valley (1978)
Melodrama? (1980)
The Woman Who Dreamed (1987)
The Bachelor (1997)
The Edge of Night (2000)
Delivery (2004)
Dying in Athens (2006)
Athens – Istanbul (2008)
Marelia Stagouraki Karkalou (Stavros Tornes)
An old man rides in a taxi. A young man is behind the wheel. A coffin is in the trunk. In the middle of the night the taxi stops at a quarry. The old man drags the young one in a nearby shack where he meets with a decadent woman, Karkalou. The young man dances with her under the music of Louis Armstrong and then they leave on a small boat to a trip down memory lane. Their voyage ends back in the same quarry where it began.
Stavros Tornes/ Films
Athens, 1932-1988
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https://www.taste.io/movies/crystal-nights
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Crystal Nights (1992)
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] |
[] |
[] |
[
""
] | null |
[
"Tonia Marketaki",
"Malvina Karali"
] |
1992-10-06T00:00:00
|
In this supernatural-themed romance, a German woman in the between-wars period is being initiated into some kind of esoteric/psychic order and learns at that time that her ideal mate won't even be born for quite a few years. By 1936, she has moved to Greece with her Greek husband, and there she m...
|
en
|
/icons/apple-touch-icon.png
|
https://www.taste.io/movies/crystal-nights
|
In this supernatural-themed romance, a German woman in the between-wars period is being initiated into some kind of esoteric/psychic order and learns at that time that her ideal mate won't even be born for quite a few years. By 1936, she has moved to Greece with her Greek husband, and there she meets Alberto, a very young Greek man, a Jew, who is evidently the man she has been seeking. They are able to read each other's thoughts and do so in the midst of a sexual encounter. Despite the boy's attraction to her, he spurns her due to her age (she is forty). She commits suicide and is born almost immediately as someone able to protect her ideal mate from the Germans. Later, as a young woman, she again has a liaison with Alberto, who again spurns her due to their age differences. Flashbacks indicate that this situation has been part of their lives for many incarnations.
|
|||||
18075
|
yago
|
2
| 10
|
https://www.artsy.net/artwork/alejandro-ospina-crystal-nights
|
en
|
Crystal Nights (2014)
|
https://d7hftxdivxxvm.cloudfront.net?height=481&quality=80&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FV3n8KVgNC3IZzGjorrpytg%2Flarge.jpg&width=640
|
https://d7hftxdivxxvm.cloudfront.net?height=481&quality=80&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FV3n8KVgNC3IZzGjorrpytg%2Flarge.jpg&width=640
|
[
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] |
[] |
[] |
[
""
] | null |
[] | null |
From Gallery Nosco, Alejandro Ospina, Crystal Nights (2014), Mixed media on canvas, 140 × 190 cm
|
en
|
https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico
|
https://www.artsy.net/artwork/alejandro-ospina-crystal-nights
|
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|
|||
18075
|
yago
|
0
| 48
|
https://flowersforsocrates.com/2020/07/28/on-this-day-july-28-2020/
|
en
|
ON THIS DAY: July 28, 2020
|
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[] |
[] |
[
""
] | null |
[] |
2020-07-28T00:00:00
|
July 28th isBuffalo Soldiers Day *Waterpark DayMilk Chocolate DayWorld Hepatitis Day *________________________________________MORE! Judith Leyster, Harry Bridges and Fahmida Riaz, click________________________________________WORLD FESTIVALS AND NATIONAL HOLIDAYSCanada – Great Upheaval Commemoration Day *Faroe Islands – Ôlavsøka Eve(eve of St Olav’s Day, patron saint)Peru – Día de la IndependenciaSan Marino – Fall of Fascism AnniversarySpain – Cantabria (autonomous community):Día…
|
en
|
https://secure.gravatar.com/blavatar/b40d74c53ded709eab9909408b9243df692aa06ed6f1347b697123c850b5e58b?s=32
|
Flowers For Socrates
|
https://flowersforsocrates.com/2020/07/28/on-this-day-july-28-2020/
|
July 28th is
Buffalo Soldiers Day *
Waterpark Day
Milk Chocolate Day
World Hepatitis Day *
________________________________________
MORE! Judith Leyster, Harry Bridges and Fahmida Riaz, click
________________________________________
WORLD FESTIVALS AND NATIONAL HOLIDAYS
Canada –
Great Upheaval Commemoration Day *
Faroe Islands – Ôlavsøka Eve
(eve of St Olav’s Day, patron saint)
Peru – Día de la Independencia
San Marino – Fall of Fascism Anniversary
Spain – Cantabria (autonomous community):
Día de las Instituciones de Cantabria
________________________________________
On This Day in HISTORY
1364 – The Republic of Florence wins a resounding victory against Pisa at the Battle of Cascina, coming back from a defeat at Valdinievole in a battle with Pisa troops led by mercenary John Hawkwood
1456 – Jacopo Sannazzaro born, Italian poet, humanist and epigrammist; noted for Arcadia, a poetical prose work
1540 – Thomas Cromwell, Henry VIII’s chief minister, is executed for treason, and 49-year-old Henry VIII takes 17-year-old Catherine Howard as his fifth wife – she was accused of committing adultery, and beheaded for treason just 19 months after the wedding
1609 – Judith Leyster born, Dutch painter during the ‘Golden Age’ of Dutch painting; her work was forgotten until 1893, when the Louvre purchased a purported ‘Frans Hals’ painting which turned out to a Judith Leyster painting
Self-Portrait by Judith Leyster, circa 1630
1794 – At the end of the French Revolution’s Reign of Terror, Maximilien Robespierre and Louis Antoine de Saint-Just are executed by guillotine
in Paris
1809 – The Duke of Wellington’s combined British and Iberian troops defeat the French at Battle of Talavera
1821 – José de San Martín declares Peru’s independence from Spain
1844 – Gerard Manley Hopkins born, innovative English Victorian poet and Jesuit priest, whose major themes were nature and religion
1854 – The last all-sail U.S. Navy warship, USS Constellation, is commissioned
1855 – Louisine Waldron Elder Havemeyer, American philanthropist, art collector and patron, feminist and advocate for women’s suffrage, supporter of Alice Paul and patron of Edgar Degas
1866 – Beatrix Potter born, beloved English author-illustrator of Peter Rabbit and other children’s storybooks, naturalist and conservationist of the English Lake District
1866 – Buffalo Soldiers Day * – The U.S. Congress recognizes the contributions of the more than 180,000 black Americans who fought to preserve the Union during the Civil War, by establishing six regular Army regiments of black enlisted soldiers. Of those six units, the 9th and 10th Cavalry regiments become two of the most highly decorated units in American military history
Buffalo Soldiers Charge by Frank McCarthy
1866 – U.S. Congress votes to commission Vinnie Ream to sculpt a statue of Abraham Lincoln for the U.S. Capitol Rotunda; she is 18 years old, the youngest woman artist to receive a U.S. government commission
1867 – Charles Dillon Perrine born, American astronomer; discover of two of Jupiter’s moons; won the 1897 Lalande Prize; worked at the Lick Observatory in California (1893- 1909): director of the Argentine National Observatory in Argentina (1909-1936)
1868 – The 14th Amendment to U.S. Constitution is certified, establishing citizenship of black males, giving them the right to vote and guaranteeing them due process of law
1874 – Alice Duer Miller, American author and poet, suffragist, known for satirical poems in her collection Are Women People? and the novel Come Out of the Kitchen
1879 – Lucy Burns born, American suffragist and women’s rights advocate, who formed the National Woman’s Party with Alice Paul; she attended Columbia University, Vassar College and Yale before becoming an English teacher at Brooklyn’s Erasmus High School (1904-1906), then, supported by her father, she continued her language studies in Germany at the Universities of Bonn and Berlin (1906-1909), and enrolled at Oxford to study English. It was during this time that she became involved with the woman’s suffrage movement after meeting the Pankhursts. She went to work for the Women’s Social and Political Union (WSPU – 1910-1912), and participated in organizing parades and demonstrations. She made numerous court appearances, charged with “disorderly conduct.” During one of her arrests in 1912, she met Alice Paul, also under arrest, at a London Police Station, and they decided to return to the U.S. and apply the tactics they had learned in England to the suffrage cause in America. Their partnership over the next eight years would make woman’s suffrage a national issue in the U.S., and pushed forward passage and ratification of the 19th Amendment in 1920. Burns would endure more time behind bars and harsher treatment than any other American suffragist, including repeated violent forced feeding, and being chained overnight to her cell bars by her raised arms. She was one of the first people to define the term “political prisoner.” After Tennessee became the 36th state to ratify the Amendment, she was completely exhausted and said, “I don’t want to do anything more. I think we have done all this for women, and we have sacrificed everything we possessed for them, and now let them fight for it . . . I am not going to fight anymore.” She retired from political life, and devoted herself to Catholic charities and raising her orphaned niece
1887 – Marcel Duchamp born in France, American painter and chess player; his work is associated with Cubism and Dadaism
Sad jeune homme dans un train (Sad young man on a train) by Marcel Duchamp
1893 – Rued Langgaard born, Danish late-Romantic composer and organist
1896 – Miami FL becomes an incorporated city
1901 – Harry Bridges born in Australia, American labor leader
1901 – Rudy Vallee born, American singer and bandleader
1907 – Earl Tupper born, American inventor of Tupperware plastic containers
1908 – Dame Annabelle Rankin, Australian politician, second woman member of the Australian Senate, first woman from Queensland to sit in the Parliament, first woman appointed as Opposition Whip in the Senate, first Australian woman to have a feral portfolio (cabinet position) and first to head a foreign mission, to New Zealand
1909 – Malcolm Lowry born, English novelist, short story writer and poet
1914 – Austria-Hungary declares war on Serbia, igniting WWI
1915 – U.S. begins a 20-year occupation of Haiti
1917 – The National Association of the Advancement of Colored People’s (NAACP) Silent Protest Parade in New York City
1929 – Jacqueline Bouvier Kennedy Onassis born, American cultural icon; First Lady and widow of John F. Kennedy, then married to Greek shipping magnate Aristotle Onassis; book editor for Doubleday and advocate for historic buildings preservation
1929 – Shirley Ann Grau born, American novelist and short story writer; her multi-generational novel, The Keepers of the House, won the 1965 Pulitzer Prize for Fiction
1932 – President Hoover orders U.S. Army troops to evict WWI “Bonus Army” from DC
1935 – First flight of Boeing B-17 Flying Fortress
1932 – Natalie Babbitt born, American author-illustrator of children’s and YA books; Tuck Everlasting and The Eyes of the Amaryllis
1935 – First flight of Boeing B-17 Flying Fortress
1939 – Judy Garland records Over the Rainbow for The Wizard of Oz
1939 – An Anglo-Saxon helmet is discovered during the excavation of the Sutton Hoo ship-burial, one of the most important artifacts ever found
1942 – Tonia Marketaki born, Greek film director and screenwriter; her first short film in 1967 resulted in her imprisonment by the Greek Military Junta (1964-1974); when released, she left Greece, and worked as an assistant editor in the UK, and director of educational films for farmers in Algeria. She came back to Greece in 1971, made three full-length films, Ioannis o Viaios (John the Violent), Krystallines Nyhtes (Crystal Nights), and I timi tis agapis (The Price of Love). She also directed a number of theatrical productions, and the TV series Lemonodasos. She died in 1994 at age 51
1945 – U.S Senate votes 89-2 to ratify the United Nations Charter; President Truman declares, “The action of the Senate substantially advances the cause of world peace.”
1946 – Fahmida Riaz born, Pakistani Urdu-language writer, poet, human rights activist, part of the progressive writers movement, and a feminist; she has published over 15 books of fiction and poetry, most considered controversial at the time, especially her second verse collection Badan Dareeda, regarded as too shockingly erotic and sensual for a woman poet. Founder and publisher of Awaz, a liberal and politically charged Urdu magazine, for which she was arrested and Awaz shut down. She was bailed out by a fan of her work, and sought asylum in India with her children and sister, where her husband, who had also been arrested, was able to join them after his release. They were in exile in India for seven years (1980-1987), before returning to Pakistan
1951 – Disney’s animated movie Alice in Wonderland is released
1965 – President Lyndon Johnson orders an increase of U.S. troops in Viet Nam from 75,000 to 125,000
1966 – Sossina M. Haile born in Ethiopia, Ethiopian-American chemist, whose family fled to America seeking asylum during the 1974 coup in Ethiopia, after her historian father was nearly killed. She is known for developing the first solid acid fuel cells, working in the field of sustainable energy technologies. Currently a professor of Materials Science and Engineering at Northwestern University and an editor for the Journal of Materials Research; previously at Caltech (1996-2015). NSF National Young Investigator Award (1994-1999); Humboldt Fellowship (1992-1993); Fulbright Fellowship (1991-1992); AT&T Cooperative Research Fellowship (1986-1992); 2001 J.B. Wagner Award of the High Temperature Materials Division of the Electrochemical Society; 2000 Coble Award from the American Ceramic Society; and 1997 TMS Robert Lansing Hardy Award
1967 – President Lyndon Johnson appoints Illinois Governor Otto Kerner as chair of the National Advisory Commission on Civil Disorders, called the Kerner Commission, to investigate the causes of the 1967 U.S. race riots in Los Angeles, Chicago and Newark, and make recommendations for preventing riots in the future
1971 – Ludmilla Lacueva Canut born, Andorran author of fiction and nonfiction, columnist for the Catalan-language newspaper Bondia; her first published book, Los pioneros de la hoteleria andorrana, a history of the hotel industry of Andorra, won the Research Prize from the General Council of Andorra, and became a local best-seller for Saint George’s Day, when it is traditional for Andorran women to give men a book
1973 – Summer Jam at Watkins Glen rock festival attracts 600,000 attendees
1984 – Summer Olympics (XXIII Olympiad) Opening Ceremonies in Los Angeles CA
1996 – “Kennewick Man”- prehistoric remains found near Kennewick, WA
1998 – Bell Atlantic and GTE announce a $52 billion merger that creates Verizon
2004 – The Democratic National Convention in Boston nominates Massachusetts Senator John Kerry for president
2005 – Provisional Irish Republican Army ends its 30-year Northern Ireland campaign
2009 – Tanzania Women’s Bank, under the leadership of Margaret Chaca, opens in Dar es Salaam. The idea started during the Dar es Salaam International Trade Fair in 1999. Women participants petitioned Tanzanian President H.E Benjamin Mkapa, asking that the government facilitate establishment of a women’s bank, so women could open checking and savings accounts, and apply for loans, more easily than at traditional banks, which were not geared for small accounts and microloans. It took eight years to get the bank listed as a Registered Financial Institution with the Tanzania Central Bank, and two more years before it opened its first office. It now has three more branches
Margaret Chaca
2009 – The Senate Judiciary Committee approves Sonia Sotomayor to be the first Hispanic justice on the U.S. Supreme Court
2016 – The earliest evidence of cancer is found in 1.7 million-year-old toe fossil from Swartkrans Cave, South Africa, published in South African Journal of Science
2016 – World Hepatitis Day * becomes part of the campaign by the World Health Organization (WHO) to prevent and control Viral Hepatitis; two resolutions on Viral Hepatitis have been adopted by the World Health Assembly, in 2010 and in 2014
2017 – Pakistani Prime Minister Nawaz Sharif found guilty of corruption charges by Pakistan’s Supreme Court, disqualified for life from public office
2018 – In China, out of over 50 million court verdicts from 2010 to 2017 available publicly, only 34 focused on sexual harassment, according to a study by the Beijing Yuanzhong Gender Development Center. Only two of the 34 cases involving sexual harassment were brought by victims suing alleged harassers, and both of those cases were dismissed for lack of evidence. In fact, the majority of the 34 cases were brought by alleged harassers themselves, claiming breach of contract after they were dismissed by employers for sexual harassment, or for defamation-related reasons after accusations were made public by victims or employers. It’s not that sexual harassment isn’t a problem in China, as nearly 40% of women in China say they have experienced sexual harassment in the workplace. The absence of court cases indicates instead the difficulties women face seeking legal redress for abuse. But the #MeToo movement is having some effect. In 2018, several university professors were accused on Chinese social media of sexually harassing female students, and a woman accused prominent anti-discrimination activist Lei Chuang of sexual assault. A slew of prominent journalists, intellectuals, and activists have since been accused on social media of sexual misconduct. Some of the accused made public apologies. One journalist, Shangguan Luan, wrote “given the lack of systemic redress,” China’s #MeToo movement is more about “easing depression” than “seeking accountability.” In a telling case, a woman said on July 25 after she reported to the police that prominent TV host Zhu Jun had sexually harassed her, police forced her to withdraw the complaint, claiming that Zhu, as host of the annual Spring Festive gala at the state media, had “enormous ‘positive influence’ on the society.” Soon after the exposé, posts about the case began to be removed from Chinese social media. Chinese law banning sexual harassment of women in the workplace doesn’t clearly define what is meant by sexual harassment, or make provisions creating a specific cause of action against harassment
Illustration by Hanna Barczyk for Foreign Policy
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A Conversation on the Bicentennial Celebrations of the Greek Revolution of 1821
Participants: Yannis Hamilakis (Brown University) and Vassilis Lambropoulos, with Artemis Leontis and Will Stroebel (University of Michigan)
October 25, 2021 | Watch Recording
18th Annual Pallas Lecture: Archaeologies of Contemporary Migration: Border Assemblages, Global Apartheid, and the Decolonial Potential
Speaker: Yannis Hamilakis, Professor, Brown University
Summary: Since 2016, I have been carrying out an archaeological ethnography project on contemporary migration, focusing on the border island of Lesvos. In this talk, I will report on some of the findings of this project, showing how a sustained and detailed attention to the materiality and temporality of the phenomenon, to the sensorial, affective, and temporal properties of things, can offer insights that elude other kinds of research. Objects, spaces, buildings and landscapes are essential components in the formation of border assemblages, together with border crossers, volunteers, as well as border guards and security apparatuses. I will explore how the attention to such assemblages can not only help us understand what some scholars have described as the new Global Apartheid, but more positively, allow us to imagine a decolonial present and future.
February 3rd, 2020 | Watch Lecture
17th Annual Pallas Lecture: Excavating Home: Archaeologies of the Greek American Experience
Speaker: Kostis Kourelis, Associate Professor of Art History, Franklin & Marshall College
Greek migration to the United States maintained two separate domestic environments, the Greek towns in urban America and the remittance villages in rural Greece. Both spaces played a central role in each country’s socio-economic modernization in the 1900s-1920s. Both spaces of this shared transformation were abandoned in the 1960s through urbanization, deindustrialization, suburbanization, white flight, and urban renewal. With the progressive passing of lived memories, archaeology must make increasingly important contributions in reconstructing the immigrant lifeworld of a century ago. By placing all of its archaeological resources into the idealized Classical period, the Greek diaspora has not yet fully embraced its own archaeological potential as a vehicle of self-understanding. The lecture presents recent fieldwork in the Greek towns of Philadelphia, Lancaster, and Harrisburg and in the villages of the Peloponnese, Phocis and Epeiros. It calls for a transnational perspective that provides comparative tools through which to address forced migration today.
Kostis Kourelis is an architectural historian who specializes in the archaeology of the Mediterranean from the medieval to the modern periods. He also investigates how medieval material culture has shaped modern notions of identity, space and aesthetics particularly during the 1930s. His recent fieldwork has focused on the archaeology of the contemporary world, labor, housing, and immigration. In Greece, he directs archaeological surveys of deserted villages and refugee camps; in the U.S., he directs projects on Philadelphia’s Greek town, North Dakota’s man camps and Japanese internment camps. He is Associate Professor of Art History at Franklin & Marshall College.
Publications include Houses of the Morea: Vernacular Architecture of the Northwest Peloponnesos (1205-1955), The Archaeology of Xenitia: Greek Immigration and Material Culture, Punk Archaeology, “Byzantium and the Avant-Garde: Excavations at Corinth, 1920s-1930s,” “‘If Space Remotely Matters: Camped in Greece’s Contingent Countryside,” and “North Dakota Man Camp Project: The Archaeology of Home in Bakken Oil Fields.”
March 21st, 2019 | Watch Lecture
16th Annual Pallas Lecture: Philhellenism and the Invention of American History
Speaker: Johanna Hanink, Associate Professor of Classics, Brown University
What does the landing of the Mayflower in Plymouth have to do with the Battle of Marathon? When the Greek revolutionaries declared independence from the Ottoman Empire in 1821, to which American citizen did they first send their proclamation? How did the Greek War of Independence shape American identity on the eve of the United States' 50th anniversary celebration in 1826? This presentation will explore intersections between philhellenism and nationalism, European and American identity, and ancient and modern Greece in early republican America. It will argue that the era's patriot-orators drew heavily on Greece, both ancient and modern,as they drafted new--and enduring--blueprints of U.S. patriotism.
Johanna Hanink holds a BA in Classics from the University of Michigan, an MA in Latin from the University of California, Berkeley, and an MPhil and PhD in Classics from the University of Cambridge (Queens' College). She works primarily on theater and performance, literary biography, the cultural life and afterlife of classical Athens, and the historical notion of an ancient "Greek miracle."
The Classical Debt: Greek Antiquity in an Era of Austerity (Harvard University Press 2017) is her latest book; it explores how Western fantasies of classical antiquity have created a particularly fraught relationship between the European West and the country of Greece, especially in the context of Greece's recent "tale of two crises." She is also author of Lycurgan Athens and the Making of Classical Tragedy (Cambridge University Press 2014) and co-editor, with Richard Fletcher, of the volume Creative Lives in Classical Antiquity: Poets, Artists, and Biography (Cambridge University Press 2016).
She is active in Brown's Program in Modern Greek Studies and is on the board of the Modern Greek Studies Association. She is also on the editorial boards of The Journal of Modern Greek Studies and Eidolon.
January 29th, 2018 | Watch Lecture
Translating Greek Poetry Under Crisis
Two events with Theodoros Chiotis, Editor of Futures: Poetry of the Greek Crisis
March 13 & 14, 2017 | Listen to Lecture at the Literati bookstore or to the Interview in the radio series "Living Writers" on WCB FM.
15th Annual Pallas Lecture: Speaking Greek at the American University Over the Last Two Centuries
Speaker: Yiorgos Anagnostou, Professor of Modern Greek, The Ohio State University
Celebrating the continuous presence of Greek as a language and a subject of learning on the Michigan campus since 1817 offers an opportunity to reflect on the meaning of "Greek." A host of questions arises: What do Ancient and Modern Greek studies have to say to each other? What kind of conversation have Modern Greek studies–where Modern Greek is spoken–and Classics–where Ancient Greek is read–been carrying on over the last couple of centuries? What tensions, silences, and mutualities have defined this relationship? The lecture traces the history of this relationship, and focuses on ways in which academic multiculturalism has fostered intellectual exchange among scholars of Ancient and Modern Greek. It discusses institutions, scholars, films, fiction, and poetry that bring Classics into conversation with Modern Greek Studies, and develops its own word play on this relationship. It concludes by proposing a framework for future collaboration between the two academic fields: cultivation of a particular ethos of citizenship among students and the wider public.
Thursday, January 26, 2017 | Watch Lecture | Read Lecture
The Rhetoric of Crisis and the Grammar of Resistance in Greek Wall-Writings and Spain’s Hologram Protest
Maria Boletsi, Assistant Professor in the Dept. of Film and Literary Studies, Leiden University
Wednesday, November 30, 2016 | Watch Lecture
History and Culture in Chinese and Greek Film
Presenters: Jing Zhang, New College of Florida & Vassiliki Rapti, Harvard University
The U-M Confucius Institute and Modern Greek Program at the Department of Classical Studies present its fourth joint exploration of modern Chinese and Greek cultures, comparing these two countries' rich cultures and histories in the global context. This unique collaboration is to compare the ways contemporary Chinese and Greeks engage with their respective histories, cultures, performing arts, and films. This year "History and Culture in Chinese and Greek Film" will be discussed via two lectures and two film screenings on March 31 and April 1 respectively.
5 - 5:50 pm: "Lost Child or Lost Fatherhood?: Confucian Structure of Feeling Reinterpreted in Contemporary Chinese Language Cinema" by Jing Zhang
Filial piety and the father-son relationship constitute the core of the "Confucian structure of feeling" in traditional China. While the last two decades saw a rapid economic growth and cultural globalization in China, they also witnessed a revival of traditional values, promoted through state propaganda and education, elite discourse, popular culture, and even legalization. It is in this context that I will discuss the theme of parental love in recent Chinese language films, examining it as an inversion or reinterpretation of filial sentiment pervasive in early modern Chinese literature. I will focus on two recent films of China and Hong Kong collaboration, Dearest (2014) and Lost and Love (2015), one made by the Hong Kong director Peter Chan and the other by novelist and television screenwriter Peng Sanyuan as her directorial debut. Both films base their stories in news reports of child abduction, focus on the parents' relentless search for their lost kids, and dramatize the multilayered tension between parental relationship, morality, and law. I will also trace the motif of "looking for a lost child/father" back to the early Modern Chinese narratives and its reincarnations in several films made at critical historical moments.
6 - 6:50 pm: "In Her Own Voice: History, Memory and Female Subjectivity in Greek Cinema" by Vassiliki Rapti, Harvard University
Within the male-dominated Greek cinema, several pioneering women directors made their appearance in the 1980s and distinguished themselves to the point that we can talk about a feminine Greek cinematic vision. This talk will focus on the distinct features of this powerful yet little known cinematic vision, and tackle female subjectivity as caught up in between History and memory. By analyzing several path-breaking films such as The Price of Love (1984) and Crystal Nights (1992) by Tonia Marketaki, Love Wanders in the Night (1981) andThe Years of the Big Heat (1991) by Frieda Liappa, and Hold Me (2006) and the documentary The Aegean in the Words of Poets (2003) by Loukia Rikaki, where the personal drama is conditioned by the larger circumstances, it will show how female subjectivity is shaped by desire nurtured by memory and agency against History.
March 31, 2016 | Watch Rapti Lecture / Watch Zhang Lecture
Greece & Eurozone: Where to?
Stathis N. Kalyvas, Yale University, Arnold Wolfers Professor of Political Science
In this lecture, Professor Kalyvas will review and discuss the various stages of the “Greek Crisis” from its eruption in 2009 to the present. He will consider its place in the broader context of Greek history and the process of European integration, both monetary and political, comparing and contrasting political and economic dynamics, as well as domestic, European, and international ones. This lecture will draw on the arguments of his recently published book, Modern Greece: What Everyone Needs to Know (Oxford University Press, 2015).
Stathis N. Kalyvas is Arnold Wolfers Professor of Political Science and director of the Program on Order, Conflict, and Violence at Yale University. He is the author of Modern Greece: What Everyone Needs to Know (Oxford University Press, 2015), The Logic of Violence in Civil War (Cambridge University Press, 2006), and The Rise of Christian Democracy in Europe (Cornell University Press, 1996), and the co-editor of Order, Conflict & Violence (Cambridge University Press, 2008). He has received several awards, including the Woodrow Wilson Award for best book on government, politics, or international affairs (2007), the Luebbert Award for best book in comparative politics (2008), the European Academy of Sociology Book Award (2008), the J. David Greenstone Award for best book in politics and history (1997), and the Gregory Luebbert Award for best article in comparative politics (2001, 2009, and 2011). He is the recipient of fellowships and grants from the European University Institute, the Harry Frank Guggenheim Foundation, the United States Peace Institute, and the Folke Bernadotte Academy; and a fellow of the American Academy of Arts and Sciences and the John Simon Guggenheim Memorial Foundation.
Sponsored by the Weiser Center for Emerging Democracies, Center for European Studies, & the Modern Greek Program
February 9, 2016 | Watch Lecture
Greek Art and Mythology; In the Making of Constantinople
Anthony Kaldellis, Ohio State University, Professor and acting Chair, Department of Classics
For centuries, Constantinople, the capital of the Byzantine empire, was the largest and most impressive open-air museum of classical art in the world. In the two centuries after its foundation in 330 AD, it was gradually endowed with imperial monuments and public spaces that made it the equal of ancient Rome. By looking at the forum of Constantine, the forum of Theodosius, the hippodrome, and others this talk will uncover the City’s cosmic symbolism: public spaces were designed to function syntactically as architectural maps of the cosmos and the whole empire, and their symbolic language was mostly that of ancient mythology.
Co-sponsored by the Department of History, the Modern Greek Program, and the University Seminars Program of the Alexander S. Onassis Public Benefit Foundation (USA)
February 3, 2016 | Watch Lecture
The Audacity of Truth: Aris Alexandrou's Modern Greek Antigone
Gonda Van Steen, Cassas Professor in Greek Studies, University of Florida
A talk on a little-known Greek Historical tragedy that takes place during the 1940s. Two theater stdents, John-Alexander Sakelos and Anastasia Zavitsanos, perform excerpts from the play. Co-sponsored by Contexts for Classics.
November 2, 2015 | Watch Performance
Visually Demolished and Textually Reconstructed: The Middle Ages in Contemporary Crime Fiction
Panagiotis A. Agapitos, professor of Byzantine literature, University of Cyprus
Despite the growing interest in medievalist (re)constructions of the Middle Ages (e.g. in film, theater, and fiction), the image of the “Middle Ages” in contemporary crime fiction has not been studied at all despite the immense popularity of this subgenre of crime writing. This talk will take a look at this production that, more or less, began in the late 1970s and has grown into a vibrant industry encompassing a variety of periods from the 7th to the 15th century, mostly placed in England, but also in France, Germany, and Italy. An attempt will be made to recognize the narrative mechanisms of “medieval mystery novels,” their literary models; their ideological approaches to various medieval societies; and their depiction of violence, sex, power, and friendship. A brief look will be offered to crime fiction dealing with cultures outside the conventional frame of the (Western) Middle Ages, such as, China, Japan, and Byzantium. Ultimately, it will be proposed that the “new” Middle Ages of contemporary crime fiction are an exotic locus of intertextual and intervisual fantasy, rather than an academic archeological recostrunction of a clearly defined medieval past.
October 12, 2015 | Watch Lecture
Civilization Gone Awry: Culture, Capitalism, and Conflict in Contemporary Europe
Assistant Professor Peter Bratsis, teaches political science at the City University of New York. He is a founding editor of the journal Situations: Project of the Radical Imagination; author of Everyday Life and the State (Paradigm, 2006; and editor, with Stanley Aronowitz, of Paradigm Lost: State Theory Reconsidered (Minnesota, 2002). His most recent publication is "Political Corruption in the Age of Transnational Capitalism: From the Relative Autonomy of the State to the White Man's Burden" in Historical Materialism (2013).
February 25, 2014 | Watch Lecture
13th Annual Pallas Lecture: How Greek was El Greco?
Speaker: Andrew R. Casper, Miami University
ABSTRACT: Born in Crete around 1541, there is no doubt about the ethnic origins of the painter Domenikos Theotokopoulos, better known as “El Greco” (“The Greek”). And yet the issue becomes much more complex when we take into consideration the painter’s artistic output and the multicultural path that he followed throughout his career. For an artist whose career spanned Crete, Venice, Rome, and Toledo (Spain), the issue of his “Greekness” results in something of a conflict between his own self-conception and the expectations of his audiences. This paper will examine the diversity of El Greco’s painting styles as well as the communicative goals of his signatures to explore the fraught issues of his Greek identity in late sixteenth- and seventeenth-century Europe.
BIO: Andrew Casper earned his Ph.D. at the University of Pennsylvania and is currently Assistant Professor of art history at Miami University in Oxford, Ohio, where he specializes in Renaissance and Baroque art in southern Europe. He is the author of numerous articles on sixteenth-century icons and the religious paintings from El Greco’s Italian period. His book Art and the Religious Image in El Greco’s Italy (Penn State University Press, 2014) uses El Greco’s early paintings to advance new ideas concerning the conception of religious imagery after the Council of Trent. His current research examines the sixteenth- and seventeenth-century artistic conception of the Shroud of Turin as a divine painting. His research and publications have been supported by grants from the American Philosophical Society, Art History Publication Initiative, College Art Association, Fulbright, Italian Art Society, National Endowment for the Humanities, and the Newberry Library. Professor Casper is the winner of the 2014 Miami University Distinguished Teaching Award.
January 22, 2015 | Watch Lecture
Media Represantation of the Greek Crisis
A Lecture by Maria Kakavoulia, Onassis Senior Visiting Scholar and Associate Professor in Rhetoric, Stylistics and Narratology, main coordinator of the Speech and Rhetoric Lab Panteion University of Social and Political Sciences, Athens Greece
This lecture discussed how the international and the Greek media have portrayed the Greek crisis over the last few years. How did the media represent the renegotiation of values involved in Greece's relation to Europe? Does the international press stereotype Greece, or does it contribute to the internationalisation of the crisis and the illustration of the social and humanitarian dimensions of the crisis often ignored by the European Union? How has the foreign representation of Greek crisis been received by the Greek media? The lecture also focused on the plurality of new and old media used by Greek citizens to report stories about the human impact of the austerity measures and the collective anger of the Greek people.
This event was sponsored by the University Seminars Program of the Alexander S. Onassis Public Benefit Foundation (USA)
October 9, 2014 | Watch Lecture
An Open Mic Event Celebrating the Year of C.P. Cavafy
On April 29 we celebrated the 150th anniversary of Cavafy's birth and 80th anniversary of his death with an open mic event.
April 29, 2013 | Watch Event
11th Annual Dimitris and Irmgard Pallas Modern Greek Lecture: Cavafy's Debt
Stathis Gourgouris, Columbia University
February 25, 2013 | PDF
Translating Echoes from the Past: Music-Making and the Politics of Listening and Relatedness in Turkey
Nikolaos Michailidis, a Ph.D. candidate in anthropology at Princeton University
October 8, 2012 | Watch Lecture
Between Two Patriae: Transnational Patriotism in the Adriatic, 1800-1830
Konstantina Zanou, Center for European Studies, New York University
This lecture is about the story of three poets who set off from the same island in the Adriatic Sea, Zante, and end up becoming the ‘national poets’ of two different countries, Italy and Greece. Ugo Foscolo, Andrea Calbo and Dionisios Solomos were born within years of each other (Foscolo in 1778, Calbo 1792, and Solomos 1798), but enough to inculcate in them different choices regarding language, poetry and, finally, national identity. Their divergent routes are seen as a metaphor for the dissolving Venetian ‘cultural continuum’ of the Adriatic.
November 7, 2012 | PDF & Poster
The Colonial Mediterranean and Its Place in European History
Sakis Gekas, Assistant Professor teaching Modern Greek and Mediterranean History at York University, Toronto.
Sakis Gekas is an assistant professor teaching Modern Greek and Mediterranean History at York University, Toronto. He has taught Economic History at the LSE and the University of Manchester and was a Max Weber Fellow at the European University Institute in Florence. He has published on the economic and social history of Mediterranean ports, and he is completing a history of the Ionian State and British colonialism in the Mediterranean.
November 1, 2013
Poster
Sam Karres Reception
Sam Karres, Urban Expressionist painter, Detroit
Urban Expressionist painter Sam Karres has spent his life deriving his inspiration from the city of Detroit. He captured Greektown before the casino, at a time when it was truely a Greek neighborhood and the known Greek hang out was the Macedonia Coffee house. This reception was to honor Sam Karres and his gift of sketchbooks dating from 1975-1996 to the Hatcher Graduate Library. The collection will support the study of both Greek America and Detroit.
October 24, 2012 | Photos & Poster
Athens, Notice Your Poet
Natalie Bakopoulos is a novelist; lecturer in English and affiliated faculty in Modern Greek, U-M. She holds an MFA in Fiction from the University of Michigan, where she now teaches. Her work has appeared in Tin House, Ninth Letter, and Granta Online, and received a 2010 O. Henry Award, a Hopwood Award, and Platsis Prize for Work in the Greek Legacy.
October 4, 2012 | Poster
Hellas Essentialized: Antiquity, the Greek Crisis, and Political Cartoons in the Global Marketplace
Dr. Lauren Talalay, Associate Director and Curator of the Kelsey Museum of Archaeology, University of Michigan,
Monday, February 20, 2012 |PDF
On the Clinical Picture of Nostalgia - and a Remote Literature
Prof. Maria Oikonomou, University of Vienna, Department of Byzantine and Modern Greek Studies
Monday, November 28, 2011 | PDF
9th Annual Dimitris and Irmgard Pallas Lecture in Modern Greek: On Greek Friendship
Professor Gregory Jusdanis, Ohio State University
Wednesday, January 26, 2011
The Balkan Sight of the Mediterranean
Gazmend Kapllani
Thursday, February 3, 2011 Video | Audio
Hellenism and Modernist Performance
Dr. Olga Taxidou, Reader in Drama, University of Edinburgh
Thursday, November 17, 2010
2nd Annual Demetrios and Demetra Partalis Kales Lecture in Modern Greek History: Memory and Religious Culture: Greek Orthodox Life in Ottoman Empire
Professor Tom Papademetriou, Richard Stockton College, New Jersey
Wednesday, December 1, 2010 | PDF
Archaeology and National Identity in the Greek Museum
Professor Dimitris Damaskos, University of Ioannina/Western Greece
Monday, October 4, 2010 | PDF
Alas we went bankrupt...again: The Greek Economy in Turmoil
Stefanos Delikouras, Ross School of Business, University of Michigan
Thursday, October 7, 2010 | Audio
Conversations on Europe: The Financial Crisis in Greece: Causes and Social Consequence
Harris Mylonas, Assistant Professor of Political Science, George Washington University
Thursday, September 16, 2010 Audio | Video
Past (Im)perfect or Present Continuous? The Greek and Spanish Democratic Transitions in Retrospect
Konstantinos Kornetis, Visiting Assistant Professor of History at Brown University
Thursday, March 11, 2010 Audio
8th Annual Dimitri and Irmgard Pallas Lecture in Modern Greek:Translations and Anthologies and their Critical Excess
Karen van Dyck, Professor of Hellenic Studies at Columbia University
Thursday, February 22, 2010 | Audio
The Inaugural Demetrios and Demetra Partalis Kales Annual Lecture in Modern Greek History - America’s Relations with Greece to 1945: From Aloof Soft Power to the Onset of Regional Hard Power
S. Victor Papacosma, Emeritus Professor of History and Director of the Lemnitzer Center for NATO and European Union Studies at Kent State University, Executive Director of the Modern Greek Studies.
Thursday, November 12, 2009 | PDF
Displaying Modernity: Cycladic Art as a 20th-Century Cultural Phenomenon
Dimitris Plantzos, Professor at the University of Ioannina
Wednesday, October 28, 2009 | weblink
The Least Ancient Greek Poet
Vassilis Lambropoulos
Traianos Gagos,
Yopie Prins
Tim Whitmarsh
George Economou
Monday, November 23, 2009
Fragments of Greek Desire
Tim Whitmarsh, Fellow and Tutor, University Lecturer (CUF) in Greek, EP Warren Praelector, at Corpus Christi College, Oxford University
Monday, November 23, 2009 | PDF
Reflections on a Changing Landscape: Rethinking 'Greece' in a Comparative Frame
Michael Herzfeld, Professor of Anthropology at Harvard University
Thursday, October 1, 2009 | Audio
Mediterranean Modernisms: Towards a New Mediterranean Identity
Marinos Pourgouris, Visiting Assistant Professor of Comparative Literature at Brown University
Tuesday, January 28, 2009 | PDF
Conversations on Europe: Mediterranean Entrepreneurial Diaspora Networks during the Long Nineteenth Century
Gelina Harlaftis, Associate Professor, Department of History, Ionian University, Corfu
Thursday, October 30, 2008 | Audio
The Modern Greek Devil: Cosmology or Rhetoric?
Charles Stewart, Department of Anthropology, University College London | PDF
Democracy as a Tragic Regime
Nathalie Karagiannis, Research Fellow in Political Sociology, University of Sussex | PDF
A Heretical (Orthodox) History of the Parthenon
Anthony Kaldellis, Associate Professor, Department of Greek and Latin, The Ohio State University | PDF
Enlightenment, Emancipation, and National Identity: Koraes & the Ancients
Ioannis Evrigenis. Prof. Evrigenis's lecture was delivered as part of the European Union Center's Conversations on Europe lecture series.
January 11, 2007 | PDF
The Restoration of the Athenian Acropolis (1834 - 2005)
Dr. Fani Mallouchou-Tufano, head of the Documentation Office at the Acropolis Restoration Service. Copyright 2006 Dr. Fani Mallouchou-Tufano
January 18, 2006 | PDF
The Moderns between the Greek and Romans: Tony Blair's Athenian Birthday
Sir Peter Stothard
2005
Haunting Europe: Some Modernist Uses of Hellenism
Vassiliki Kolocotroni, University of Glasgow, UK.
2005 | PDF
DOW CEO Andrew Liveris Talks to Class on Modern Greek Culture
Notes from talk and written text delivered on March 17, 2005 | PDF
The 3rd Annual Pallas Lecture
Kevin Featherstone of the London School of Economics and Political Science discusses the state of Greek governance
Feburary 17, 2005 | PDF
Interiority in Greek Rap, Television, and Film
Prof. Franklin Hess, University of Iowa. Copyright 2006 Franklin Hess
November 5, 2004 | PDF
Moderns between the Greeks and Romans Roundtable Talks
Compiled in this one pdf file are four talks recently given at a roundtable discussion of the Moderns between the Greeks and Romans series | PDF
The Now and Future Greek America Strategies for Survival
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Summers in Thessaloniki have a character of culture. And indeed, it is difficult to meet a resident of Thessaloniki who has not been to one of the city's festivals. Year after year, Thessaloniki's festivals are becoming establishments, some as old and traditional now and others as new ones that are slowly finding their own place on the city's cultural map.
It is a fortunate thing for a city to remain alive during the summer months through its activities and to keep its cultural identity unchanged but at the same time constantly renewed. Every year, residents and visitors of the city make their annual rendezvous with the summer festivals that host a multitude of artistic and cultural activities.
In Thessaloniki you will find many small and large events, festivals, festivals within festivals and performances, many of which take place in historic locations.
Moni Lazariston Festival
The Festival that every year increases its presence and brings for the audience a rich program of concerts and events including artists of the world music scene.
All kinds of group ages gather to enjoy their favourite musicians and the courtyard of the Lazariston Monastery is transformed into a lavish celebration that welcomes and celebrates summer in the city.
Artistic, classical and rock rhythms come alive until the end of September and invite everyone to enjoy themselves to their tunes. Once you've chosen the act you'd like to see, make sure you book your tickets early, as many concerts sell out in a flash.
Next event: 18/07 George Perris.
Learn more here
Eptapyrgion Festival
The culture of Thessaloniki at its best. Concerts, operas, performances, musical events in one of the most historic and emblematic locations of the city: within Eptapyrgion, one of the 15 UNESCO Cultural Heritage Sites in Thessaloniki.
As a relatively new addition to the list of the city's festivals, it proves every year its dynamics since 2019 and seeks to make Eptapyrgio a pole of attraction for visitors not only because of its historicity but also because of the cultural activities that take place there.
If you're thinking of attending the Eptapyrgion Festival, don't think about it for too long. Availability is limited and festival fans are showing their warm response early for the festival's activities.
Next event: 18/07 Federico García Lorca: Poetry Nights
Learn more here
Festival "Kalokairi sto Theatro Kipou"
And if you still don't consider Thessaloniki to be the city of summer festivals, then, Kalokairou at Theatro Kipou can tell you that you haven't seen it all yet.
The event organized by the Municipality of Thessaloniki promises a summer of culture and activities at the Theatro Kipou for young and old alike. Among a rich program you will find children's performances and of course concerts, music and theatrical events for adults.
The Festival will accompany residents and visitors until September and its proposals will fill our summer nights with song, dance and fun for all.
Next event: 22/7 8 Gynaikes (8 Women), theatre performance.
Learn more here
43rd Book Festival
The meeting point for book lovers. And it was only natural that such an initiative could not be missing from the city's summer festivals.
In front of the waterfront, at the White Tower Square, overlooking the Thermaikos Gulf, the festival welcomes its visitors with a number of books and publications that will be the best summer companion this year.
With a special tribute to Cypriot Letters and Cypriot poetry, the 43rd Book Festival writes its own history in the city as for over 40 years it has been highlighting the importance of continuous learning and access to knowledge.
At the White Tower Square until 21/07.
Learn more here
10th Forest Festival
Forest Festival celebrated its tenth birthday in the city this year with performances and concerts, most of which were sold out.
Especially if you are a fan of ancient theatre, then the festival is for you. Its activities will revive ancient comedies and tragedies in the venues of Theatro Dasous and Theatro Gis in lush green locations within the urban landscape. Among others, Forest Festival hosts concerts with the most famous and beloved names of the music scene.
Besides, there is no summer in Thessaloniki without a concert at Dasos Theatre or Gis Theatre and the locals already know that.
Next event: 19/07 Aeschylus' Oresteia, theatre performance.
Learn more here
More
Introduction
The Holy Week, or Passion Week, is celebrated in the churches of Thessaloniki with devoutness and with numerous ecclesiastical services. The believers actively participate and prepare for the joyful event of Christ's Resurrection. In the streets and neighborhoods, the customs and folk traditions associated with this period are evident.
We call the Passion Week the Holy Week, not because of the length of the hours, but because the person is our Lord.
According to sources in Jerusalem, they have used the designation "Holy Week" since the 4th century.
Lazarus Saturday and Palm Sunday have the unique place in the church year as days of joy between Lent and the mourning of Holy Week. They are outside the period of Lent, which ends on the Friday before Palm Sunday.
On Palm Sunday, "fish is eaten," as it is considered a great Feast of the Lord, and the strict fasting (abstention from animal products) of Great Lent, which has preceded it, and that of Holy Week following it, is interrupted.
Palm Sunday
The Holy Week begins. This day commemorates the memory of Jesus' triumphal entry into Jerusalem, where, according to the Evangelists of the holy Gospels, the Judean greeted Him warmly, holding vayas (palm branches - symbols of victory) and, spreading their clothes on the ground, cheered "Hosanna, blessed is he who comes in the name of the Lord".
By the end of the Divine Liturgy, the priests distribute to the faithful the Vayas, which have previously been blessed in all the churches of the city during the Orthodox service.
The first three days of Holy Week, namely Palm Sunday, Holy Monday and Holy Tuesday, constitute a single, liturgical unity, preparing us spiritually for the divine drama and the Vespers are called the "Bridegroom's services", because the well-known troparion "Behold, the Bridegroom Christ will come suddenly at midnight" is chanted in the churches. “And blessed is the man who will find himself spiritually awake, while on the other hand he is unworthy who will find himself sluggish and negligent. Beware, then, my soul, lest you be overcome by sleep, lest you give yourself up to the death of sin and find yourself outside the kingdom of God, but take heart, crying aloud, holy, holy, holy art thou our God, have mercy on us with the protection of the holy angels.”
Palm Sunday afternoon
Two events are dominant:
The life of Joseph, the so-called Pangalos, that is, the handsome in body and soul, eleventh son of the patriarch Jacob. Joseph, who was sold as a slave to the Egyptians, prefigures in his adventure Christ Himself and His passion. This is a great Old Testament figure, about whom we read in the last section of the book of Genesis.
The incident of the fruitless fig tree that Jesus dried occurred the day after His triumphal entry into Jerusalem. It is a living exhortation to believers to produce spiritual fruit.
Holy Monday afternoon
In the Sequence of the Bridegroom of that day we remember two parables:
Of the ten virgins, which teaches us to be ready and prudent, like the five wise virgins, and full of faith and works of charity.
Of the talents, which teaches us to be industrious, to cultivate and increase our spiritual gifts.
The two parables are instructive and of utmost importance for our salvation, reminding us of the Second Coming of the Lord.
Holy Tuesday afternoon
In the matins service we remember the repentance of the sinful woman who, out of gratitude, anointed the feet of the merciful Lord with precious myrrh just before His Passion and was forgiven for her sins because she showed great love and faith in Christ.
This event was preserved by all four Evangelists with some minor differences in their narratives.
Moreover, on this day we remember the betrayal of Judas.
The last hymn in that day's service is that of the pious and scholarly Byzantine poet and melodist, the nun Kassiani, who lived during the reign of Emperor Theophilos (829-842). It is one of the most beautiful hymns in Orthodox church hymnography and at the same time, it conveys special messages about God's boundless love and forgiveness.
The choice of a hymn, written by this particular historical person for liturgical use during Holy Week, conveys timeless messages about the equality of the sexes and the divine love for the female sex!
Holy Wednesday afternoon
The sacrament of Unction
On Holy Wednesday in the afternoon, along with the Sequence of Holy Washbasin, the sacrament of Unction for the sanctification of the believers , in order to cure their physical and spiritual illnesses.
The sacrament of Unction on the words of St. James the Brother of God:
At the end of the service, the priests chrism (i.e., anointing) the faithful with the holy oil crosswise on the forehead, the chin, the two cheeks, the palms and the outside of the hands.
On that day, the Church in her hymnal reminds us of 4 events that occurred shortly before the Passion of the Lord.
the Holy Washbasin
the Last Supper
the prayer of Jesus in the Garden of Gethsemane and
the betrayal of Judas
The Fathers of our Church have determined that we celebrate the great events that took place on the day our Christ was arrested. According to the holy Gospels, on the fifth day of that week the Lord, as God, knowing what was about to happen, wished to dine with His disciples for the last time. For this He arranged a table in a certain high place in Jerusalem. This supper took place in the evening and is called the Last Supper, because during it great events took place.
Jesus washed the feet of His disciples at the Last Supper, summing up the meaning of His ministry. Nowadays, usually in the cathedral, the high priest washes the feet of 12 priests in a re-enactment of the event, according to the sequence contained in a separate, liturgical book.
Holy Thursday morning
The main theme of the day is the celebration of the sacrament of the Eucharist.
On the same day, according to a folk tradition, accepted by the Church, believers boil eggs and paint them red, in memory of the bloody sacrifice of Jesus on the Cross, while in some houses, in the courtyards or on the balconies they hang a red cloth.
Holy Thursday afternoon
In the evening, during the service, twelve passages from the Gospels are read, describing the events from the arrest to the burial of Christ.
On the same evening the ceremony of the Crucifixion of Christ takes place. After the fifth Gospel, the Crucifix comes out of the Sanctuary, accompanied by Priests and Cantors : "Today he hangs on the wood of the cross who hung the earth on the waters", the priest chants, as he carries the crucified Jesus into the temple. After the procession is completed, the Cross is placed in the centre of the temple, the faithful venerate the Crucifix and place wreaths and flowers at His base.
It is the climax of the divine drama. Then the "Passion Sequence" is celebrated and we remember and experience the Saving and horrible Passion of our Lord and God, namely: the spitting, the scourgings, the mockeries, the humiliations, the beatings, the crown of thorns and, above all, the Crucifixion and death of Christ.
After the evening service, women usually decorate the Epitaph and the canopy, in which the Epitaph is placed, with flowers. The Epitaph is a cloth on which the Lord of the Dead is embroidered or painted. The flowers symbolize the perfumes of the interred and the myrrh-bearers. Often in the Bible, flowers are used to glorify divine wisdom.
Jesus also makes reference to the fleeting beauty of flowers, especially lilies, to convince His hearers that man should trust in God's providence.
Holy Friday morning
On Holy Monday morning the Great Hours are chanted, which include many hymns and the Deposition of the Crucified. The Epitaph is decorated with flowers and placed in the wooden canopy (symbolizing the deathbed). And then the faithful worship it. The churches remain open to worshippers until the evening service.
We are introduced to the atmosphere of the Holy Saturday by the glorification of the Holy Friday Vespers, which is chanted in a rhythmic, but at the same time mournful sound. The Lord has breathed his last and Joseph, boldly asking permission from the Roman ruler Pilate, descends with Nicodemus the lifeless body of Jesus.
On Good Friday morning, shops remain closed until 12 noon as a sign of mourning and respect.
Holy Friday afternoon
In the Holy Friday evening, the hymn is about the burial of the Lord by Joseph and Nicodemus and the descent of His soul to Hades, where He preached to all the dead.
During the service, praises are chanted, small hymns, very dear to the people, by an unknown poet. Afterwards, the procession of the Epitaph and the cube is made outside the church and in the streets of the church area.
During the service, praises are chanted, small hymns, very dear to the people, by an unknown poet. Afterwards, the procession of the Epitaph and the cube is made outside the church and in the streets of the church area.
In the Metropolis of Thessaloniki it is customary for the Epitaphs of the Metropolitan Church of St. Gregory Palamas and the Cathedral of the Sophia of God to meet.
During the meeting priests and faithful chant together.
Epitaphs are also found in other parishes of our city. During the procession of the Epitaph, a custom with ancient roots, which is lost in the depths of the centuries, bands play mournful marches and mournful bells sound from the bells of the churches. The faithful participate in the procession of the Epitaph and follow, holding lit dark-coloured candles in mourning.
Except that the procession of the Epitaph of the holy church of St. Minas in the city center takes place at noon in the center of the market, so that professionals and workers have the blessing to worship it.
Holy Saturday (First Resurrection)
The Holy Saturday marks the end of the Passion Week. It is the only Saturday of the year on which we also fast from oil.
On the morning of Holy Saturday, Vespers and the Liturgy of the Great Basil are celebrated in the churches, ushering us into the celebration of the next day, namely the Resurrection of the Lord.
The service of that morning has a joyful and celebratory character. It is called the "First Resurrection".
After the reading of the prophecy of Jonah, which prefigures the three-day burial and Resurrection of the Lord, the priests inside the churches throw laurel leaves (bay leaves) to the faithful, which symbolize victory and joy (that is, the victory of Christ over death, His Resurrection).
In many churches, metallic objects or seats are loudly struck. This custom symbolizes the clangor and excitement for the anticipated Resurrection of Jesus. In the Resurrection Gospel of the same day, we read that Jesus addressed the women with the Greek greeting "Rejoice." With this greeting, the Risen Lord honors the women.
Αρχή φόρμας
Holy Saturday night
The services of Easter Sunday, the matins and the Divine Liturgy of Saint John Chrysostom, are celebrated at midnight on Holy Saturday in all the churches of our city. The Cathedral of our city, dedicated to the Wisdom of God, is presided over by Metropolitan Philotheos of Thessaloniki.
The services of Easter Sunday, the Matins and the Divine Liturgy of Saint John Chrysostom, are celebrated at midnight on Holy Saturday in all the churches of our city. The Cathedral of our city, dedicated to the Wisdom of God, is presided over by Metropolitan Philotheos of Thessaloniki.
On the night of Holy Saturday, at 11:30, the lights of the churches are turned off and the Archpriest in the Cathedral comes out to the Holy Doors, holding candles with Light from the unlit candelabrum, which is inside the sanctuary, and chanting "Receive Light...", that is: "Come receive light from the unfallen light". The same happens in the other churches of our city, while the faithful hold white candles and candles and light them.
Afterwards, the Archpriest, the priests, the cantors, the rulers and the faithful go out into the courtyard of the cathedral, where the Gospel of the Resurrection is read and at 12:00 midnight the "Christ rose from the dead, having conquered death by His death and given life to the dead who were in the tombs" is chanted. The bells of all the churches in our city ring joyfully to convey the message of the Resurrection and fireworks and firecrackers "light up" the night!Αρχή φόρμας
The faithful light their candles, kiss each other, exchange resurrection wishes (Christ is risen!) and crack the eggs, painted in red.
The Easter candle custom dates back to early Christian times, when newly converted Christians were baptized on Holy Saturday and Easter Sunday after a period of preparation. The candle they held in their hand symbolized the new light of Christ, which would now illuminate the soul of the new convert.
The candle is lit for the first time on the night of the Resurrection, to emphasize that Christ is the light of the world and His commandments are a light on the path of our lives.Αρχή φόρμας
Easter Sunday morning
The Vespers of Love is celebrated in the morning at the Metropolitan Church of St. Gregory Palamas, presided by the Metropolitan of Thessaloniki, with a number of priests. The same service is celebrated in the other churches of our city in the evening at 7.00.
In the service, a passage from the Gospel of John is read, which refers to the appearance of Christ after His resurrection to His disciples, except for Thomas, who was not present, was not convinced of the event and asked for proof. Christ appears and greets them with "Peace be with you" because His disciples were in need of peace.
The passage is also read in foreign languages, in order to emphasize that the Resurrection concerns the whole world and has a universal dimension.
The service is called the "Vespers of Love" because Christ was crucified and resurrected out of love for people.
The meaning of the Resurrection
The Resurrection of Christ is the solid rock upon which the "One, Holy, Catholic and Apostolic Church" is built.
The Gospels of the New Testament do not describe the resurrection of Christ, but record testimonies and experiences of the disciples who met the Risen Christ or visited the empty tomb where the martyrs heard from the angel: "He is not here, for, as he said, he is risen". The same is true of the Byzantine icons of the Resurrection: it is not the event itself that is depicted, but its anthropological consequences. The Risen Christ takes a man, Adam, and a woman, Eve, by the hand and brings them out of the darkness of Hades, uniting them.
The Resurrection will always proclaim that "the powers of hell shall not overcome the Church".
The message "Christ is risen" is the most beautiful song, the greatest comfort and the brightest guide on the dark and sad paths of history. Upon "Christ is Risen" rests all that is most beautiful and most high in our faith. The risen Christ opened heaven and raised man from death to life, from corruption to incorruption and eternity.
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WOW2: Late July's Women Trailblazers and Events in Our History - 2019
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2019-07-27T00:00:00
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Welcome to WOW2 — Late-July!
WOW2 is a sister blog to This Week in the War on Women. This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2...
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en
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Daily Kos
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https://www.dailykos.com/stories/2019/7/27/1874580/-WOW2-Late-July-s-Women-Trailblazers-and-Events-in-Our-History-2019
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Welcome to WOW2 — Late-July!
WOW2 is asister blog toThis Week in the War on Women.This edition covers women and events just from July 23 to July 31. Since I’ve broken the data limit on individual diaries, I’m trying splitting WOW2 into three posts this month.
This is an on-going, evolving project. So many women have been added to the lists over the past three years that even changing the posts from monthly to twice a month, the pages kept getting longer and more unwieldy – an astonishing and wonderful problem to have!
The purpose of WOW2 is to learn about and honor women of achievement, including many who’ve been ignored or marginalized in most of the history books, and to mark moments in women’s history. It also serves as a reference archive of women’s history.There are so many morephenomenal women than I ever dreamed of finding, and all too often their stories are almost unknown, even to feminists and scholars.
_________________________________
Many thanksto WOW2’s Assistant Editorlibera nos — not only for volunteering to be the proofreader for WOW2, but for also contributing to the research. Any remaining mistakes are either mine, or uncaught computer glitches in transferring the data from his emails to DK5.
_________________________________
For theentire previous LATE JULY lists as of 2018,
click HERE: www.dailykos.com/...
Otherwise, what you’re seeing on this LATE-JULY2019 pageare the newpeopleand events, or additional information and visuals,
found since last year.
These trailblazers have a lot to teach us about persistence in the face of overwhelming odds. I hope you will find reclaiming our past as much of an inspiration as I do.
This Week in the War on Women
has posted, so be sure to go there next to catch
up on the latest dispatches from the frontlines:
www.dailykos.com/...
Late-July’s Women Trailblazersand Events in Our History
Note: All images and audios are belowthe person or event to which they refer
_________________________________
July 23, 1721 – Anna Dorothea Therbusch born in Germany, Polish Rococo painter; elected to the Stuttgart Academy of the Arts, the Bologna Academy, the Académie Royale in Paris, and the Academy of Fine Arts in Vienna.
July 23, 1844 – Harriet Williams Russell Strong born, American agriculturist, inventor, and conservation activist; pioneer of innovations in water storage and flood control; music composer; a leader of the West Coast woman suffrage movement; first woman member of the Los Angeles Chamber of Commerce.
July 23, 1889 – Anna Akhmatova born, Ukrainian-Russian poet and author.
July 23, 1892 – Icie Macy Hoobler born, biochemist and physiologist, first woman to head a local section of American Chemical Society and to serve as its national president; Director of the Research Laboratory funded by the Children’s Fund of Michigan. After receiving her Ph.D. from Yale, she started working at Western Pennsylvania Hospital in Pittsburgh as an assistant chemist. Hoobler was not allowed to eat in the dining hall for doctors, as all the other doctors were male, and she was not allowed to eat in the nurses' dining hall for bureaucratic reasons, so she ate with the hospital employees.The hospital only had restrooms for men, and Hoobler had to use a restroom in a public building a half-block down the street. Due to this, she limited her trips to the restroom, and after a few months she developed acute nephritis (kidney inflammation), and was urged to take a year's leave of absence. Upon expressing her dissatisfaction to the chief of the laboratory, she was told that she would soon get used to the conditions. Hoobler resigned. A day after her resignation, the board of trustees president asked her why she decided to resign and why she didn't attend the annual staff banquet, which the chief of the laboratory had not invited her to because he didn't think she would want to be with "all those men." After the president chastised the chief of the laboratory, Hoobler's treatment at the hospital improved. In 1923, during her year’s leave to recuperate from nephritis, Hoobler taught at the University of California at Berkeley. She was offered the position of Director of the Nutrition Research Project of the Merril-Palmer School for Motherhood and Child Development, where she spent the next 31 years directing the laboratory and then served as a research consultant from 1954 to 1974. Under her direction, the laboratory published 300 journal articles and several books on subjects ranging from the metabolism of women during the reproductive cycle to the chemistry of the red blood cell.
July 23, 1900 – Julia Davis Adams born, American author, social worker, journalist and playwright, known for historical and biographical novels, young adult books, and dramas; used the pen name F. Draco for Murray Hill mystery novels.
July 23, 1900 – Inger Margrethe Boberg born, Danish folklore researcher and author; first woman in Denmark to earn a Doctor of Philosophy, in folkloristics; worked as an archivist at Dansk Folkemindesamling (Danish Folklore Archive) from 1932-1957, but it didn’t become a full-time position until 1952, so she also took on temporary work as a school teacher. Recipient in 1945 of the Tagea Brandt Rejselegat, awarded to Danish women who make significant contributions in the sciences or arts, which enabled her to travel and further her studies; co-editor with Stith Thompson of the Motif-Index of Folk-Literature.
July 23, 1907 – Elspeth Grant Huxley born, British writer, journalist, broadcaster, magistrate and environmentalist; author of 30 books, the best known are based on her childhood on a Kenyan coffee farm; The Flame Trees of Thika.
July 23, 1916 – Laurel Martyn born, Australian ballerina and choreographer; in 1935, she was the first Australian woman to be accepted into the Vic-Wells (later Sadler’s Wells) Ballet, and became a soloist in 1938. After returning to Australia, she performed with the Borovansky Ballet, taught dance, and created her own dance works inspired by Australian themes. She was a co-founder of the Young Dancers’ Theatre, and Classical Dance Teachers Australia.
July 23, 1917 – Barbara Deming born, influential nonviolent activist, writer and poet; she marched and wrote for peace, civil rights, women’s rights, and lesbian and gay rights.
July 23, 1928 – Vera Rubin born, American astronomer; studied with Maria Mitchell at Vassar; she was the only graduate in astronomy from Vassar in 1948, then was barred from enrolling in the graduate program at Princeton, which didn’t allow women until 1975. Rubin got her Master’s at Cornell, and her PhD at Georgetown, in spite of having to battle sexism at almost every step. When the men at the Palomar Observatory told her, ‘It’s a real problem because we don’t have a ladies room,’ she cut a piece of paper into a skirt and stuck it on the male figure on the door to one of the men’s restrooms. She said, ‘Look, now you have a ladies room.’ Rubin did the pioneering work on galaxy rotation rates, uncovering the discrepancy between the predicted angular motion of galaxies and the observed motion, by studying galactic rotation curves, which became known as the galaxy rotation problem, work that was compelling evidence of the existence of dark matter. Rubin’s results were met with great skepticism, but over subsequent decades, they were confirmed. She was a strong advocate and mentor of women in science; honored with numerous awards, including the Bruce Medal, the Gold Medal of the Royal Astronomical Society, and the National Medal of Science, but was never honored with a Nobel Prize.
July 23, 1928 – Ruth Whitney born, pioneering editor of Glamour magazine for 31 years (1967 – 1998), among the first editors to introduce relevant social topics to a woman’s magazine, and the first to feature an African American, Katiti Kironde (then an undergraduate at Harvard), on the cover of the magazine’s August 1968 issue.
July 23, 1931 – Te Arikinui (Paramount Chief) Dame Te Atairangikaahu born, Māori queen for 40 years, the longest reign of any Māori monarch; Te Atairangikaahu means ‘hawk of the morning sky’; in 1979, first Māori appointed a Dame Commander of the Order of the British Empire; she was a strong supporter of Māori cultural events, and a spokesperson on indigenous issues.
July 23, 1940 – Danielle Collobert born, French author, poet and journalist; she worked at the Galerie Hautefeuille, a major art photography gallery, in Paris in the early 1960s while writing what would become her novel, Meurtre (Murder), and her first published book, Chants des Guerres (War Songs). She became involved in 1962 with the Front de libération nationale (FLN), Algeria’s nationalist movement, and wrote for the Algerian magazine Révolution Africaine until it stopped being published in 1964; joined the Writers’ Union in 1968, and traveled in Czechoslovakia, writing about the Prague Spring and its aftermath; committed suicide on her 38th birthday; Collobert’s last work, Survie (Survival), was published just three months before her death.
July 23, 1942 – Sallyanne Atkinson born, Australian Liberal Party politician and journalist; Lord Mayor of Brisbane (1985-1991), the first woman to be elected to the position; worked for the Brisbane Telegraph (1960-1962) and the Courier Mail (1963-1964); Alderman on the Brisbane City Council (1979-1985); since 2017, she has been the Chair of the Museum of Brisbane, and Council President of the Women’s College at the University of Queensland.
July 23, 1957 – Jo Brand born, English comedian, writer and presenter, former psychiatric nurse, who began her comedy career doing stand-up at alternative comedy clubs in the mid-1980s billed as ‘Sea Monster.’ In 1993, she became a resident panelist on the BBC show, The Brain Drain. In 2010, she was one of the performers in Channel 4’s Comedy Gala, a benefit for the Great Ormond Street Children’s Hospital. She has written several books, including the novel The More You Ignore Me, which she adapted as a feature-film script. She was the presenter of The Great British Bake Off: An Extra Slice (2014-2017).
July 23, 1959 – Nancy Savoca born, American film director, producer and screenwriter; noted for True Love (which won the Sundance Film Festival 1989 Grand Jury Prize), If These Walls Could Talk, and The 24-Hour Woman.
July 23, 1970 – Thea Dorn born, German novelist and playwright; since 2004, also the TV host of Literatur im Foyer, a show featuring interviews with authors and book reviews.
July 23, 1976 – Judit Polgár born, Hungarian Grandmaster in chess, considered the strongest woman player of all time; achieved the Grandmaster title at 15 years, 4 months, breaking the Youngest Grandmaster record previously held by World Champion Bobby Fischer; she was also the youngest player to break into the FIDE Top 100 players rating list, ranking #55 in the world at the age of 12; in 2005, she became the first, and to date, only woman to qualify for a World Championship Tournament, to surpass a 2700 Elo, reaching a career peak of 2735, and to reach a world ranking of #8; she held the title of #1 ranked woman in the world from 1989 to 2014, when she was briefly overtaken by Chinese player Hou Yifan, but regained her #1 ranking in 2015, shortly after announcing her retirement from competitive chess; she is the only woman to win a game against a reigning World Champion. Polgár has also defeated eleven current or former World Champions in at least one game.
July 23, 1978 – Lauren Groff born, American novelist and short story writer; known for The Monsters of Templeton, Delicate Edible Birds, and Arcadia.
July 23, 1999 – Colonel Eileen Collins becomes first woman to command a US spacecraft, Space Shuttle mission STS-93. In 1995, she was the first female shuttle pilot.
July 23, 2001 – Megawati Sukarnoputri becomes first female president of Indonesia after the President Abdurrahman Wahid is removed from office. She is given day-to-day control of the government beginning in August 2000 and serves as President from July 2001 to October 2004, but loses in the 2004 election.
Every July 23 — National Women in Engineering Day.
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July 24, 1868 — Marie Goegg-Pouchoulin founds the Association Internationale des Femmes, the first women’s organization in Switzerland, advocating for women’s rights and peace; she later leads a successful campaign for women’s admission to the University of Geneva in 1872.
July 24, 1889 – Agnes Meyer Driscoll born, American cryptanalyst, mathematician and physicist, who was fluent in French, German, Latin, Japanese and English; she enlisted in the U.S. Navy during WWI as a chief yeoman (highest rank available to women then) in the Postal Cable and Censorship Office, then was reassigned to the Code and Signal section of the Director of Naval Communications, where she became a leading cryptanalyst, and stayed on as a civilian, except for a two year stint working for the Hebern Electric Code Company on developing an early cipher machine. She returned to the Navy in 1924, where she was an early supporter of machine support to code cracking. Driscoll was a major player in breaking the Japanese Navy manual codes – the Red Book Code in 1926, and the Blue Book Code in 1930; early in 1935, she was a leading member of the team cracking the Japanese M-1 cipher machine used by the Japanese Navy for encrypting messages to their naval attachés in embassies around the world. In 1940, she was doing critical preliminary work on JN-25, the Japanese fleet’s operational code, before she was transferred to a U.S. team working on the German Enigma cipher, but their approach proved fruitless. She was reassigned in 1943 to a team already working on the Japanese Coral cipher; however, the code was broken by others shortly after her arrival. Driscoll was in the U.S. Navy contingent which joined the Armed Forces Security Agency in 1949, and then the National Security Agency in 1952. She retired in 1959.
July 24, 1897 – Amelia Earhart born, American aviator; first woman pilot to fly solo across the American continent (1928) and across the Atlantic (1932); in 1931, became an official of the National Aeronautic Association, promoted the establishment of separate women’s records; member of the Ninety-Nines (named for the number of charter members), a women pilots organization which promoted women in aviation; her plane went missing in the Pacific en route to Howland Island during an attempt to fly around the world in 1937; there have been numerous searches and theories about what happened, but no trace of the plane, Earhart or her navigator Fred Noonan has been found.
July 24, 1900 – Zelda Fitzgerald born, American author, poet and socialite; she and her husband F. Scott Fitzgerald became symbols of the Jazz Age in the 1920s. Her only published novel, the semi-autobiographical Save Me the Waltz (1932), was poorly received, but F. Scott Fitzgerald had insisted she make major alternations prior to publication, as much of what she had written overlapped events he was using in his as-yet unfinished novel Tender is the Night. It has since been reevaluated somewhat more favorably. She spent much of her life from the mid-1930s until her death in and out of sanitoriums. In 1948, she was locked in a room awaiting electroshock therapy when a fire engulfed the Highland Hospital’s main building in Asheville NC, killing her and eight other women.
July 24, 1914 – Frances Oldham Kelsey born in Canada, Canadian-American pharmacologist and physician. She was hired in 1960 by the U.S. Food and Drug Administration, one of only seven full-time and four part-time physicians reviewing drugs for the FDA. One of her first assignments was to review an application by Richardson Merrell for the drug thalidomide (under the tradename Kevadon) as a tranquilizer and painkiller with specific indications to prescribe the drug to pregnant women for morning sickness. Even though it had already been approved in Canada and over 20 European and African countries, she refused to authorize thalidomide for market, and requested further studies. She resisted pressure from the drug manufacturer to approve the drug because of an unexplained nervous system side effect in an English study, and she insisted on a full testing of thalidomide. Her concerns proved justified when thalidomide began to be linked to serious birth defects in Europe. Kelsey’s insistence on full testing, backed by her FDA superiors, made headlines and helped to pass the 1962 Kefauver Harris Amendment to strengthen drug regulation, the same year she was honored with the President’s Award for Distinguished Federal Civilian Service by President John F. Kennedy. She was appointed by the FDA as deputy for scientific and medical affairs in 1995. In 2000, Kelsey was inducted into the National Women’s Hall of Fame. She retired from the FDA in 2005, at the age of 90, after 45 years of service. In 2010, Dr. Kelsey was presented by the FDA with the inaugural ‘Dr. Frances O. Kelsey Drug Safety Excellence Award.’
July 24, 1920 – Bella Abzug born, politician, lawyer, and outspoken feminist; Congresswoman (Democrat -New York, 1971-1977); co-founder in 1971 of the National Women’s Political Caucus, and in 1991, co-founder with Mimi Kleber of the Women’s Environment & Development Organization (WEDO). She was also a notable wearer of hats.
July 24, 1922 – Madeleine Ferron born, French Canadian author and radio show host; noted for her novels Le chemin des dames (The Way of the Ladies) and Le Grand théâtre (The Grand Theatre).
July 24, 1927 – Zara Mints born, Russian-Estonian literary scientist, Slavic philologist and lecturer at the University of Tartu in Estonia. She specialized in the works of Russian lyrical poet Alexander Blok, and Russian literature of the 19th and early 20th centuries.
July 24, 1936 – Ruth Buzzi born, American comedian, voice actress and actress, best known as a member of the cast of the comedy-variety show Rowan & Martin’s Laugh-In (1968-1973), for which she won a Golden Globe, and her voice work as Frou-Frou in the animated feature film The Aristocats. Buzzi supports numerous children’s charities including Make a Wish Foundation, the Special Olympics and a children’s art summer camp. She is also a supporter and fundraiser for the Utopia Animal Rescue Ranch.
July 24, 1953 – Claire McCaskill born, American Democratic politician; regarded as a “moderate,” she has frequently voted against her party’s positions, but has received a 100% favorable rating from Planned Parenthood on healthcare and abortion rights, and an “F” rating from the National Rifle Association; U.S. Senator from Missouri since 2007, and ranking member of the Senate Homeland Security Committee since 2017; served as Auditor of Missouri (1999-2007), Prosecutor of Jackson County (1993-1998), and in the Missouri House of Representatives (1983-1988).
July 24, 1960 – Catherine Destivelle born, French mountaineer; first woman to complete a solo ascent of the Eiger’s north face (1992).
July 24, 1966 – Aminatou Haidar born, Sahrawi (nomadic tribe of Berber-Arab heritage) human rights activist and advocate for the independence of Western Sahara, noted for non-violent protests; president of the Collective of Sahrawi Human Rights Defenders (CODESA); imprisoned by Moroccan authorities in 1987-1991 and 2005-2006. In 2009, she was returning from a trip to the U.S. when her passport was confiscated, and she was expelled by Morocco for refusing to state her nationality as “Moroccan” which a Moroccan official called an “act of treason.” She staged a hunger strike after being forced back to her previous stop, the airport in the Canary Islands. The UN, Human Rights Watch, and Amnesty International all called on Morocco to allow her to return to her home, resulting in global headlines. After over four weeks, she was near death, and Moroccan authorities finally allowed her return, but she was placed under house arrest, and blocked from speaking to journalists. A month later, she returned to Spain for medical treatment, and was found to still be in poor health. Amnesty International reported that Haidar and her family were under constant surveillance by Moroccan security forces and were being harassed and intimidated. She has continued her non-violent struggle for the rights of the Sharawi people in spite of death threats and even physical attacks on herself and members of her family.
July 24, 1968 – Coleen Doran born, American author, illustrator and cartoonist; noted for her artwork used along with work by others in Neil Gaiman’s The Sandman comic book series, and for her illustrations of his short story “Troll Bridge,” as well as her own space opera series, A Distant Soil.
July 24, 1969 – Jennifer Lopez born, American singer, actress and producer; the first Latina actress to earn over $1 million USD for a film. She is involved in political activism and philanthropy, including Amnesty International, the #MeToo and #TimesUp movements, Boys and Girls Clubs, the Children’s Hospital of Los Angeles, and the American Red Cross. She endorsed and made appearances for both Barack Obama and Hilary Clinton during their presidential campaigns. In 2017, she donated $1 million for humanitarian aid for Puerto Rico, and launched with her husband Somos Una Voz (We Are One Voice) to continue to raise funds for disaster relief to areas affected by Hurricane Maria. She is also a supporter of LGBT rights, and has raised millions of dollars for HIV/AIDS research.
July 24, 1971 – Patty Jenkins born, American film and television director and screenwriter; noted for directing Monster, for which Charlize Theron won an Oscar for Best Actress, and Wonder Woman (2017). In 2011, she won the Directors Guild of America award for Outstanding Directing in a Dramatic Series for the pilot episode of the television crime drama The Killing. Variety reported in late 2017 that Patty Jenkins closed a deal to direct Wonder Woman 2, and her paycheck is rumored to be in the $8 million dollar range, which would make her the highest-paid woman director in history. It is still less than half what A-list male directors make. She would also receive a substantial portion of box office grosses as part of her contract. The sequel is due to be released in 2020.
July 24, 1973 – Amanda Stretton born, English racing driver, and broadcast journalist; the first woman driver to compete in the ASCAR Mintex Cup, which she finished in 6th place, and was on the first women’s team in the British GT championships, as well as the first woman to race in the FIA Championships. She was the first British woman to win an international long-distance event at Spa-Francorchamps, and competed in the 24 Hours of Les Mans in 2006. She became a presenter on Channel 4’s Motorsport on 4, and went to work for Sky Sports, EuroSport and Silverstone TV.
July 24, 1987 – Hulda Crooks, 91-years-old, becomes the oldest person to climb Japan’s Mount Fuji.
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July 25, 1291 – Hawys Gadarn born, “the Hardy” Lady of Powys; Welsh noblewoman whose father had the forethought to insure she was a subject of the crown of England in his will. When her father died in 1293, her brother was the heir, but when he too died in 1309, he designated Hawys as his heir, but she was still 17, so her four uncles became her guardians. They disputed her claim on the grounds that women could not inherit under Welsh law, and sought take the land for themselves, and force Hawys into a nunnery. She went to the Parliament of Shrewsbury to petition King Edward II of England in person, as an English subject loyal to the Crown. He asked her to nominate a champion of her rights, and she named John Charleton, who was one of Edward’s knights. Charleton led a company of English knights escorting her back to Powis Castle. The knights ably defended the lady’s claim, capturing three of her uncles. Hawys and John Charleton were married shortly thereafter, and she became known for her support of monasteries, including the building of the Franciscan monastery in Shrewsbury.
July 25, 1806 – Maria Weston Chapman born, America abolitionist and editor of the anti-slavery journal Non-Resistant and The Liberty Bell, an annual gift book featuring works donated by notable writers and used as a fundraiser for the cause; served on the executive committee of the American Anti-Slavery Society (1839-1865).
July 25, 1840 – Flora Adams Darling born, American author, historian, organizer, instrumental in the founding of the Daughters of the American Revolution (DAR).
July 25, 1871 – Margaret Floy Washburn born, American psychologist, known for her work in animal behavior and motor theory, first woman granted a PhD in psychology in the US, second woman to serve as American Psychological Association President.
July 25, 1873 – Anne Tracy Morgan born, American philanthropist and author, spearheaded and supplied funds for relief efforts to aid France during and after WWI and WWII; first American woman appointed a commander of Ordre national de la Légion d’honneur (French Legion of Honor).
July 25, 1874 – Rose O’Neill born, American cartoonist, illustrator, writer and feminist; the first published American woman cartoonist (True magazine, 1896); creator of the popular comic strip Kewpies (debut 1909); she was the highest-paid woman illustrator of her day. Kewpies also became dolls, in several versions, first manufactured in 1912.
July 25, 1881 – Crystal Eastman born, American lawyer, suffragist, socialist and writer. Co-founder and co-editor with her brother Max of the radical arts and politics magazine, The Liberator. She was a founding member of the Women’s International League for Peace and Freedom, and of the American Civil Liberties Union. She managed the unsuccessful 1912 Wisconsin suffrage campaign, then joined with Alice Paul, Lucy Burns and others in founding the militant Congressional Union, which became the National Women’s Party. She was one of the few socialists to endorse the E.R.A., warning that protective legislation for women would mean only discrimination against women. Eastman said you could judge the importance of the E.R.A. by the intensity of the opposition to it.
July 25, 1896 – Josephine Tey born, Scottish author of mystery novels; wrote historical plays under the name Gordon Daviot like Richard of Bordeaux; noted for The Daughter of Time, and other books in her Alan Grant detective series.
July 25, 1898 – Kay Sage born, American Surrealist artist and poet.
July 25, 1900 – Zinaïda Aksentieva born, Ukrainian-Soviet astronomer, worked on mapping gravity and tidal deformation of the earth; Director of the Poltava Observatory (1951-1969).
July 25, 1901 – Ruth Krauss born, American author, known for children’s books such as The Carrot Seed and poems for adults.
July 25, 1901 – Welfare campaigner Emily Hobhouse begins addressing public meetings across Britain to raise money to improve the appalling conditions which are causing thousands of deaths in the segregated concentration camps during the second Anglo-Boer War, where the British held Boer women and children, and black African non-combatants. South Africa made her an honorary citizen for her humanitarian work there. When she died in Kensington in 1926, her death went unreported in the local press, but her ashes were ensconced in a niche in the National Women’s Memorial Monument at Bloemfontein, South Africa.
July 25, 1918 – Jane Frank born, American painter and sculptor, also known for work in mixed media and textile art.
July 25, 1920 – Rosalind Franklin born, British scientist, made contributions to understanding of the molecular structure of DNA which was foundational for work of Watson and Crick.
July 25, 1923 – Maria Gripe, Swedish author children’s and young adult books, recipient of the Hans Christian Andersen Medal.
July 25, 1925 – Jutta Zilliacus born in Finland, Swedish-language Estonian author, journalist and politician. Member of the Finnish Parliament for the Swedish People’s Party (1975-1986) and member of the Helsinki City Council (1968-1984). Among her books are Vägskäl (Crossroads), and Gå över gränser (Across Borders).
July 25, 1930 – Alice Parizeau born in Poland to Jewish parents who died in the Holocaust; French Canadian author, journalist, essayist and criminologist, associated with the sovereignty movement in Quebec.
July 25, 1944 – Sally Beauman born, English journalist and novelist; worked for New York magazine, and was an editor at Queen magazine and The Sunday Telegraph magazine; also worked as an investigative journalist for several leading British publications; author of eight best-selling novels, including The Visitors.
July 25, 1954 – Sheena McDonald born, Scottish journalist and broadcaster; producer and presenter for BBC Radio Scotland (1978-1981), then worked for STV (a Scottish television channel – 1981-1986), then worked on several different programmes until she was struck by a police van responding to an emergency, and seriously injured in 1999, and was out of broadcasting for almost five years; currently presents a news programme for the cable channel Teachers’ TV.
July 25, 1955 – Iman born as Zara Abdulmajid, Somali fashion model, founder of an ethnic cosmetics company, and philanthropist; Super model active from 1976 to 1990, she went on to start her own cosmetics firm in 1994, specializing in difficult-to-find foundation shades for women, and expanding into the home shopping fashion market in 2007. She is actively involved with several children’s charities, including Keep a Child Alive, Children’s Defense Fund, and Save the Children’s East African programs. She played a key part in the Enough Project’s campaign against blood diamonds, including terminating her contract with the De Beers diamond conglomerate over ethics conflicts.
July 25, 1964 –Anne Applebaum born, American-Polish journalist and author; 2004 Pulitzer Prize (General Nonfiction) for Gulag: A History; 2012 National Book Award Nonfiction finalist for Iron Curtain: The Crushing of Eastern Europe 1944-1956.
July 25, 1965 – Illeana Douglas born, American actress, producer, director and screenwriter; noted for writing and directing the comedy short The Perfect Woman, the documentary Everybody Just Stay Calm—Stories in Independent Filmmaking, and Boy Crazy, Girl Crazier. She also produced several projects for the Sundance Channel, including Illeanarama, for which she also has writing and acting credits.
July 25, 1966 – Diana Johnson born, British Labour politician; Member of Parliament for Kingston Upon Hull North since 2005, Hull’s first woman MP; Parliamentary Under-Secretary of State for Schools (2009-2010); Member of the London Assembly for the Labour Party (2003-2004); in 2014, she proposed a Bill that would require sex and relationships education, including discussions around issues such as consent, to be made a compulsory part of the National Curriculum.
July 25, 1967 – Ruth Peetoom born, Dutch Christian Democractic Appeal (CDA) politician, CDA Party Chair since 2011.
July 25, 1969 – Annastacia Palaszczuk born, Australian Labor politician; Premier of Queensland since 2015; Labor member of the Legislative Assembly of Queensland since 2006; as Leader of the Opposition of Queensland (2012-2015), the first woman Premier of a state from an Opposition party; first Australian premier to have a majority of women ministers (8 out of 14); served as Minister for Disabilities (2009-2011), and for Multicultural Affairs (2009-2012).
July 25, 1970 – Ariel Gore born, American author, editor-publisher of Hip Mama, alternative press publication covering the culture and politics of motherhood.
July 25, 1974 – Lauren Faust born, American animator, director, producer and screenwriter; known for creating the animated series My Little Pony: Friendship Is Magic.
July 25, 1974 – Nisha Ganatra born in Canada of Indian subcontinent ancestry, film director, producer, screenwriter and actress, best known for her films Chutney Popcorn and Cosmopolitan.
July 25, 1984 – Svetlana Savitskaya becomes first woman to perform a spacewalk as a cosmonaut aboard Salyut 7.
July 25, 2007 – Pratibha Patil sworn in as India’s first woman president (Indira Gandhi was India’s first woman Prime Minister).
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July 26, 1745 – First recorded women’s cricket match takes place near Guildford, England. It was a match “between eleven maids of Bramley and eleven maids of Hambledon, all dressed in white,” according to The Reading Mercury.
July 26, 1869 – Donaldina Cameron born, social justice advocate in San Francisco. At age 25, she became head of the Presbyterian Mission Home for Girls, and began her battle to end the illegal smuggling of Chinese girls and young women by the Tongs to be used as prostitutes or slave labor. She rescued over 3,000 Chinese women held by the traffickers, developing a network of informers to discover the brothels and opium dens where they were held, then leading police to raid them, sometimes carrying an axe and chopping down doors or panels hiding the victims herself. The traffickers called her Fahn Gwai, “white devil.” Enlisting support from church and civil groups, as well as working with lawyers and legislators, she is credited with breaking the back of the early 20th century Chinese slave trade in the city.
July 26, 1895 – Gracie Allen born, American comedian and vaudevillian, best known as part of the comic duo Burns and Allen, with her husband George Burns, on stage, radio, film and television. She always wore sleeves long enough to cover scars from a severe scalding accident in her childhood. Burns downplayed his own comic brilliance, crediting Allen with their success, “All I had to do was say, 'Gracie, how's your brother?' and she talked for 38 years.”
July 26, 1900 – Sarah Kafrit born in the Russian Empire, Israeli teacher and politician; member for Mapai of the Knesset (Israeli legislature) between 1951 and 1959; a founding member in 1927 of the moshav (farmers’ collective) Kfar Yehoshua; member of the secretariat of Women’s Councils.
July 26, 1906 – Irena Morzycka-Iłłakowicz born in Berlin, Polish 2nd Lieutenant of the National Armed forces, and an intelligence agent working with the Polish resistance movement during WWII. She lived separately from her husband under assumed names to make it more difficult for the Gestapo to find either one of them. She was fluent in seven languages: Polish, French, English, Persian, Finnish, German and Russian. Between 1941 and 1942, her section was systematically destroyed by the Nazis, and numerous other underground activists were arrested. Her husband arranged for a guard to be bribed to put her in a group of non-political prisoners being transported to the Majdanek concentration camp. A group of fighters dressed in Gestapo uniforms presented a falsified document claiming her for further interrogation in Warsaw. She moved from Lublin to Klarysek-Janówek, then returned to Warsaw to work with the Soviet intelligence network in Poland, while her husband was sent to London in 1943 as a representative of the National Armed Forces. He wanted her to come with him, but command decided she should go separately later. Nine days before she was to leave, she was summoned to a meeting, but was murdered in unknown circumstances. Her husband eventually found her body, and she was buried under an alias, as Barbara Zawisza. To prevent the Gestapo from capturing them, her husband was at the funeral disguised as a gravedigger, and her mother posed as a cemetery helper. She was posthumously decorated with the Krzyż Narodowego Czynu Zbrojnego, one of Poland’s highest honors.
July 26, 1918 – Emmy Noether's paper, which became known as Noether's theorem, is presented by a colleague at a meeting the Royal Society of Sciences (because she was not a member of the society), at Göttingen, Germany. Her theorem, from which conservation laws are deduced for symmetries of angular momentum, linear momentum, and energy, is regarded by many physicists as one of the most important mathematical theorems ever proved, which guided the development of modern physics. Even though the importance of her paper was recognized, Noether was not appointed to a paid position, as a lecturer, until 1923. Before that, her family was supporting her while she worked as an untenured professor without being paid.
July 26, 1923 – Jan Berenstain born, author and illustrator, co-author with her husband Stan of children’s book series The Berenstain Bears, and cartoons for magazines.
July 26, 1923 – Bernice Rubens born, Welsh novelist; noted for Madame Sousatzka, and The Elected Member, which won the 1970 Booker Prize for Fiction.
July 26, 1925 – Ana María Matute born, Spanish author and member of the Real Academia Española; honored with the prestigious Miguel de Cervantes Prize for lifetime achievement Spanish letters in 2010; Fiesta al noroeste (Celebration in the Northwest) won the 1952 Café Gijón Prize.
July 26, 1939 – Jun Henmi born as Mayumi Shimizu, Japanese author and poet; known for her fiction and nonfiction works about people affected by WWII. She won the Nitta Jirō Culture Prize in 1984 for her book Otoko-tachi no Yamato (published in English as Yamato: The Last Battle).
July 26, 1945 – Dame Helen Mirren born, notable English actress, began her career with the Royal Shakespeare Company in 1967; one of the few actors to achieve acting’s ‘Triple Crown’ – a 2007 Oscar and an Olivier Award for Best Actress as Queen Elizabeth II in The Queen; and a Tony Award for Best Actress in a Play, for the same role in the play The Audience, which inspired the film. In 2017, Mirren narrated Cries from Syria, a documentary film about the Syrian Civil War, directed by Evgeny Afineevsky. She has publicly stated that she is an atheist, and a naturalist, at her “happiest on a nude beach with people of all ages and races.”
July 26, 1950 – Anne Rafferty born, Lady Justice Rafferty, British justice; Lady Justice of Appeal of England and Wales since 2011, member of the Privy Council and the first woman Chair of the Criminal Bar Association of England and Wales; also Chancellor of the University of Sheffield since 2015. Her career began as Queen’s Counsel (1990-1991), then Recorder (1991-1999), Deputy High Court Justice (1999-2000), and High Court Justice (2000-2011) before being appointed to the Court of Appeal of England and Wales.
July 26, 1952 – Dame Glynis Breakwell, British social psychologist and an active public policy adviser and researcher specialising in leadership, risk management and identity process. She has been a Fellow of the British Psychological Society since 1987 and an Honorary Fellow since 2006. Appointed Dame Commander of the Order of the British Empire in 2012, and is also a Deputy Lieutenant of the County of Somerset.
July 26, 1964 – Anne Provoost born in Belgium, Flemish author of novels for young adults, and essays; noted for her novels My Aunt is a Pilot Whale, which deals with sexual abuse, and Falling, which examines the allure of Neo-Nazi rhetoric, and won Belgian, Dutch and French literary awards.
July 26, 1964 – Sandra Bullock born, American actress, producer and philanthropist; she was twice nominated for an Academy Award for Best Actress for The Blind Side and Gravity, and won the Oscar for The Blind Side. She is the founder of Fortis Films, and was an executive producer on the sitcom George Lopez (2002-2007). Fortis Films produced the movie All About Steve in 2009. Bullock is a supporter of the American Red Cross, donating $1 million USD each for least five different disasters, including the 2004 Indian Ocean earthquakes and tsunamis, the Haiti earthquake, and Hurricane Harvey in Texas. She did a public service announcement urging people to sign a petition for clean-up efforts after the Deepwater Horizon oil spill in the Gulf of Mexico. Bullock made a large donation to Warren Easton High School in New Orleans, which was heavily damaged by Hurricane Katrina. She is also a supporter of the Texas non-profit The Kindred Life Foundation, which assists struggling teen parents and their children.
July 26, 1969 – Tanni Grey-Thompson born, Baroness Grey-Thompson of Eaglescliff, British politician, and academic; born with spina bifida, she was a successful wheelchair racer (1984-2007), winning many gold and silver medals in the Paralympic Games and World Championships; after a stint as a BBC television presenter, she became Chancellor of Northumbria University (2015 to present); created a Life Peer in 2010, she took her oath of office for the House of Lords in English and Welsh.
July 26, 1980 – Jacinda Ardern born, New Zealand politician; Prime Minister of New Zealand, Member of the New Zealand Parliament for Mount Albert, and Leader of the Labour Party since 2017; Member of Parliament for the Labour Party List (2008-2017).
July 26, 2016 – Hillary Clinton becomes the first woman nominee for U.S. President by a major political party at the Democratic National Convention in Philadelphia.
July 26, 2017 – An investigation by USA Today reveals that the U.S. is the most dangerous developed county in which to give birth. Every year, over 50,000 American women are severely injured giving birth, and about 700 women die. An estimated 50% of these injuries and deaths can be presented if hospitals would provide better care. There is no tracking system for doctors to record childbirth issues, and doctors and hospitals alike regularly miss or ignore obvious signs of pre- and post- natal complications. The negligence has resulted in a sharp increase in maternal mortality rates, up from 17 deaths in 100,000 births in 1990 to 26.4 deaths per 100,000 in 2015. The rest of the developed world saw steady or improved death rates, with many below 10 deaths per 100,000 births, according to statistics kept by the World Health Organization (WHO). The average cost of delivering a baby without complications in the U.S. is also much higher than many other countries – almost $11,000, compared to about $3,200 in Canada, or just over $2,500 in Germany or France.
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July 27, 1202 – Battle of Basiani: during the Georgian-Seljuk Wars, the army of Tamar, Queen regnant (1184-1213) of the Kingdom of Georgia wins a decisive victory over the army of Süleymanshah II, Sultan of Rum (Selijuqid [Seljuk] ruler of Anatolia), north of Erzurum in what is now Turkey.
July 27, 1768 – Charlotte Corday born, Girondin assassin of Jacobin leader Jean-Paul Marat; Marat was a key figure in the mass execution of the Girondins, who tried to stem the Reign of Terror.
July 27, 1841 – Linda Richards born, American nurse and educator, one of the first nurses professionally trained in the U.S., at the New England Hospital for Women and Children in Boston, the first American nurse’s training school. Richards establishes training programs in the U.S. and Japan, and creates a system for hospital medical records.
July 27, 1853 – Elizabeth Plankinton born, American philanthropist who inherited a fortune and a tradition of giving from her father, businessman John Plankinton; she never married because her engagement was broken when her fiancé ran off with a dancer whom he married instead; she gave $100,000 (equivalent to over $2.5 million USD today) for the building of the first YWCA hotel in Milwaukee Wisconsin, to provide affordable housing to unmarried working women.
July 27, 1853 – Lucy Maynard Salmon born, American historian and educator; pioneered the use of artifacts from everyday life – laundry lists, advertisements, bulletin-board notices, architectural plans, ledgers, packing slips – in historical research and in the teaching of history; first woman member of the executive committee of the American Historical Association; professor and founder of the history department at Vassar College. She was active in the National College Equal Suffrage League and on the Executive Advisory Council of the Congressional Union for Woman Suffrage. She led the suffrage movement at Vassar, despite disapproval of the trustees and the college’s male president, James Monroe Taylor (1886-1914). His goals for Vassar’s graduates were characterized by his successor, Henry Noble MacCracken, as: “to be cultured . . . not leaders but good wives and mothers, truly liberal in things intellectual but conservative in matters social.” MacCracken continued, “Throughout Taylor’s term Vassar was a college for women developed by men.” Vassar students were finally given permission to form an on-campus suffrage club in 1914.
July 27, 1875 – Mary Olszewski Kryszak born, American educator and politician, Polish newspaper editor, librarian, and bookkeeper; served seven times as a member of the Wisconsin State Assembly; in spite of her impressive list of accomplishments, when running for office, the national press stated that “Mrs. Kryszak ‘takes in’ hemstitching work at home when not engaged in lawmaking.”
July 27, 1889 – Vera Karalli born, Russian ballerina, choreographer and silent film performer.
July 27, 1891 – Myrtle Lawrence born, sharecropper and labor organizer, worked within biracial Southern Tenant Farmers’ Union from 1936 to 1943, honored on the 1976 Bicentennial Freedom Train Exhibition.
July 27, 1904 – Lyudmila Rudenko born in the Russian Empire, Soviet chess player, second Women’s World Chess Champion (1950-1953), the first woman awarded a FIDE International Master title, and Woman Grandmaster (1976). During WWII, she organized a train to evacuate children from the siege of Leningrad.
July 27, 1906 – Helen Wolff born, editor and publisher, published many acclaimed translations under the imprint “A Helen and Kurt Wolff Book” at Harcourt Brace Jovanovich, founded Pantheon Books with husband in 1942.
July 27, 1907 – Irene Fischer born in Austria, American mathematician and geodesist; she and her family fled Nazi Austria in 1939; she worked on stereoscopic projective geometry trajectories for John Rule at MIT; she then began her career (1951-1976) in the Geodesy Branch of the Army Map Service working on what became the World Geodetic System, rising through the ranks to branch chief; her contributions to geodetic science gave scientists a more accurate picture of the size and shape of the earth, and helped determine the parallax of the moon, crucial information for NASA’s Mercury and Apollo moon missions; National Academy of Engineering Member; Fellow of the International Geophysical Union, Inductee of the National Imagery and Mapping Agency Hall of Fame, and the third woman to be honored with the 1967 Distinguished Civilian Service Award, given by the U.S. Army to civilians for outstanding public service which aids accomplishment of the Army’s mission.
July 27, 1916 – Elizabeth Hardwick born, American author and literary critic, co-founder of The New York Review of Books; Fellow of the American Academy of Arts and Sciences; noted for her novel The Simple Truth, and four collections of her criticism.
July 27, 1930 – Shirley Williams, Baroness Williams of Crosby born, British politician and scholar, one of the “Gang of Four” founders of the Social Democratic Party in 1981, served as Leader of the Liberal Democrats in the House of Lords from 2001 to 2004, still active in the House of Lords and Professor Emerita at Harvard University.
July 27, 1930 – Joy Whitby born, English radio and television producer, director and writer of innovative children’s programmes for the BBC (1956-1967), including Play School and Jackanory; produced dramas for London Weekend Television (1967-1969); founded her own company, Grasshopper Productions (1970-1975); Head of Children’s Programmes for Yorkshire Television (1975-1985); since 1985, has produced animated films based on quality picture books; first TV producer to win the Eleanor Farjeon Award for contributions to children’s literature.
July 27, 1940 – Pina Bausch born, German dancer and choreographer, leading influence in modern dance, creator of the company Tanztheater Wuppertal Pina Bausch.
July 27, 1948 – Betty Thomas born, American actress, director and producer of television and motion pictures. Known for her work on the television series Hill Street Blues (1981-1987), for which she won a Best Supporting Actress Emmy for the 1984-1985 season. She directed several episodes of TV series like Hooperman, Doogie Howser MD, and Arresting Behavior, then won a Best Director Emmy for her work on the series Dream On. Her feature film debut as a director was 1992’s Only You. Her second feature The Brady Bunch Movie, was a domestic box office hit, grossing almost $47 million USD, one of the highest grossing movies directed by a woman up to that time. She followed that with other successes, including Dr. Dolittle (starring Eddie Murphy), 28 Days, and 2009's Alvin and the Chipmunks: The Squeakquel.
July 27, 1951 – Roseanna Cunningham born, Scottish National Party politician, Cabinet Secretary for Environment, Climate Change and Land Reform since 2016; Minister for Community Safety and Legal Affairs (2011-2014); Depute (deputy) Leader of the Scottish National Party (2000-2004); Member of the Scottish Parliament for Perthshire South and Kinrossshire Perth (1999-2011).
July 27, 1955 – Cat Bauer born, American novelist; known for Harley, Like a Person (2002), which won an American Library Association Best Books for Young Adults award.
July 27, 1960 – Emily Thornberry born, British Labour politician and barrister who specialized in human rights law (1985-2005); Member of Parliament for Islington South and Finsbury since 2005; vice-chair of the All-Party Parliamentary Pro-Choice and Sexual Health Group; advocate for affordable housing, the environment and gender equality, and an opponent of detention of terrorist subjects without charge for 90 days, and renewal of the Trident nuclear weapons programme.
July 27, 1968 – Sabina Jeschke born in Sweden, German academic and mechanical engineer; professor at the RWTH Aachen University; member of the management board of Deutschen Bahn, a railway company, for digitalization and technology since 2017, and involved with building the think tank “Strong Artificial Intelligence” at the Volvo Car Corporation in Göteborg.
July 27, 1979 – Marielle Franco born, Brazilian PSOL (socialist party) politician, feminist, human rights activist, and an outspoken critic of police brutality and extrajudicial killings. She ran in 2016 as a black bisexual woman and single mother from the favelas (slums), and won a seat on the city council of Rio de Janeiro (2017-2018), where she fought against gender violence, for reproductive rights, and for the rights of favela residents. Franco chaired the Women's Defense Commission, and worked with the Rio de Janeiro Lesbian Front. She and her driver were shot to death in March 2018. Franco was 38 years old. In 2019, two former police officers were charged with her murder.
July 27, 2006 – Peruvian president-elect Alan Garcia makes good on his campaign pledge to draw talent from across the political spectrum by appointing six women to his cabinet, including Peru's first woman justice and first women interior ministers.
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July 28, 1347 – Margaret of Durazzo born, married at age 22 to the quarrelsome Charles III of Naples; when her husband was killed in 1386, she became regent (1386-1393) for her son, Ladislaus of Naples, who was 9 years old. Charles was assassinated on orders from Elizabeth of Bosnia, whose daughter, Queen Mary of Hungary, he had deposed, in spite of Margaret being much against toppling Queen Mary. During her regency, Margaret was able to make peace with Pope Boniface IX, who had excommunicated Charles (and Margaret too, just for being married to Charles) for plotting against the papacy.
July 28, 1609 – Judith Leyster born, Dutch painter during the ‘Golden Age’ of Dutch painting. She was one of the first women members of the Haarlem Guild of St. Luke, the local guild for artists. Within two years of her entry into the Guild, she had taken on three male apprentices. Ironically, her work received more recognition after she filed a lawsuit against the much better-known painter Frans Hals, who accepted a student who left her workshop without Guild permission. Hals settled by paying the fine, and keeping the student. Though her work was highly regarded during her lifetime, it was largely forgotten until 1893, when the Louvre purchased a much-admired painting, The Jolly Companions, purported for over a century to be a ‘Frans Hals’ which turned out to a Judith Leyster painting when the Louvre discovered Leyster’s distinctive monogram under the faked Hals signature.
July 28, 1819 – Louise A. Knapp Smith Clappe born, American teacher and author, came to California in 1849; her letters to her sister giving her impressions of life in the gold-mining camps, were published as a serial in The Pioneer periodical, from January 1854 to December 1855; taught in San Francisco public schools (1854-1878).
July 28, 1855 – Louisine Waldron Elder Havemeyer, American philanthropist, art collector and patron, feminist and advocate for women’s suffrage, supporter of Alice Paul and patron of Edgar Degas.
July 28, 1866 – Beatrix Potter born, beloved English author-illustrator of Peter Rabbit, and a total of 23 children’s storybooks. She was also a naturalist, especially noted for her studies and watercolours of fungi, and contributions to the understanding of fungi spore germination and hybridisation. Potter used the money earned by her books to purchase Hill Top Farm in the Lake District. She was also a pioneer in land conservation, buying hundreds of acres of farmland to preserve the unique landscape of the English Lake District, which she left in her will to the National Trust. The land she preserved is now a large portion of the Lake District National Park.
July 28, 1866 – By a vote of Congress, Vinnie Ream receives a commission from the U.S. government for a statue of Abraham Lincoln. She was only 18 at the time, making her the first and youngest woman to receive an artistic commission from the U.S. federal government.
July 28, 1874 – Alice Duer Miller, American author and poet, suffragist, known for satirical poems in her collection Are Women People? and the novel Come Out of the Kitchen.
July 28, 1879 – Lucy Burns born, American suffragist and women’s rights advocate, who formed the National Woman’s Party with Alice Paul; she attended Columbia University, Vassar College and Yale before becoming an English teacher at Brooklyn’s Erasmus High School (1904-1906), then, supported by her father, she continued her language studies in Germany at the Universities of Bonn and Berlin (1906-1909), and enrolled at Oxford to study English. It was during this time that she became involved with the woman’s suffrage movement after meeting the Pankhursts. She went to work for the Women’s Social and Political Union (WSPU – 1910-1912), and participated in organizing parades and demonstrations. She made numerous court appearances, charged with “disorderly conduct.” During one of her arrests in 1912, she met Alice Paul, also under arrest, at a London Police Station, and they decided to return to the U.S. and apply the tactics they had learned in England to the suffrage cause in America. Their partnership over the next eight years would make woman’s suffrage a national issue in the U.S., and pushed forward passage and ratification of the 19th Amendment in 1920. Burns would endure more time behind bars and harsher treatment than any other American suffragist, including repeated violent forced feeding, and being chained overnight to her cell bars by her raised arms. She was one of the first people to define the term "political prisoner." By the time Tennessee became the 36th state to ratify the Amendment, she was completely exhausted: “I don't want to do anything more. I think we have done all this for women, and we have sacrificed everything we possessed for them, and now let them fight for it . . . I am not going to fight anymore." She retired from political life, and devoted herself to Catholic charities and raising her orphaned niece.
July 28, 1896 – Barbara La Marr born as Reatha Watson, American silent film star and screenwriter. She appeared as an actress in 27 films between 1920 and 1926. She was originally hired as a screenplay writer for Fox Film, where she wrote several scripts which became successful movies before she was “discovered” by Douglas Fairbanks, who cast her in his 1921 film, The Nut, and then as Milady de Winter in his version of The Three Musketeers. But as La Marr ‘s fame and success grew, so did her partying and drinking. She was playing the flapper off-screen as well as on. In 1924, after a series of crash diets damaged her health, her attempts at restoring her career failed, and she died of pulmonary tuberculosis and nephritis in 1926, at age 29.
July 28, 1908 – Dame Annabelle Rankin, Australian politician, second woman member of the Australian Senate; first woman from Queensland to sit in the Parliament; first woman appointed as Opposition Whip in the Senate; first Australian woman to have a federal portfolio (cabinet position), and first to head a foreign mission, to New Zealand.
July 28, 1909 – Aenne Burda born, German publisher of the Burda Group, her family’s media company, which expanded into women’s magazines under her direction, including Burda Moden, which was launched in 1950, and is still being published. In 1977, she started Burda CARINA, a fashion and lifestyle magazine targeting younger women. She also started two charitable foundations, to support young academics and senior citizens.
July 28, 1929 – Jacqueline Bouvier Kennedy Onassis born, American cultural icon; American First Lady (1961-1963), started the White House Historical Association; widow of John F. Kennedy, then married to Greek shipping magnate Aristotle Onassis; book editor for Doubleday; advocate for historic buildings preservation.
July 28, 1929 – Shirley Ann Grau born, American novelist and short story writer; her multi-generational novel, The Keepers of the House, won the 1965 Pulitzer Prize for Fiction.
July 28, 1932 – Natalie Babbit born, American author-illustrator of children’s and YA books; Tuck Everlasting and The Eyes of the Amaryllis.
July 28, 1942 – Tonia Marketaki born, Greek film director and screenwriter; her first short film in 1967 resulted in her imprisonment by the Greek Military Junta (1964-1974); when released, she left Greece, and worked as an assistant editor in the UK, and director of educational films for farmers in Algeria. She came back to Greece in 1971, made three full-length films, Ioannis o Viaios (John the Violent), Krystallines Nyhtes (Crystal Nights), and I timi tis agapis (The Price of Love). She also directed a number of theatrical productions, and the TV series Lemonodasos. She died in 1994 at age 51.
July 28, 1946 – Fahmida Riaz born, Pakistani Urdu-language writer, poet, human rights activist, part of the progressive writers movement, and a feminist; she has published over 15 books of fiction and poetry, most considered controversial at the time, especially her second verse collection Badan Dareeda, regarded as too shockingly erotic and sensual for a woman poet. Founder and publisher of Awaz, a liberal and politically charged Urdu magazine, for which she was arrested and Awaz shut down. She was bailed out by a fan of her work, and sought asylum in India with her children and sister, where her husband, who had also been arrested, was able to join them after his release. They were in exile in India for seven years (1980-1987), before returning to Pakistan.
July 28, 1966 – Sossina M. Haile born in Ethiopia, Ethiopian-American chemist, whose family fled to America seeking asylum during the 1974 coup in Ethiopia, after her historian father was nearly killed. She is known for developing the first solid acid fuel cells, working in the field of sustainable energy technologies. Currently a professor of Materials Science and Engineering at Northwestern University and an editor for the Journal of Materials Research; previously at Caltech (1996-2015). NSF National Young Investigator Award (1994–99), Humboldt Fellowship (1992-1993), Fulbright Fellowship (1991-1992), AT&T Cooperative Research Fellowship (1986-1992), 2001 J.B. Wagner Award of the High Temperature Materials Division of the Electrochemical Society, 2000 Coble Award from the American Ceramic Society, and 1997 TMS Robert Lansing Hardy Award.
July 28, 1971 – Ludmilla Lacueva Canut born, Andorran author of fiction and nonfiction, columnist for the Catalan-language newspaper Bondia; her first published book, Los pioneros de la hoteleria andorrana, a history of the hotel industry of Andorra, won the Research Prize from the General Council of Andorra, and became a local best-seller for Saint George’s Day, when it is traditional for Andorran women to give the men in their lives a book
July 28, 2009 – Tanzania Women's Bank, under the leadership of Margaret Chaca, opens in Dar es Salaam. The idea started during the Dar es Salaam International Trade Fair in 1999. Women participants petitioned Tanzanian President H.E Benjamin Mkapa, asking that the government facilitate establishment of a women’s bank, so women could open checking and savings accounts, and apply for loans, more easily than at traditional banks, which were not geared for small accounts and microloans. It took eight years to get the bank listed as a Registered Financial Institution with the Tanzania Central Bank, and two more years before it opened its first office. It now has three more branches.
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July 29, 1742 – Isabella Graham born in Scotland, American philanthropist and educator, leader in founding the Society for the Relief of Poor Widows, the Orphan Asylum Society and the Society for Promoting Industry among the Poor.
July 29, 1862 – Belle Boyd, Confederate spy, the ‘Siren of the Shenandoah,’ arrested as an 18-year-old after the Union officer that she had been flirting with for information reported her. She aided General Stonewall Jackson the previous May by eavesdropping on the plans of Union General James Shield, and discovering the number of his troops, then riding through the night to deliver the news. After her arrest in July, she was taken to the Old Capitol Prison in Washington DC, held for a month, then released in a prisoner exchange. Boyd was arrested again in June 1863, but released after contracting typhoid fever. In 1864, she attempted to go to England, but her ship was intercepted by a Union blockade, and she was sent to Canada. There, she met a Union naval officer, and they were married in England. After his death in 1866, she became an actress on the English stage to support their daughter, but returned to the U.S. in 1869, settled in New Orleans, married and divorced, and then married again. In 1886, she began touring the country giving highly colored dramatic lectures on her life as a Civil War spy. She died in 1900 while on tour, of a heart attack in Wisconsin, at the age of 56.
July 29, 1846 – Sophie Menter born, German pianist and composer; one of Franz Liszt’s favorite students, a piano virtuoso noted for her electrifying playing style.
July 29, 1884 – Eunice Tietjens born, American author, poet, lecturer, WWI correspondent for the Chicago Daily News; editor at Poetry: A Magazine of Verse.
July 29, 1896 – Maria L. de Hernandez born, Latina activist, first Mexican woman radio announcer. Co-founder of Asociación Protectora de Madres in 1933, which helped expecting mothers, including providing financial aid if needed. She was a vocal opponent against injustice and inequality, speaking out for both the Mexican American and African American communities.
July 29, 1900 – Mary V. Austin born, Australian community worker and political activist; Regional Commandant of the Red Cross Society; National Vice President of the Australian Liberal Party (1947-1976); life member of the Victoria League for Commonwealth Friendship.
July 29, 1900 – Teresa Noce born, Italian labor leader, founding member of the Italian Communist Party, politician, journalist and feminist. Noce was editor of Il Grido del Popolo (The Cry of the People), where she called for better working conditions and the abolition of the Special Tribunals used to imprison anti-Fascists. In the 1950s, she served as a member of the Chamber of Deputies, where she was aligned with Unione Donne Italiane (Italian Women's Union), advocating for broad social legislation benefiting working women. Their efforts won the passage of a law in 1950 which protected the jobs of working mothers and gave five months of paid leave to working pregnant women.
July 29, 1903 – Diana Vreeland born, fashion icon, born in Paris, started as a columnist (1936), then was fashion editor at Harper’s Bazaar until 1962, when she became editor-in-chief at Vogue (1962-1971).
July 29, 1905 – Mary Roebling born, first woman president of a major bank, Trenton Trust Company(1937); the first woman American Stock Exchange governor (1958-1962); Roebling helped establish the first nationally-chartered bank founded by women (1978).
July 29, 1918 – Mary Lee Settle born, American author; won 1978 National Book Award for her novel Blood Tie; co-founder of the PEN/Faulkner Award for Fiction.
July 29, 1932 – Nancy Landon Kassebaum born, Republican Senator from Kansas (1978-1997), the first woman to represent Kansas in the U.S. Senate, instrumental in creation of Tallgrass Prairie National Preserve; noted for co-sponsoring the bi-partisan Kennedy-Kassebaum Health Insurance Portability and Accountability Act with Democratic Senator Edward Kennedy; was a strong supporter of anti-apartheid measures against South Africa in 1980s, and traveled to Nicaragua as an election observer.
July 29, 1936 – Elizabeth H. Dole born, American conservative Republican politician; first woman elected to the U.S. Senate from North Carolina (2003-2009), first woman to serve as U.S. Secretary of Transportation (1983-1987) under Ronald Reagan, and also served as U.S. Secretary of Labor (1989-1990) under George H. W. Bush, becoming the first woman to hold two different cabinet positions, in two different Presidents’ administrations. She served as president of the American Red Cross (1991-1999).
July 29, 1940 – Betty W. Harris born, African American chemist, noted for work on the chemistry of explosives at the Los Alamos National Laboratory; patented a spot test for detecting 1, 3, 5-triamino-2, 4, 6-trinitrobenzene (TATB) in the field. Harris was chief of chemical technology for Solar Turbine Inc., where she managed the technical laboratories and investigated cold-end corrosion of super alloys, which was caused by sulfuric acid and soot in gas turbine engines. She also worked on hazardous waste treatment and environmental remediation; American Chemical Society member.
July 29, 1940 – Solita Collas-Monsod born, aka “Mareng Winnie,” Filipina broadcaster, economist, academic and writer; Director General of the National Economic Development Authority (1986-1989); Professor Emeritus at the University of the Philippines School of Economics, where she has taught since 1963; member of the UN Committee for Development Planning (UNCDP – 1987-2000).
July 29, 1945 – Sharon Creech born, American author of children’s novels; first person to win both the American Newbery Medal, in 1996 for Walk Two Moons, and the British 2002 Carnegie Medal, for Ruby Holler; first American to win the Carnegie Medal.
July 29, 1946 – Ximena Armas born, Chilean painter, who lives in Paris; notable for the symbolism and mysterious quality of her artwork.
July 29, 1950 – Jenny Holzer born, American painter and author; noted as a neo-conceptual feminist artist, who works primarily on large-scale installations designed for public spaces. She won the Golden Lion at the 1990 Venice Biennale, and the Art Institute of Chicago’s Blair Award in 1982. In 2018 she was elected as a member of the American Academy of Arts and Letters.
July 29, 1951 – Susan Blackmore born, British writer, lecturer and broadcaster, whose fields of research include memes, evolutionary theory, psychology,parapsychology, and consciousness; best known for her book, The Meme Machine; PhD in parapsychology – her thesis was titled “Extrasensory Perception as a Cognitive Process,” but after years of experiments, she has become a skeptic, publishing in several humanist and skeptical magazines, as well as The Guardian newspaper.
July 29, 1952 – Marie Panayotopoulos-Cassiotou born, Greek politician; Member of the European Parliament (2004-2009) with the New Democracy, part of the conservative-centrist European People’s Party coalition; was Vice Chair of the EP’s Committee on Petitions, and seated on the Committee on Employment and Social Affairs, and the Committee on Women's Rights and Gender Equality.
July 29, 1958 – Gail Dines born in Britain, radical feminist and academic; Professor Emerita of Sociology and Women’s Studies at Boston’s Wheelock College; an outspoken leader of the anti-pornography campaign, founding member of Stop Porn Culture, and author of Pornland: How Porn Has Hijacked Our Sexuality.
July 29, 1963 – Julie Elliott born, British Labour politician; Member of Parliament for Sunderland Central since 2010; vice-chair of the All-Party Parliamentary Group on State Pension Inequality for Women; previously a regional organiser for the Labour Party (1993-1998) and for the National Asthma Campaign and the GMB Trade Union.
July 29, 1970 – Adele Griffin born, American young adult author, noted for her books The Unfinished Life of Addison Stone, Sons of Liberty and Where I Want to Be.
July 29, 1974 – “Philadelphia Eleven” deacons (Merrill Bittner, Alla Bozarth-Campbell, Alison Cheek, Emily Hewitt, Carter Heyward, Suzanne Hiatt, Marie Moorefield, Jeannette Piccard, Betty Schiess, Katrina Swanson, and Nancy Wittig) ordained as the first women Episcopal priests.
July 29, 1978 – Bidisha, born as Bidisha Bandyopadhyay, daughter of Indian emigrants; British filmmaker, broadcaster and journalist, covering international affairs, social justice issues, arts and culture, and international human rights; contributor to The Guardian and The Huffington Post, presenter for the BBC on Woman’s Hour, The Word and other programmes; author of Beyond the Wall and other nonfiction; does outreach work in UK detention centres and prisons for the English affiliate of PEN International; she launched her filmmaking career in 2017, directing the short, An Impossible Poison.
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July 30, 1751 – Maria Anna Mozart born, nicknamed “Nanneri,” older sister of Wolfgang Amadeus Mozart, she was trained from the age of seven by their father Leopold to play the harpsichord and the fortepiano. She and her brother were taken on tour. She was a talented player, and sometimes received top billing in the early days, but her career was cut short when she reached the age of 18, the age her parents considered her marriageable. She was no longer permitted to perform in public. Dominated by her father, she was forced to turn down a marriage proposal from the man she loved, and was married instead to a magistrate, already twice a widower, with five children from his previous marriages. When she gave birth to her first child in 1785, she had returned to the Mozart home. Her father Leopold, for whom the boy had been named, took over the infant, raising him in the Mozart household until Leopold the elder died in 1787, and her son was finally returned to his mother. After her husband died in 1821, she returned to Salzburg, with her two children and four of her stepchildren, to work as a music teacher. In 1825, she became blind, and died in 1829 at the age of 78. Though she and her brother had been close in childhood, their last visit was in 1783, and she received the last letter from him in 1788, three years before he died.
July 30, 1818 – Emily Brontë born, poet and author of Wuthering Heights.
July 30, 1852 – Emma Gillett born, American lawyer and women’s rights activist, co-founder of the Washington College of Law, the first law school founded by women.
July 30, 1893 – Fatima Jinnah born in British India, dental surgeon, biographer, stateswoman and one of the founders of Pakistan; she was a close advisor of her older brother Muhammad Ali Jinnah, who would become the first Governor General (1947-1948) of the new nation, and was a leading member of the All-India Muslim League; after independence in 1947, she co-founded the Pakistan Women’s Association which did much to help the resettlement of women migrants. But after her brother’s death in 1948, she was banned from speaking on the radio until 1951, and her radio address to the nation then was heavily censored by Liaquat Ali Khan’s administration. She wrote a biography of her brother in 1956, but it wasn’t published until 1987 because of censorship, and accusations that she had written ‘anti-nationalist material.’ Even when it was finally published, several pages were left out. She came out of political retirement in 1965, to run for president against the military dictator Ayub Khan, but the military rigged the election. When she died in 1967, rumors spread that it was not a natural death, and her family demanded an inquiry, but the government quashed any inquiry. Honored by the people for her support of civil rights, her funeral was attended by almost half a million people. She is often referred to as Māder-e Millat (Mother of the Nation).
July 30, 1939 – Eleanor “Ellie” Smeal born, women’s rights activist, co-founder and president of the Feminist Majority Foundation (1987) and publisher of Ms. Magazine, president of National Organization for Women (1977-1982 and 1985-1987).
July 30, 1940 – Pat Schroeder born, Democratic politician, U.S. Representative from Colorado (1973-1997), first woman to serve in U.S. Congress from Colorado; first woman on the House Armed Services Committee. She was a prime mover behind the Family and Medical Leave Act of 1993, and the 1985 Military Family Act. She briefly ran for U.S. President after Gary Hart dropped out of the 1987 race, but was derailed when she teared up during a speech, instantly branding her as “weak,” even though male candidates doing the same thing were praised for showing their feelings. She was an advocate of stronger copyright laws, and after leaving the House of Representatives, she became President and CEO of the Association of American Publishers (1997-2008). Now retired in Florida, she is on the board of the League of Women Voters of Florida. Schroeder was named to the National Women’s Hall of Fame in 1995.
July 30, 1942 – Pollyanna Pickering born, English wildlife artist and environmentalist who went on expeditions to study animals in their natural habitats.
July 30, 1942 – President Franklin Roosevelt signs bill creating a women's auxiliary agency in the Navy known as Women Accepted for Volunteer Emergency Service (W.A.V.E.S.).
July 30, 1947 – Françoise Barré-Sinoussi born, French virologist and Director of Unité de Régulation des Infections Rétrovirales (The Regulation of the Retroviral Infections Division), and a Professor at the Institut Pasteur in Paris. Best known for her pioneering work identifying the human immunodeficiency virus (HIV) as the cause of AIDS. She and Luc Montagnier jointly received the 2008 Nobel Prize in Physiology or Medicine for their work in the discovery of HIV. She travelled to Africa with colleagues in the mid-1980s, and, astonished by the magnitude of the epidemic, she committed to fighting thedisease in resource-limited countries. In 1986, she helped organise the International AIDS Conference in Paris, and two years later, she and her colleagues formed the International AIDS Society. She has served a consultant for the World Health Organization (WHO) and UNAIDS, initiating collaborations with developing countries and multidisciplinary networks to pool resources and share information. In 2012, she became the president of the International AIDS Society.
July 30, 1948 – Julia Tsenova born, Bulgarian composer and pianist. Noted for symphonic and chamber music, as well as choral works. Her interest in ancient Eastern philosophies, particularly Indian philosophies, has been an influence on her compositions. She died of cancer in 2010.
July 30, 1949 – Dame Sonia Proudman born, judge of the High Court of England and Wales in the Chancery Division (2008-2017); Deputy High Court Judge (2001-2008); became a Bencher in 1996, and was a Recorder in 2000. Proudman was called to the Bar in 1972, after being one of the first women to win an Eldon Law Scholarship to study for the English Bar, awarded to University of Oxford students who earned either a first class honours degree in the Final Honours School, or a distinction on the BCL or MJur (academic degrees in law).
July 30, 1950 – Harriet Harman born, British solicitor and Labour Party politician; Member of Parliament for Camberwell and Peckham since 1982; Harman holds the current record for the longest continuously-serving woman MP in the House of Commons. She was Deputy Leader and Chair of the Labour Party (2007-2015); Acting Leader of the Opposition in 2015.
July 30, 1956 – Anita Hill born, American lawyer and academic, professor of social policy, law, and women's studies at Brandeis University and a faculty member of the university’s Heller School for Social Policy and Management. She became a national figure during the 1991 U.S. Senate hearings on Supreme Court nominee Clarence Thomas when she testified that he had sexually harassed her as her supervisor at the U.S. Department of Education and the Equal Employment Opportunity Commission (EEOC). Though initially pilloried for her testimony, public opinion began to shift in her favor as time passed. Congress passed a bill later in 1991 that gave harassment victims the right to seek federal damage awards, back pay, and reinstatement, signed into law by President George H. W. Bush. By 1992, harassment complaints to the EEOC were up by 50%. Private companies started training programs to deter sexual harassment. The manner in which the all-male Senate Judiciary Committee challenged and dismissed Hill's accusations of sexual harassment angered woman politicians, lawyers and feminists. According to D.C. Congressional Delegate Eleanor Holmes Norton, Hill's treatment by the panel was a contributing factor to the large number of women elected to Congress in 1992. "Women clearly went to the polls with the notion in mind that you had to have more women in Congress," she said. In their anthology, All the Women Are White, All the Blacks Are Men, but Some of Us Are Brave, editors Gloria T. Hull, Patricia Bell-Scott, and Barbara Smith described black feminists mobilizing "a remarkable national response to the Anita Hill-Clarence Thomas controversy.”
July 30, 1956 – Soraida Martinez born, American abstract expressionist painter and designer of Puerto Rican descent, creator of the art movement, Verdadism, which juxtaposes figurative abstract paintings with written social commentaries.
July 30, 1960 – Jennifer Barnes born, American-English musicologist, university administrator, opera singer, and a leading authority on composers Gian Carlo Menotti, Thea Musgrave and Ethel Smyth. In 1999 Barnes established a Leverhulme research partnership between Imperial College, Manchester University and the Royal College of Music. Seeing the potential in wireless EEG biofeedback, she designed a program to analyze the role of alpha, beta and theta waves in musicians and dancers under performance stress. Subsequent findings have been integrated into the curricula of performing arts institutions worldwide.
July 30, 1964 – Laine Randjärv born, Estonian Reform Party politician; Vice-President of the Riigikogu (Estonian Parliament) since 2011; Minister of Culture (2007-2011). She was Mayor of Tartu (2004-2007), after serving as Deputy Mayor (2002-2004).
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July 31, 1811 – Jane Currie Blaikie Hoge born, American nurse, welfare worker; fundraiser for the Union war effort; Chicago Home for the Friendless founder; Chicago Sanitary Commission co-administrator during U.S. Civil War; her Civil War memoir is The Boys in Blue.
July 31, 1816 – Lydia Moss Bradley born, businesswoman and philanthropist, managed her own fortune after the death of her husband, successful in real estate and banking, endowed the Bradley Polytechnic Institute, and became the first woman member of a national banking board. Bradley is the first American woman known to draw up a prenuptial agreement to protect her assets.
July 31, 1831 – Sarah J. Thompson Garnet, American suffragist and educator, first African American woman school principal in the New York City public schools, founder of the Equal Suffrage League in Brooklyn.
July 31, 1833 – Amelia Stone Quinton born, American social activist, advocate for Native American rights, a founding member of the Women’s National Indian Association.
July 31, 1858 – Marion Talbot born; when she had difficulty gaining admission to Boston University in spite of her father being the dean of its School of Medicine, she became a tenacious supporter of higher learning for women, and campaigned against efforts to restrict equal educational opportunities. She was Dean of Women at the University of Chicago (1895-1925); established the first Midwestern regional meetings of college deans in 1902, and then Midwestern regional meetings for deans of women, beginning in 1911; co-founder of what became the American Association of University Women, and served as the organization’s president (1895-1897).
July 31, 1860 – Mary Vaux Walcott born, American painter and naturalist, known for her watercolors of wildflowers, president of the Society of Women Geographers; her illustrations were often published by the Smithsonian.
July 31, 1879 – Margarete Bieber born, art historian and professor of art and archaeology, second female university professor in Germany (1919) before immigrating to the U.S., taught at Barnard College and Columbia University, published numerous academic texts, named to the American Academy of Arts and Sciences in 1971.
July 31, 1923 – Stephanie Kwolek born, American chemist whose career at the Dupont company lasted over forty years; best known as the inventor of Kevlar, for which she was awarded the company’s Lavoisier Medal for outstanding technical achievement, the first woman employee to receive this honor; also won numerous awards for her work in polymer chemistry, including the National Medal of Technology, and the Perkin Medal, given by the Society of Chemical Industry “for innovation in applied chemistry resulting in outstanding commercial development.”
July 31, 1924 – Geraldine Hoff Doyle born, probably the model for the WWII “We Can Do It” poster which came to symbolize Rosie the Riveters, women who became factory workers to support the war effort.
July 31, 1929 – Lynne Reid Banks born, British author of The L-Shaped Room, The Indian in the Cupboard, Dark Quartet, and Path to the Silent Country: Charlotte Brontë's Years of Fame.
July 31, 1940 – Carol J. Clover born, American academic and author, authority on gender in films; author of Men, Women, and Chainsaws: Gender in the Modern Horror Film.
July 31, 1944 – Sherry Lansing born, American film studio executive; she went from mathematics teacher to actress (in two films) to script reader, then head script reader, at MGM, where she worked on The China Syndrome and Kramer vs. Kramer; she moved to Columbia Pictures; became a partner with Stanley R. Jaffe in 1979 in Jaffe/Lansing Productions; in 1980, Lansing was appointed as the first woman president of 20th Century Fox; in 1992, she became chair of Paramount Pictures Motion Picture Group, but left in 2004 when Viacom, after taking over Paramount, decided to split the company into two parts.
July 31, 1952 – Faye Kellerman born, American author of mystery novels; noted for her Peter Decker/Rina Lazarus series, especially its first book, The Ritual Bath, which won the 1987 Macavity Award for Best First Novel.
July 31, 1956 – Lynne Rae Perkins born, American author and illustrator of books for children and young adults; her novel Criss Cross won the 2006 Newberry Medal.
July 31, 1958 – Suzanne Giraud born, French contemporary music composer and academic; recipient of the Prix Georges Enesco, and the Prix Georges Bizet; her work is often inspired by poetry, paintings, or architecture.
July 31, 1965 – J.K. Rowling born as Joanne Rowling, British author of the best-selling book series in publishing history, the Harry Potter fantasy series; film and television producer; and philanthropist; in 1990, she was a researcher and bilingual secretary for Amnesty International, and the Harry Potter concept was born while she was stuck on a train which was delayed for four hours; during the next seven years, she persisted in writing through the death of her mother, birth of her first child, divorce from her first husband and surviving on state benefits, before the runaway success of the first Harry Potter book in 1997; the series made her the world’s first billionaire author, a status she quickly gave up, donating much of her fortune to charity, including Comic Relief, One Parent Families, Multiple Sclerosis Society of Great Britain, the Shannon Trust, the English PEN Charity auction, and her own charity, the Lumos Foundation, which rescues children in orphanages separated from a living parent because of poverty or discrimination, and enables them to be reunited.
July 31, 1981 – Arnette Hubbard is installed as the first woman president of National Bar Association.
July 31, 1991 – U.S. Senate votes to allow women to fly combat aircraft.
_________________________________
Sources
http://www.nwhp.org/events/july/
http://www.scholastic.com/teachers/article/important-dates-us-womens-history
http://www.historyplace.com/specials/calendar/july.htm
http://www.onthisday.com/day/july/
Women Trailblazers of California: Pioneers to the Present,© 2012 by Gloria G. Harris and Hannah S. Cohen — The History Press
todayinsci.com
A Book of Days for the Literary Year,edited by Neal T. Jones
The Music-Lover’s Birthday Book, Metropolitan Museum of Art
www.sahistory.org.za
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http://www.tainiothiki.gr/el/erevna-ekpaidefsi/arthrografia/285-the-feminine-gaze-in-antoinetta-angelidi-s-cinema-of-imaginative-cathedrals
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The Feminine Gaze in Antoinetta Angelidi’s Cinema of Imaginative Cathedrals
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Πολιτιστικός φορέας μη κερδοσκοπικού χαρακτήρα με στόχο την έρευνα, συγκέντρωση, διάσωση και προβολή της ελληνικής και παγκόσμιας κινηματογραφικής κληρονομιάς.
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του Vrasidas Karalis
Πρώτη δημοσίεσυη: Realism in Greek Cinema: From the Post-War Period to the Present, I.B. Tauris, London 2017, p.p. 191-214
The cinema is an idealistic phenomenon
André Bazin
I Invitation to a Beheading
Antoineta Angelidi’s cinematic language belongs to the hidden and unknown tradition of experimental, or, more precisely, poetic or constructivist, cinema in Greece. Her films are few, besides her shorts, which probably deserve closer study as art-happenings, together with her installations in various art galleries in Athens and Paris. The average length of her four longest films is 75 minutes. They are structured around strong images, vibrant colours and geometric structures. Although there is no obvious story, the filmic time unfolds in separate sections, like acts in a drama, which means the lack of storyline is replaced by a coherent underlining plot. Despite their painterly character, her cinematic frames must be seen as totalities, not as isolated fragments of a fresco or a succession of still photographs.
Her work and thought alone raise the curtain on the ignored contribution of women film-makers in Greece. They have been totally forgotten or looked upon with derision or—and this is sometimes even worse—with sympathy and understanding. In one of his least discerning reviews, Vassilis Rafailidis aptly contextualised her work:
Angelidi’s commitment to her distinct perception of cinematic aesthetics is rather admirable; it is however an aesthetic which belongs less to cinema and more to fine arts. With an almost pretentious contempt towards all forms of commercial success, Angelidi and Costas Sfikas are the only Greek filmmakers who stubbornly avoid any acceptance of both the classical Aristotelian rules of narration … and the distantiation rules of the Brechtian narrative, which has defined narrative modernism … [1]
Rafailidis rightly points out her affinity to fine arts and the unique idiom she devised in order not to succumb to fashion: her distinct scenes could have been large panels or murals on the walls of cathedrals and caves. On one hand they replace Brechtian technique with a very strong theatricality: her actors are aware of the presence of the camera; they actually talk to the viewer through the camera. This is the way that Angelidi uses the formalist device of ostranenie, defamiliarisation or estrangement. Usually avant-garde films, such as those by Gregory Markopoulos, for example, or even those by Stan Brakhage, do not focus on the performative function of the story. Angelidi over-theatricalises performance in order to stress a different order of experience and to ‘deautomatise consciousness and counteract alienation’. [2]
It is the breadth of her vision and the amplitude of her expressiveness that make her films transcend photographic stillness, pictorial immobility and extreme artificiality. Angelidi animates her tableaux vivants through stylised movement, laconic soliloquies and poetic dialogues, in ways that not only bring them to life but make them cinematic material par excellence. The central theme of her work is the process of constructing images—her cinema is the ultimate model of ‘structural film-making’, which maintains absolute minimalism in terms of what is necessary for a scene to be self-sufficient. She works like a mosaic-maker piecing together forms, colours, and frames—it is the cumulative power of them all that creates an indelible impression of awe and wonder. She can do this because she is in control of the material and is not overpowered by the complexity of the materials’ history. Indeed history exists in her films as a verbal construction: through the words of poets, Dante, Sophocles and the poets of the Bible and of Byzantine hymnography—her The Hours(1995) and Thief or the Reality (2001) are replete with such texts, but they are always used in other ways. A man is Antigone, without losing his masculinity, a paedophile recites Leonardo without ever losing his dignity, a young girl is violated without ever losing her innocence. Images are used in a subversive manner: her first film, Idees Fixes/Dies Irae(1977), ends with a homage to Jacques-Louis David’s painting The Death of Marat (1793), the first depiction of modernist politics in Europe, but her Marat is a woman, trying to escape or confront the coming assassins—to no avail. The film ends and we must imagine what happened to her.
Angelidi writes her own scripts, which are based on strict formalist structures and expectations: a student of Christian Metz’s semiotics, she knows how to weave psychoanalytic discourses with semiotic sequentiality, avoiding the dominant mimetic perception of narrative and representation. Following Metz, she knows that ‘the secret of film is that it is able to leave a high degree of reality in its images, which are nevertheless still perceived as images’. [3] The filmic text is constructed by self-conscious images because it is an intentional artefact: the specific configuration of signs questions the essential meaning of those signs. As Peter Wollen observed:
a text is a material object whose significance is determined not by a code external to it, mechanically, nor organically as a symbolic whole, but through its own interrogation of its code. It is only though such an interrogation, through such an interior dialogue between signal and code, that a text can produce spaces within meaning, within the otherwise rigid straitjacket of the message, to produce a meaning of a new kind, generated within the text itself. [4]
The filmic Topos is precisely the space from which such semantic disruption emerges: new meaning is a disruption of old codes—most specifically the fall of old codifications. Angelidi knows how to destroy the codes that made her own work possible; in her ‘Self-Presentation’ she stated:
from my dark body, as I stand framing or being diffused in the dark theatre, I see codified images in all the ways that I can see, together with a piece of nature, if I succeed in escaping the codification that has happened within that nature and which now resides in my head. With violence and the fear of aestheticism. Puncture. Architecture as mise-en-scène. I was pregnant when I saw La Region Centrale by Michael Show. What Pleasure. All artistic problems together with temporality. Alterations and not relocation. [5]
The brief text articulates her project:
female orgasm is enigmatic and has been dealt [with] through unsurpassable symmetries and dichotomies. So feminine script analogically to the other orgasm, which is plural and not symmetrical, does not aspire in replacing one domination with another … The corporealisation of meanings is violent, it is feminine if you want. And then. Alien myths about our own body, colonies in our collective unconscious. The task to rework everything, to alter the myths. [6]
Her project is like Michael Snow’s attempt to establish cosmic relations between space and time: she wants to dive into the collective unconscious and reconfigure the patterns of expression that have represented the actual reality of being a woman.
In a sense, her cinema is also materialist cinema because it is created on the emotional tension that develops between what is represented, its indexical meanings, and the various forms of its representation—here the film-maker stresses their arbitrary, fluid and culturally determined meaning. It is the material fields of each scene that frame an objective reference and an almost haptic reality for the image: the vibrant colours invite the viewer to enter the visual field and be absorbed by the ecstatic sublimation of radiating forms. As Rafailidis said, she does belong to the fine arts—but more precisely, I must add, she is coming out of the fine arts. Her scenes recreate the birth of cinema from the early explorations of perspective by the Renaissance masters to the contemporary destruction of perspective by Jean-Luc Godard. Furthermore, she is in a constant dialogue with Andrey Tarkovksy’s metaphysical realism and its Byzantine two-dimensionality as well as with Peter Greenaway’s chromatocentric reality and its Baroque origins. In between them she meets Sergei Parajanov and the dazzling luminosity of his earthy colours.
A simple exploration of her films shows that they are anti-illusionistic, anti-mimetic and anti-realistic visual structures. Angelidi is aware of the Gestalt formations that make her images meaningful if they generate unities of semantic references to other codes and forms. With her, the naive perception of realism as reference to something out there is ruthlessly discarded:
I claim that, in contrast to the illusion created about it by Griffith, cinema’s original is the dream and not reality. We never perceive reality as if it was cinema. The world is not pre-codified. The world is not staged. This illusion was created by mentally unwell people, and that’s what I explored in my latest film Thief or Reality, from the point of view of an actor. [7]
Because of the unnatural codes of so-called realistic cinema, the film-maker can only give her dreams, nightmares and visions. She is not going to deceive anyone: but she wants to make a point, and a political statement. In an interview she said:
There is a moment in my film with the representation of David’s Death of Marat, in which I myself impersonate the Marat on the painting, in the bath. The painting itself expresses an impasse of the revolutionary individual: that impasse is the painting itself by David, the fact that David made this painting and not the fact that it shows the death of Marat. Myself, by representing a representation of a certain revolution, I believe that I subvert the logic from within which this presentation was made. By placing myself within all these, I become one of the constituent elements of the film. I suffer, like them, reversals and self-criticisms. When the person who writes occupies a place in the film, at a certain moment, this person is turned upside down and becomes self-ironic. And this is a political act. [8]
Towards this end, her images are not imitating reality, history or everyday life. She knows that imitation, the Aristotelian mimesis, means distortion and that the real can only be semiotically captured: by juxtaposing codes of representation, reality emerges in a process of intuitive reconstruction in various experiences, moments of being and split seconds of authentic human connection. Each separate code has its own truth, but it is partial and in fragments. If the film-maker succeeds in ‘fulfilling her desire to express her own dream’, then:
the spectator can recognise her own dream or her own nightmare in the work itself. When the creation of an alien soul can disturb your own soul then it causes the methectic function of the work of art. It is the rarest miracle to accept from the external world your own inner images. The experience is unique. The momentary rupture of solitude. [9]
The problem of codes is crucial for the appreciation of her work. Angelidi desires to make films that come out of her life as a woman. She doesn’t have a code of reference or of meaning which can guide her to make films expressing the feminine experience other than the revered and sacred codes concocted by men. She desires to construct codes for gyno-poeticswhich won’t resemble the fetishised rules of traditional Aristotelian poetics focused around the passions of ‘great men’. In an interview about her most recent installation artwork, which incorporates cinematic images, she stated:
The projected work constantly differentiates itself. The dialogue between films—between space and spectator—constantly mutates. There is no Ariadne’s thread, a singular narrative line, but constantly mutating narrative lines, which are produced in a process of randomness. One could say that the form of the work reflects the complicated and constantly mutating dialogue embodied by the work itself. [10]
She desires therefore a new meta-language for the cinematic language itself—a language that won’t pretend to be eternal and objective, but, as she stresses in the same interview, will be based on the very synthesis that every human encapsulates—‘a personal, peculiar and specific synthesis: a combination of gender, age, religion and social class’. Her latest work is called ‘Sowing without Thread’, a metaphor which in the lexicon of the writer Mary Daly, a lexicon based on what women do and how women are, means ‘spinning, world-making, Gyn/Ecological creation; Dis-covering the lost thread of connectedness within the cosmos’. [11]
By desiring such rich, complex and experiential language, Angelidi also attempts the Herculean task of beheading the idols of the tribe. Mimesis, as mentioned, according to her, is associated with androcentrism, with the centuries-long centrality of masculine signifiers in the creative reproduction of form, feminine or masculine. As Savvas Michail, a ‘visionary’ interpreter of her work, observed, her films are focused around the ‘criticism and the struggle to transcend the deception of mimetic representation’ as ‘the functions of mimesis are confirming androcentric domination which Angelidi’s cinema rejects without any compromise through the poetic power of her cinematic iconography’. [12] Michail points out that in order to refute the established codes of thinking both verbally and cinematically from within the paradigm of androcentric mimetic codes of representation, Angelidi’s films have as their central architectural principle the Freudian concept of the uncanny; he concludes his extraordinary essay of her work by stating:
The Unheimlich from the return of the repressed desire and the Unheimlich with the return from the archaic to the modern constitute the Grundproblem in the daring cinematic modernism of Angelidi. [13]
Beyond anything else, her films, despite the lack of narrative development, characters and storyline, maintain a thread of thematic unity and plot continuity which give them emotional intensity and structural circularity precisely because of the presence of the uncanny in their images. The viewers feel and understand that something is happening—the happeningitself, the event of visual epiphany, becomes itself the epicentre of her films. As long as the framework of reference is established the signifiers return: language guides the mind to attune itself to the post-linguistic situations their eyes witness. Her pictorialist cinema is a confronting experience for viewers who have been habituated to some form of explicit or implicit storyline: her visual idiolect combines pictoriality with the free play of interchangeable signifiers. There is no linear unfolding, or even circular unfolding, but something is moving—and the phenomenological impact of the cinematic event itself is enough to seduce the eye and bring the viewer deeper into the movie. The cinema thus maintains its mystique, while only the cinematographer knows its secret language.
Angelidi created a cinematic style which since its inception wanted to assassinate the androcentric aesthetics of presentation, storytelling and mise-en-scène. In a way, Angelidi is the Artemisia Gentileschi of modern cinema. Like Artemisia’s paintings, her films pulsate with the density of basic colours, and construct an architectural space of structural and chromatic dynamism. Like her, Angelidi must work hard to prove the innocence of women: in an androcentric universe, all women, especially artists, are guilty for undermining the symbolic foundations of male domination, and chargeable for self-victimisation. In either case they are always on the wrong side of things. Like Artemisia’s raped and tortured body, the great code of meaning is female corporeality from birth to death. The female body is the ultimate god of history: it gives life, it is the urgrundof fecundity and deathlessness. Male artists brutally sexualise the female body—naked or clothed. Angelidi simply brings out the fragility and vulnerability of its presence; she also adds, like Artemisia:
[a] disturbing psychological content, [which] uses representation to confirm an ideology of dominance over powerlessness, in which woman’s voluptuous body is affirmed as an object of exchange between men. [14]
However, the creative process itself, the act of reinventing the codes, is an act of empowerment: the artist is not the transcendental A. in Angelopoulos’ Ulysses’ Gaze, or the archetypal male trickster Zorba, or the symbolic traumatised everyday male in Koundouros’ oblique films, but a specific woman, a given subjectivity who is the synthesis of gender, class, culture and religion, and who suggests as the ultimate lexicon of meaning her corporeal presence, the body which gives birth.
But it is a tortured body, mutilated and misperceived, distorted under so many centuries of inauthentic perceptions and representations. In a strange way, Angelidi’s visual incursions violate the sanctity of masculine historical primacy, and undermine the dominant perception of the male as the sole protagonist of history. However, they also rewrite memory, through images which emanate from a different centre of power: they replace the phallus with the vagina, reconciling history with the beginnings of life, the physical principle of natality. If male thinkers such as Martin Heidegger are talking about mortality and finitude, female thinkers, such as Hannah Arendt, think of life as a creatio continua, as the ongoing expansion of space and existence. Angelidi’s films are about the infinity of space, the endless corridors which receive the ever-perpetuating rays of light. What we see in the light is equally important: in Angelopoulos’ Reconstruction a woman kills her husband, as also occurs in Cacoyannis’ Electra, but Angelidi’s films are about ‘gynocidal re-enactments’. By using a woman to usurp Marat’s position, Angelidi recognises:
[the] multiple manifestations of the lethal intent of patriarchy … This knowing requires acknowledging the interconnectedness of the ritual atrocities, refusing the compartmentalising of facts into stale and irrelevant ‘bodies of knowledge’ and thereby finding the focus of her anger, so that it fuels it and no longer blocks her passion and her creativity. [15]
In a sense, with the exception of her first film, her other three films are like medieval illustrated manuscripts: rewritten and repainted, they frame a space of hyper-visuality, punctured by voices, sounds and apparitions. They frame ‘l’ hazard’ as the first condition for the freeing of feminine imagination from her own inferiorisation—objects, words and (predominantly) colours celebrate their own contingency, the randomness of their presence. Unlike the male need for deterministic explanations and causal serialisations of action and thought, Angelidi foregrounds the unpredictability of new forms, which also means the emergence of new mental atmospheres. In exactly the way that a mother gives birth to an unconditionality of a new being, so also does artistic freedom, which discards storyline, continuity and seriality.
As Maya Deren, the pioneer visual poet, admonished the film-maker:
artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words … to the relentless activity and explanations of a plot … nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes … Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired. [16]
Angelidi’s frames jump from a music pattern to a non-visual rhythmic emptiness, from stylised movement to verses from tragedy, from a monochrome blue to stark juxtapositions of ecstatic polychromy. In one of her most significant aesthetic statements, after having explored the feeling of cinematic time, she concluded:
There are films which through complex tropes of temporality, create a fertile uncertainty, an oscillation between identification and defamiliarisation, between the known and the unknowable. Films which ask for an emancipated spectator, predisposed to think and feel, working through his/her own self—a spectator who can be either critical or enchanted. These are films of formal autonomy, since the potentialities of cinematic heterogeneity have been only partially explored. Because the complex contemporary psychical world deserves to be the model for all cinematic compositions. Because cinema can open a break so that the unsayable can be articulated. [17]
She made only four main films: Parallages sto Idio Thema/Idées Fixes/Dies Irae (1977), Topos (1985) Oi Ores—Mia Tetragoni Tainia/The Hours—A Rectangular Film (1995) Kleftis i Pragmatikotita/Thief or the Reality (2001). Her other short films, exhibitions and multimedia work represent a running commentary on and expansion of the field of her artistic involvement. Together with many other experimental directors she associates cinema with other arts, incorporating elements from painting and dance into her non-linear, anti-aristotelian and non-mythological narratives. She calls her language ‘poetic cinema’, which she defines as the very essence of the cinematic:
I believe that cinema in opposition to the illusion that Griffith created about it has as its model not reality but dream. We never perceive reality in cinema. The world is not pre-codified; there is no mise-en-scène in reality … the oneiric and the cinematic are extremely akin. It’s about images moving, the one after the other, in time. They use the same codes for the production of meaning: the two-dimensional images, their succession, movement, natural language, sounds. That’s why the new art of cinema is so familiar to us. Not because it resembles reality, but because it is like dreaming. In a sense, it is the oldest art, since we have been always dreaming. [18]
Angelidi was not alone: she belonged to a generation of film-makers from the 1970s who experienced the aftermath of May ’68 in France: having the imagination in power, even for few days, was enough to reinvent the meaning of cinema as an event of political commitment. In Greece some of the principles of May became obvious in the New Cinema of the early 1970s. Angelopoulos’ first films, for example, have strong echoes from the radical reorientation of cinematic form as expressed by Jean-Luc Godard and the film-makers after him. Guy Debord’s early works—On the Passage of a Few Persons Through a Rather Brief Moment in Time (1959) and Critique of Separation (1961), and certainly Society of the Spectacle(1973)—were on the horizon of all anti-film makers during this period of political rebellion. For the avant-garde, the American underground movement of Andy Warhol and Jonas Mekas, together with the great early experimentalists like Maya Derren, Stan Brakhage, Michael Snow and Gregory Markopoulos, were the background for a movement that could not yet emerge in a Greek context—not simply because of the military dictatorship, but primarily because there were no structures to support such a movement and indeed no structures to rebel against.
However, the restoration of the Republic in July 1974 created the conditions for the radical explosion of the creative imaginary: the state seemed power-less and the institutions were shaken to their very foundations, having lost all their legitimacy. This creative destruction lasted around five years, as the political elites regrouped around a new system of sharing power while maintaining the opacity and the inviolability of the executive and of legislative authority. Soon the parties of the Left became involved in the process, and in 1981 the Socialist Party was elected to power, under the banner of change. The change was, of course, only in who controls the state. It was not about a change in the state. It was also about new ideologies being imposed as official narratives. It was the end of a creative era, another ‘Lost Spring’ in which the creative imaginary of the country and the physiognomy of Greek cinema could have been renewed and reinvented, but were not.
During this period, however, there were a number of radical experiments with cinematic language. This experiment had started in the early 1970s, when Angelopoulos, Costas Ferris, Pandelis Voulagris and Tonia Marketaki, amongst others, recalibrated the narrative rhythms and visual poetics of cinematic storytelling. It was called ‘formalist moment’ [19] in Greek cinema, because representation became the object of a reconfiguring and restructuring of the visual language which the previous generation had struggled so hard to compose. It also meant a prolonged and systematic questioning of the limits of representation, together with a questioning of what is or could be represented. It was the moment of the auteurs, who relocated the centre of gravity from empathy with was happening on the screen to an abstracted intellectualisation of patterns of representation. The formalist moment had its own special codes for telling stories. They were mostly in the geometry and construction of each scene, not in the fast movement of the camera through successive scenes. Most of them rewrote the rules in certain genres. For example, Tonia Marketaki’s unique film noir John the Violent/Ioannis o Viaios(1973) is a complete restructuring of the genre, infusing it with unexpected temporalities and provocative movements (reminiscent of Bela Tarr’s The Man from London (2005), which shows us a bleak world, full of rhythmic self-destruction and disorienting pace).
Even Costa Ferris’ more traditional film The Murderess/I Fonissa (1975), with its psychologised camera work, as the camera eye dived into the mind of a deranged old woman, pushed the limits of representation in a direction even Ferris himself was never able to follow again. Finally, Angelopoulos’ Days of 36 (1972), The Travelling Players (1975) and The Hunters (1977) reconfigured storytelling on the cinematic screen by abolishing causal connections between actions. He maintained the dramatic story but restructured the plot: in Days of 36 the camera circles its way around a closed room, where all the action takes place; in The Travelling Players many moments of action converge on specific topoi of memory; and in The Hunters the camera stays still in front of the event of death: the hallucinations are but shadows of real events which we never see.
The film-makers of that generation confronted the forms of bourgeois representationalism but not the codes that established representations themselves. Angelidi’s first film, Parallages sto Idio Thema/Idées Fixes/Dies Irae (1977), represented the moment when the accepted and consecrated ways of looking at the individual experience were slaughtered ruthlessly, in exactly the way that Judith beheads Olofernes in the painting by Artemisia Gentileschi. This film was an attack on codes of representation, not on forms of storytelling: it rearranged the semiotics of codes, by removing signifiers and reversing their expected performative meaning. The most important aspect of this film is that it frames a way of un-telling a story, of unravelling the seductive allure of its images and of un-creating the causality of its scenes. Of course it all happens only because each scene, with its static camera, slow movement and self-conscious construction, functions at many levels of meaning—each is full of references to Godard, Sfikas and, in strange way, the other master of the Protestant Gothic, Carl Dreyer.
The process of de-structuring the codes had started in 1974 with Modelo, the stunning achievement by Costas Sfikas. With the limited technical abilities and equipment of the period Sfikas visualised the old dream of Sergei Eisenstein: he translated into images the abstract economics of Karl Marx’s Das Kapital. This seminal film, the foundational text of cinematic experimental modernism, remains to this day the mother of all the anti-languages employed ever since to confront the prevailing form of realism. A-causal, non-linear, spasmodic and unnatural in its unfolding, it frames a universe of strange iconicities—they do not correspond to real events although they are about the everyday reality of work and the political system around it. The frame is divided into two parts concurrently depicting disconnected happenings without following any accepted patterns of perspective and logic. The camera itself becomes the eye through which we look back at the presence of homo laborans. The work, the artefact, does not simply reflect the capitalist system that produces it; the actual object of work becomes an entrance to the inner space of being, into the creative ability of the mind, or negatively into the dormant potential of the alienated worker. Commodities form and determine the subject, so in capitalism the subject becomes itself a commodity—the process of such commodfication without the anecdotes of traditional narrative is the central story of Modelo. Sfikas became the grand formalist master of experimental films and still remains, as Savvas Michail observed, ‘the perennial revolution against all figurative illusions, against all affirmations of a condemned order of things’. [20]
Sfikas continued his anti-cinematic films, with Metropoles/Metropoleis (1974), Allegory/Allegoria (1985), The Prophetic Bird of Paul Klee’s Melancholias/To Profitiko Pouli ton Thlipseon tou Paul Klee (1995) amongst others, until his death (in 2009). He paved the way for other important experimental films-makers, such as Thanasis Rentzis, Maria Gavala, Stella Theodoraki, Demos Theos and, more recently, Vassilis Mazomenos—all these warrant discussion in their own right. From 1974 to this day, the tradition of experimental film-makers renews cinematic language by revising the ability of images to signify reality, reassembling the codes of visual perception and rethinking the role of the cinematic experience; we cannot understand contemporary Greek cinema without the silent influence of such underground movements which fight constantly, and without any compromise, against what Vassilis Mazomenos has called ‘the dictatorship of realism’. [21]
This is the context for the works of Angelidi: beyond her studies with Christian Metz in post-1968 Paris, her work bears a very strong connection to cinematic life in Greece, and is in a constant dialogue with global traditions and experiences. Her work is the embodiment of the openness of Greek cinema, of its polymorphous character, absorbing elements from different genres, artistic regions and visual languages. It is an optical palimpsest made up of various studies on similarities in visual architectonics, inter-filmic transcriptions and colourful explosions. Her films are about the transition from the baroque to expressionism: they bridge centuries of sensibilities and styles and establish connections with a belligerent modernism that transforms realism into a heresy of imagination.
All her films are intense visual experiences, in stylised geometric frames, full of energy (especially when they depict stillness) and of sculptural immobility (particularly when they record dynamic movement). Her films are pictorial psychodramas, in which roles are reversed, expectations are frustrated and colours radiate with psychological associations, open to many interpretations and projections. They are all works of reversal and confrontation, made through a relocation of perspective, to the reverse gaze of feminine presence as it looks back and reclaims the space and time that has been taken over and obscured.
II Films as Eschatological Monuments: The Omega Point of Being
For me, large dimensions signify a return to childhood. I wanted to create a space so that adults can find themselves again in the time and space of their childhood.
Antoinetta Angelidi
Angelidi’s first film completed a process of osmosis between images and spatiality: it explored the fused world of the feminine body, or the feminised male, presenting a gendered view of experience and politics. Idees Fixes/Dies Irae framed the unpredictable simultaneity of memory: everything co-exists in the unconscious because everything has a second life. As we saw, she calls her cinema poetic, in the sense that it is a self-reflective cinematic act, because it thinks through its own construction, language and semiotics. In reality, it is a cinema which reflects on the end, the telos, of cinematic activity. Therefore, it could be more aptly called eschatological cinema, as it envisages the endpoint of experienced realities, and visualises a space for the omega point of being.
Especially in the trilogy that followed her first film, Angelidi falls into the baroque world of bright basic colours, depthless spaces and the spiral temporalities that dominate the subconscious matrix of memories. The memories themselves spring up like religious epiphanies which disrupt the numinous blackness at the urgrund of being: instead of experiencing an artificial certainty about existence, which the Aristotelian unities have imposed upon the creative imaginary of the western world at least, Angelidi explores a more Platonic understanding of the origins of the creative impulse. As I have also noted in relation to Koundouros’ later films, Angelidi’s depiction of memory is analogous to Plato’s wax tablet from Theaetetus (191a–196c). But here the confused and superimposed imprints are not examined for their referential accuracy or political value; they become ur-bilden, primary images, which reveal and unveil the significance of the feminine as the demiurgic principle.
After her first film, which is in reality a political manifesto, her trilogy seems to work though the originary experience which, since Otto Rank, we call ‘the trauma of birth’: this is another kind of traumatic experience, beyond the cultural and historical traumas of the past which had seized the creative imaginary of the previous generation. The trauma now is ontological and refers to the fallen state of having being expelled from the only paradise humans will ever know, the paradise of the maternal womb. The state of being born, the fundamental event of natality, makes history possible: we simple replicate the exit from the womb by experiencing the existential essence of colours. Angelidi’s trilogy is about the spectacle of life as seen by a newly born infant. There is an interesting testimony about this by Salvador Dali, the other surrealist of colour and form. Describing his own antenatal experience, he wrote in his autobiography:
The colours of my intra-uterine paradise were hellish—red, orange, yellow, and bluish, the colours of flames of fire; above all it was warm, motionless, soft, symmetrical, padded and sticky. I already felt that all pleasure and all enchantment lay there before my eyes … [22]
This is what we experience as we enter Angelidi’s visual universe: from the very beginning she offers a chromatic immersion which as a profound religious epiphany forces the viewer to start rethinking the significance of each shot—if there is a latent plot in her films, it has to be that of the Byzantine liturgy. Furthermore, if in Angelopoulos and Koundouros we find the gradual emergence into the world of colours, followed by a period of impressionistic surprise (for the former) and expressionistic frenzy (for the latter), Angelidi’s images are from the very beginning steeped in their natural habitat of colours. They are conceived first as chromatic entities. Colour is not an external element on their surface—it radiates from within, it is the expression of their essential being-ness. The first shot in Topos is about birth and the theme of birth is expressed through the colours blue, red, green and brown, which are the colours of the earth, indicating perpetual fecundity and vital energy. Eisenstein, in his Ivan Terrible Part II (1958) talks about the connection between the scenes in the film and ‘the polyphonic montage in colour’. [23] Angelidi uses colour antiphonally, to frame states of mind and bring the audience within the scene itself: the viewer must respond, as the film targets their own personal space. She makes use of the Byzantine inverse perspective as seen from within a Renaissance and Baroque visual expressionism, rather like Tarkovsky and Angelopoulos. Yet warm colours alternate with each other, forming the architectural and the perspectival depth in each image.
They are all framing the verticality of the human figure, as they reconfigure the horizontality of the human gaze. Angelidi’s frames utilise the fullness of human form to create awe of the human presence. In an extremely prescient analysis, Eleni Mahaira stressed the fact that Angelidi, in a break with a traditional sense of perspective, ‘causes a confusion of perspectival axes to the point that depth becomes height, the depth of perspective becomes … the upper part of the cinematic image’. [24] Such paradoxical fusion privileges the image itself as the topos where the dialectical antinomies are reconciled: the code is identical with the coded and their union establishes the strength of the visual impression. Jean-Luc Godard stated the analogous mode of presenting colour in his Pierrot Le Fou (1965), the paradigmatic example of a pictorial, almost pop-art employment of colours:
when you drive in Paris at night, what do you see? Red, green, yellow lights. I wanted to show these elements but without the necessity of placing them as they are in reality. Rather as they remain in memory—splashes of red and green, flashes of yellow passing by. I wanted to recreate a sensation through the elements that constitute it. [25]
Martin Scorsese, in Taxi Driver (1976), also depicts the urban experience of New York through the melting colours of the city on the glass of the taxi.
Angelidi’s chromo-poetics are based precisely on such recreation and re-enactment of the sensations experienced through direct exposure to the fluid luminosity of colours. In Greek cinema, her work bears a resemblance to Nikos Nikolaidis’ The Wretches Are Still Singing/Ta Kourelia Tragoudane Akoma (1978) and Sweet Bunch/Ylikia Simoria (1983), in both of which ‘the storyline is driven by their own vibrant and basic colours’. [26] The strong basic colours, emblematically expressed through the scarlet curtain of divine epiphany, show that Angelidi’s artistic project uses the representational codes of form, composition and mise-en-scène formed gradually through the centuries, at the same time rewriting the language of representation itself. In dialogue, also with the experiments of the period, her Topos is a strong response to Angelopoulos’ impressionism, as seen in Landscape in the Mist (1988). On the other hand, the baroque sensitivity towards bright and vibrant colours seems to animate her first film: like Artemisia, ‘her mastery and originality is best seen in her application of colour itself, the enormous range of saturation and intensity that she was able to manipulate’. [27]
With her next film, The Hours/I Ores (1995), the infant girl of the first film has grown up, or lives suspended between adulthood and childhood memories. The movie has the subtitle ‘A Square Film’—action is framed through multiple narrative lines, all converging or diverging within each frame. This film does not have the architectural solidity of the previous one. However, it incorporates images of fluidity, constant movement, and fast pacing so that the unity of Topos is here expressed through the heterogeneity of the actual material on each frame. The stillness and stylisation of Topos have been replaced by emotional reactions, empathic mechanisms of identification, even little stories of shared affect. Maria Katsounaki sensitively reviewed the film:
The primary material of The Hours is the dreams. The secondary is silence, the ‘lush, secret silence’. The third is time: in the beginning it is associative, then fluid, and finally redeeming. The film dares the descent, the ‘rhythmical’ immersion in places of secret desires and tormenting guilt, successfully. The development of Spendo (the name of the central female character refers to offering, the offering of her life) moves from violent dependence, during her childhood, from the traumatic memories, to the light, and in the end to the final acceptance of her own personal gaze. [28]
Each scene is also immersed in the colours of the Flemish school of painting: there are strong visual contrasts, magnified objects, empty spaces filled with elliptical forms. The film unfolds the traumatic childhood, the confused adolescence and the enraged youth of a woman, but in a way that constructs a metaphor about a feminine revisualisation of the development of history. This prismatic narrative opens up the form to multiple readings as Angelidi struggles to liberate the screen from the ideological inscriptions of the film industry. Instead of creating a melodramatic saga of individual self-assertion and emancipation, she explores the deepest ontological conditions which lead to a life of trauma and self-alienation—that is to say, the mysterious drama that we all find in the colour black. Blackness is the ultimate protagonist in this film.
The heterogeneous narrative creates a dual effect: there are both the Aristotelian empathic identification with the characters and the defamiliarising effect of the Russian formalists. The film itself becomes a contested frame of colliding signifiers. It frames an experience of the deepest possible realism, as it is now focused on objects, clothes, intimate spaces, the world of objecthood that circumscribes the individual and at the same time infuses the personal space of each life with meaning.
In a very strange way, in Angelidi’s totally surreal, indeed metaphysical, art we find the question of realism solved. If naive realism was predicated on clear and total knowledge of what stands in front of the viewer, the presence of the object itself transforms it through the contact with our eyes into an unstable and unredeemed relationship. This is the abolition of solitude that Angelidi spoke about—but it can be also seen from another angle. Painter Lucien Freud observed that ‘nothing ever stands in for anythin … Nobody is representing anything. Everything is autobiographical, and everything is a portrait, even if it’s a chair.’ [29] The heterogeneity of spatial forms frames the psychic origins of what we see on the screen: these are not the ‘found moments’ or the ‘observed facts’ we saw in Cacoyannis. On the contrary, each shot pulsates with the psychological energy of unresolved, indeed irredeemable, tension. The film ends with the naked couple at the dark night of the soul, not at the paradise of Judeo-Christian bliss. Sex is violence and aggression, the ultimate proof of the post-lapsarian reality in which women were the first victims and presumed guilty partners. The representation of sexuality in this film is indicative of what is called ‘second-wave feminism’, in which the act of penetration is itself a violation of the corporeal space of the woman. The self-sufficient visual language of The Hours overthrows the phallocentric nature of language itself: it castrates the signifying practices of the phallocracy and destroys the mental structures of a sexist universe.
The third film of the trilogy, Thief or The Reality (2001), brings Angelidi’s aesthetic and existential project to a completely new level of articulation. Now the narrative has multiplied and become more complex in its ability to reinterpret the feminine world. Angelidi indicates that the narrative has a ‘fractal structure’ and is a ‘meta-linguistic game of self-awareness’. Stories emerge from within stories, as the film starts with a game of gambling and ends with the ritual procession of tragedy. A voice repeats in crucial moments the strange ungrammatical sentence: ‘Everything I spent, I had. Everything I kept, I lost. Everything I gave, I still have.’ The film rewrites western civilisation not by being a revisionist reinterpretation of historical events, but by rewriting everything through alternative scripts: Antigone is a man, the Matthew Gospel is about a woman, the men who were the protagonists in the contests of politics and culture are replaced by women, women offer new beginnings, new openings to the closed horizons of masculine narcissistic indulgence.
Angelidi’s images cannibalise the visual testimonies of male violence: from Alessandro Mantegna’s frantic angular forms and Goya’s horrifying Capricios (1979/8) to Dreyer’s Vampyr (1932) and Bergman’s The Seventh Seal (1957). The feminine reasserts its primacy—it shows up the parasitic and necrophilic characters of patriarchy as the constant usurper of the genuine timelessness of femininity and its ability to give birth. The film rewrites the history of cinema, from the silent period to the contemporary rhetoric of emotional complexities. As Vassilis Mazomenos wrote:
In essence the film completes the triptych of life. But you have to read it in the reverse. The ‘It is Accomplished’ of the beginning raises the dramatic curtain. The desire for life sets the curtain on fire and the whole game is completed. It is related to Bergman’s Persona, in which we can see condensed the philosophical and artistic perception of the director … A polyphonic art-work from the future of the seventh art. [30]
The film consummates Angelidi’s eschatological vision, reconfiguring patterns of representation that have shaped worldviews and images about world-building. It constructs a language that translates lived experience into musical patterns expressed through the synaesthesia of colours. Every shot is for her the omega point of creation: the continuing creation of humans works not on a pre-ordained divine plan but through self-reflexivity and self-invention, constant self-fashioning. The most interesting element of her great trilogy is what also differentiates her from Angelopoulos: in her universe there are no artificial borders which divide us from them, and indicate friendly from enemy territory. Borders, which so fascinated Angelopoulos and Koundouros, evoke war, violence and death. Angelidi’s visual universe is made of basic colours and primary elements. As Mary Daly said, borders ‘celebrate the pseudo-creative power of boundary violation’ which is ‘clearly an invasion of women’s bodies/spirits and of all our kind: earth, air, fire, water’. [31] The borderless territories of her images illustrate the different anthropogeography of her visual space. It is not that of nihilism and death but of a beginning which is not:
the beginning of something but of somebody, who is a beginner himself. With the creation of man, the principle of beginning came into the world itself, which, of course, is only another way of saying that the principle of freedom was created when man was created and not before. [32]
The actualised ontology of natality makes Angelidi’s films central to understanding the eschatology of being: her end becomes a beginning, and the eschaton is transformed into an arche. The omega point is an arche—the cinema of Angelidi constructs the visual space of an arche-logia, as the constant birth of unpredictable and unconditioned ontological promise.
III The Final Lexicon
Traumas are not the only sources.
Antoinetta Angelidi
Angelidi’s films are about the glorification of the senses—both of the body and of the cinema. They celebrate what the senses can do and what the cinema can produce. Like most avant-garde films, they explore the limits of representation and the limitations of what can be represented. They struggle to liberate films from the many ideological scripts that transform them into escapist exercises, and at the same time aim to de-habituate the viewer from the usual patterns of mythopoeic imagination. Her task is what Scott McDonald has indicated is that of all global avant-garde film-makers:
to focus attention—an almost meditative level of attention—on subject matter normally ignored or marginalised by mass-entertainment film, and, by doing so, to reinvigorate our reverence for the visual world around us, and develop our patience for experiencing it fully. [33]
There are two distinct periods in her development. The first film is something of its own, a unique experiment with space and time, that rearranged the signs used to construct a film and the meaning which we attributed to the specific configuration of these signs. In the second period we see her major trilogy, in which the film itself becomes the integrated symbol of the new for a new language of visual representation, which is gendered, politically conscious and culturally transparent. Her installation works incorporate excerpts from her films and thus introduce another factor in the production of cinematic experience: space becomes an actual part of the filmic experience itself. Cinematic space, however, is always about rhythmic patterns in the movement of images, sounds, words and cuts. Angelidi works with the interplay of such cinematic ‘imagemes’. The result is that:
the space out of the screen becomes space within the screen. Absence becomes presence. The film artifice can be continued. The narrative is secure and the spectator is comfortably re-inscribed within the filmic discourse. [34]
Such Gesumtkunstwerk is made up of contrasting features harmonised through the semiotic references to their own construction.
Erwin Panofsky wrote the following memorable passage about cinema:
It might be said that a film, called into being by a cooperative effort in which all contributions have the same degree of permanence, is the nearest modern equivalent of a medieval cathedral; the role of the producer corresponding, more or less, to that of the bishop or the archbishop; that of the director to that of the architect in chief; that of the scenario writers to that of the scholastic advisers establishing the iconographic program and that of the actors, cameramen, cutters, sound men, makeup men and the divers technicians to those whose work provided the physical entity of the finished product … [35]
There is no other accurate description of Angelidi’s work but that of medieval cathedral—the fact that it is made of renaissance materials and uses post-modern design expresses the paradox of all avant-garde directors.
Εικόνα εξψφύλλου: Τόπος, Αντουανέττα Αγγελίδη, 1985
[1] Vassilis Rafailidis, ‘Antoinetta Angelidi, Hours—a Square Film’, Film Lexicon, vol. 3, Athens: Aiyokeros, 2003, p. 241
[2] Silvija Jestrovic, ‘Theatricality as Estrangement of Art and Life in the Russian Avant-garde’, Journal SubStance, vol. 31, issues 2&3, 2002, p. 55
[3] Christian Metz, Film Language, A Semiotics of the Cinema (trans. Michael Taylor), Chicago: University of Chicago Press, 1974, p. 14
[4] Peter Wollen, Signs and Meaning in the Cinema, Bloomington IN: Indiana University Press, 1972, p. 162
[5] Antoineta Angelidi, ‘Self-Presentation’, in Stella Theodoraki (ed.), A. Angelidi, Athens: Aiyokeros, 2005, pp. 34–35
[6] Ibid.
[7] Antoinetta Angelidi, Poetic Cinema and the Mechanisms of Dreaming, in http://www.cinemainfo.gr/cinema/theory/articles/poiitikoskinimatografos/index.html
[8] Angelidi, in Theodoraki (ed.), A. Angelidi, p. 43
[9] Ibid.
[10] Antoinetta Angelidi, ‘Sowing Dreams on a Ribbon, a discussion with Yannis Frangoulis’, Greek News Blog, 12 May 2012, at http://greeceactuality.wordpress.com/2012/12/05/%CF%83%CF%85%CE%BD%CE%B5%CE%BD%CF%84%CE%B5%CF%85%CE%BE%CE%B7-%CE%B1%CE%BD%CF%84%CE%BF%CF%85%CE%B1%CE%BD%CE%B5%CF%84%CF%84%CE%B1%CF%83-%CE%B1%CE%B3%CE%B3%CE%B5%CE%BB%CE%B9%CE%B4%CE%B7/ (accessed 20 September 2013)
[11] Mary Daly, Gyn/Ecology: The Metaethics of Radical Feminism, Boston: Beacon Press, 1978, p. 96
[12] Savvas Michail, Musica ex Nihilo: Essays on Poetry, Life, Death and Justice, Athens: Agra Publications, 2013, p. 122
[13] Ibid., p. 128
[14] Whitney Chadwick, Woman, Art and Society, London: Thames & Hudson, 1994, p. 97
[15] Daly, Gyn/Ecology, p. 111
[16] Maya Deren, ‘Amateur versus professional’, Film Culture, vol. 39, 1965, pp. 45–46
[17] Antoinetta Angelidi, ‘About cinematic time: Similarities between filmic script and the mechanisms of dreaming’, Vema, 5 December 2008
[18] Antoinetta Angelidi, ‘Poetic cinema and the mechanism of dream’, athttp://www.cinemainfo.gr/cinema/theory/articles/poiitikoskinimatografos/index.html (accessed 10 October 2013)
[19] Vrasidas Karalis, A History of Greek Cinema, London: Bloomsbury, 2012, p. 143
[20] Savvas Mihail, A Trilogy: Notes on the Cinema of Costas Sfikas, CameraStylo OnLine, at http://camerastyloonline.wordpress.com/2011/05/13/keimena-savva-michail-gia-ton-kinimatografo-toukosta-sfika/ (accessed 10 October 2013)
[21] Vassilis Mazomenos, ‘Review of Angelos Frantzis’ film In the Woods: assault against the dictatorship of realism’, Eleftherotypia, 28 September 2010
[22] Salvador Dali, The Secret Life of Salvador Dali, New York: Dial Press, 1942, p. 42
[23] The Eisenstein Reader (ed. Richard Taylor, trans R. Taylor and William Powell), London: British Film institute Publications, 1998, p. 193
[24] Eleni Mahaira, ‘A. Angelidi: Painting, the Matrix’, in A. Angelidi, E. Mahaira and K. Kyriacos (eds), Writings On Cinema, A. Angelidi, Athens: Nefeli Publications, 2005, p. 177
[25] In John Cage, Colour in Art, London: Thames & Hudson, 2006, p. 195
[26] Karalis, A History of Greek Cinema, p. 188
[27] Germaine Greer, The Obstacle Race: The Fortunes of women painters and their work, London: Secker & Warburg, 1979, p. 207
[28] Maria Katsounaki, ‘Review of The Hours’, I Kathimerini, Athens, 19 January 1996
[29] Sebastian Smee, Lucian Freud, 1922–2011: Beholding the Animal, Köln: Taschen, 2012, p. 34
[30] Vassilis Mazomenos, ‘Review of Angelidi’s Thief’, Anti Magazine, Athens, 16 November 2001
[31] Daly, Gyn/Ecology, p. 71
[32] Hannah Arendt, The Human Condition, Chicago and London: University of Chicago Press, 1958, p. 177
[33] Scott MacDonald, Avant-Garde Film: Motion Studies, Cambridge: Cambridge University Press, 1993, pp. 11–12
[34] A. Angelidi, ‘The Game with the Uncanny: Poetics for the Cinema’, Angeleidi, Mahaira and Kyriacos (eds), Writings on Cinema, p. 31
[35] Erwin Panofsky, Three Essays On Style (ed. Irving Lavin), Cambridge MA: MIT Press, 1997, p. 119
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