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18075	yago	2	87	https://m.facebook.com/Kash-Beauty-103555274812754/videos/getting-our-greens-in-/692014291504759/	en	@keilidhmua created this look using the Crystal Nights palette, adding a pop of colour with the shade Jade ✨ She then finished off the look using our...	https://scontent.xx.fbcd…uNqA&oe=66CE7053	https://scontent.xx.fbcd…uNqA&oe=66CE7053	[]	[]	[]	[ "" ]	null	[]	null	@keilidhmua created this look using the Crystal Nights palette, adding a pop of colour with the shade Jade ✨ She then finished off the look using our...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/100063589778230/videos/getting-our-greens-in-/692014291504759/
18075	yago	1	4	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	en	Here Comes the 28th Chicago International Film Festival	https://i0.wp.com/chicag…=368%2C116&ssl=1	https://i0.wp.com/chicag…=368%2C116&ssl=1	[ "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-1.png?fit=358%2C79&ssl=1", "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-white-1.png?fit=358%2C79&ssl=1", "https://www.facebook.com/tr?id=2967168196628692&ev=PageView&noscript=1&cd%5Bpage_title%5D=Here+Comes+the+28th+Chicago+International+Film+Festival&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=https%3A%2F%2Fchicagoreader.com%2Farts-culture%2Fhere-comes-the-28th-chicago-international-film-festival&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=10529276" ]	[]	[]	[ "" ]	null	[ "Zbigniew Banas", "Meredith Brody", "Andy Klein", "Wendy Lidell", "Patrick Z. McGavin", "David Overbey", "Gerald Peary", "Reece Pendelton", "Ray Pride", "Jonathan Rosenbaum" ]	1992-10-08T09:00:00+00:00	The Films: Week One	en	https://chicagoreader.co…o-icon-32x32.png	Chicago Reader	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	FRIDAY, OCTOBER 9 Dream of Light This Spanish film by Victor Erice will inevitably be compared to La belle noiseuse, Jacques Rivette’s masterpiece in which Michel Piccoli impersonates a painter who exhaustively sketches Emmanuelle Beart as she tirelessly bends her nude body into evermore tortuous poses over four hours (two hours in the television version). Erice’s film follows his friend the Spanish realist painter Antonio Lopez as he tortuously (under a canopy in rain, laying boards over the mud when the rain stops) paints a beloved quince tree in his backyard, discarding one painting, starting another, as he tries to capture the elusive quality of Spain’s late-summer light (the original title translates to “Sun on the Quince Tree”). All the while he converses with artist friends, the builders next door, visiting collectors, and family about the work at hand. The art of the film gets inextricably mixed up with the painter’s art, the delicious languorous rhythm of the cutting confounded with the painter’s delicate brushwork. just as the inexplicable touches of white paint that Lopez carefully daubs day after day on the canvas eventually resolve into a coherent pattern of light and shadow, the film’s vagrant bits of information magically add up in the end to a consideration of life and love and beauty. Quite a lot for two hours and 18 minutes–there’s even a surprise in store, as the painter gets painted himself, and Erice moves us out into the velvet dusk of Madrid. It’s an extraordinary film. (MB) (Pipers Alley, 7:00) Roy Rogers–King of the Cowboys Dutch filmmaker Thys Ockersen previously made adulatory documentaries about American B-movie directors like Sam Fuller. On this trip to the USA he goes after aging six-gun hero Roy Rogers. But before he gets to the ailing cowpoke in California, the peripatetic director attends a creaky B-cowboy-movie convention in Ohio and then rambles about rural America seeking out Rogers lore. It’s thin stuff, a fanzinelike road movie. The film’s payoff is a genial encounter at last with the ever-regal King of the Cowboys, who, on his sickbed, proves a sharpshooter in answering the soft, soft questions put to him. That’s all, folks: idolization of Hollywood without a trace of irony. (GP) (Pipers Alley, 7:00) The Lost Language of Cranes Nigel Finch made this adaptation for British television, transposing David Leavitt’s first novel from New York to London. The move works surprisingly well: lack of communication and sexual repression are right at home with the British couple Rose and Owen Benjamin (beautifully portrayed by Eileen Atkins–her lips were never thinner–and the tragically pale Brian Cox), whose tense, bloodless marriage might have gone on unexamined forever but for their son’s announcement that he is gay. It seems that he has fallen in love with an expatriate American who was raised by a gay couple (John Schlesinger and Rene Auberjonois in delicious cameos) after his parents died in a car crash. Something akin to a car crash results in the Benjamin household, too. Screened on PBS in an altered version (some language was cut–the lost language of The Lost Language of Cranes–and new love scenes were shot with actors in underwear rather than nude), this small but solid movie deserves a wide audience and a life on the big screen. (MB) (Music Box, 7:00) Happy Birthday! This is German director Doris Dorrie’s best film since her 1985 art-house hit Men, although she’s made several films in the intervening years, including the unreleased American coproduction Him and Me, in which a man and his talking penis are the main characters. Cheekiness is typical of Dorrie’s approach to comedy, and the viewer’s perception of inappropriateness or borderline offensiveness of her subject matter is a necessary component of the black humor. This film, originally titled Happy Birthday, Turk!, is a very black comedy in which streetwise Kemal Kayankaya, a Turkish-German private eye who speaks not a word of Turkish, is hired by a mysterious and beautiful Turkish woman to investigate the death of her father and find her missing husband. Part detective story, the film also makes much satirically of Kemal’s uphill struggle against second-class citizenship. Dorrie has always had a problem with endings, and hers are usually off-putting in a way that serves to nullify the comedy. In this way a shockingly savage beating near the end of Happy Birthday! abruptly changes the tone of the film, although Dorrie does succeed in bringing off a reasonably apt, if rather lame, ending. (Scharres) (Pipers Alley, 7:15) Mozart Quarter Jean-Pierre Bekolo’s comedy-fantasy from Cameroon follows a young girl named Chef de Quartier who is transformed into a man called Montype by a witch after betraying too much curiosity for her age. He/she promptly joins a boys’ gang and starts romancing the daughter of a neighborhood cop. The plot carries a few coincidental echoes of George Axelrod’s play Goodbye Charlie, but what’s most notable about this first feature is how much it owes to the films of Spike Lee and other recent African American directors, a fact it briefly acknowledges in the dialogue. One can find the implications of this influence disquieting, but Bekolo’s deft handling of his actors still makes this a charmer. (JR) (Pipers Alley, 7:15) Friends and Enemies This first feature by Andrew Frank tells the story of four friends from a tightly knit Italian American community in New York whose friendship is put to the test when one of them kills a man in a drunken rage behind a neighborhood bar. The friends, who are also witnesses to the crime, help dispose of the evidence and create an alibi only to find their friendship turn to hatred when each one begins to suspect the others of cracking under police questioning. Any hope of rescuing the film from predictability is dashed by some painfully awkward acting; the attempt at genuine neighborhood banter between friends is executed with all the authenticity of a beer commercial. Perhaps the film’s only redeeming performance comes from Roger Rignack, who, as one of the friends, serves as the film’s moral center, although one has to wait until the last half hour of the film to see anything of substance from him. (Pendleton) (Pipers Alley, 9:00) Luminous Moss A Japanese author doing research for a new novel comes across the story of a strange incident that took place during the waning days of World War II. As seen in a flashback, a small Japanese naval ship on a routine supply mission runs aground during a winter storm. The four survivors are forced to take refuge in a small cave and wait out the brutal winter before they can venture out for help. When one of the four men dies of frostbite, the captain decides that the survivors must resort to cannibalism in order to stay alive. The film centers mainly on the ethical and moral dilemmas the remaining three men face as they struggle to live with–and possibly die by–the individual choices they make. Veteran director Kei Kumai does best when directly addressing the issues of guilt and what it means to retain one’s humanity under such circumstances. However, the thematic link between the main story and that of the author ends up undermining the often eerie atmosphere and proves to be a distraction. The result is a rather flat rendering of what might have been a more consistently effective film. (Pendleton) (Pipers Alley, 9:00) Sweet Emma, Dear Bobe After the histrionics of Mephisto and the tightlipped pageantry of Colonel Redl, Istvan Szabo’s latest film is a curiously understated, almost contemplative, and never condescending little film about little people leading little lives. Two friends from the country, Emma and Bobe, teach Russian and share confidences, adventures, and a room in a drab teachers’ dorm in Budapest. But the abrupt overthrow of communism leaves them awash in a sea of bureaucratic uncertainty, where changes in power can mean changes in language. When Russian is suddenly dropped from the required curriculum, the women, in a frantic game of catch-up, study English in the evening so they can teach what they’ve learned to their classes the next morning. No longer secure within the old system and ill-equipped to profit from the new, they moonlight at odd jobs and snatch at dead-end relationships, trying desperately to carve out a life, until even their friendship can’t sustain them. (RS) (Music Box, 9:00) Crystal Nights If Tonia Marketaki’s Crystal Nights never quite manages to make its obsessions ours, it at least convinces us that they belong to someone. This film is a dream or a nightmare of obsession–of obsessional love, obsessional denial, and obsessional displacement. A German matron living in 1940s Greece who’s mystically, even satanically, linked to a darker Teutonic past, falls in love with a much younger Jew. Through time, betrayal, and death and reincarnation, she finds herself–or maybe it isn’t her–reliving the impossibility of that love. While the imagery is strange, even distasteful at times, a real visual imagination is at work here. Yet despite the subtle shifts from black and white to color and the well-crafted slow-motion dawnings of desire, this movie’s too long and too weird to make sense. The more the characters incant in German and stare at murky sacrificial murals, the more ancient Greek it all seems–ruled by the blood madness of a Phaedra or Medea but not, unfortunately, blessed with their clarity. (RS) (Pipers Alley, 9:30) The Footstep Man This New Zealand-produced feature by Leon Narbey is a competent anecdote about a sound-effects man (Steven Grives) who brings, along with his sack of shoes and miscellaneous noisemakers, a little mental instability to the job of laying in the sound effects for a spurious biopic of Toulouse-Lautrec. The wan script never gets too deeply into this sweaty man, but it’s interesting to see a story about a craftsman, rather than the standard-issue “artist” (read writer or director) becoming haunted by his creation. Narbey and cowriter Martin Edmond’s ideas outstrip the movie’s achievement, but there’s a fascinating notion burled in the sound man’s growing obsession with a doomed prostitute in the lengthy film-within-the-film, as he produces a series of creaks, rustles, and footsteps that become the proof of the movie character’s every on-screen motion. (Pride) (Pipers Alley, 9:30) Vegas in Space The title of Phillip R. Ford’s American independent feature may sound like a Don Rickles routine, but actually it’s a “sci-fi, musical drag queen extravaganza” with camp and kitsch trimmings. (Music Box, 11:00) SATURDAY OCTOBER 10 Homework This clever, gimmicky 1991 Mexican film unfolds in real time: in the opening shot, a 40ish student (Maria Rojo) hides a camera in her apartment (providing our point of view) as preparation for a date with a former lover (Jose Alonso), whom she intends to seduce on video for a school project. In the manner of Hitchcock’s Rope, the movie pretends to have been shot in one long take; in reality there are several clever diversions–e.g., the lover accidentally drapes his jacket over the camera–to mask the reel changes. Writer/director Jaime Humberto Hermosillo is fond of this device: he used it a year earlier in Bathroom Mirror and has repeated it since in Forbidden Homework (both also on the festival schedule). The plot takes several turns, as the victim progresses from innocent to outraged to complicit . . . and beyond. The always sly, slick, and wicked Hermosillo is working in much shallower waters here than in his devastating 1984 Dona Herlinda and Her Son. But he rings enough delightful changes on his one-note theme to make it an enjoyable romp, and he wisely keeps it well under 90 minutes. (AK) (Pipers Alley, 1:00) The Footstep Man See listing under Friday, October 9. (Pipers Alley, 1:00) Roy Rogers–King of the Cowboys See listing under Friday, October 9. (Pipers Alley, 1:00) The Lost Language of Cranes See listing under Friday, October 9. (Music Box, 1: 00) The Seedling Shyam Benegal, one of the festival jurors this year, made over 30 documentaries and 600 commercials before trying his first feature film in 1974. The first in a six-film series of Benegal works at the festival, The Seedling transcends the cinematic cliches of its day. Benegal displays a rewarding grasp of visual design and social dynamics that eclipses the last efforts of Satyajit Ray, the Indian director best known to American moviegoers. In The Seedling a powerful landowner forces his insolent son Surya, played by Anant Nag, to oversee the family farm instead of going to college. Surya spurns caste niceties in the countryside, but his iconoclasm proves opportunistic when his servant’s pregnancy doesn’t serve his domestic agenda. Benegal handles the cultural contradictions of family, gender, and power in modern India with precise moral insight and dramatic sophistication, and his camera movement and compositional style are highly refreshing compared to the dry, boxy look of Ray’s films. (Stamets) (Pipers Alley, 1:30) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 3:00) Crystal Nights See listing under Friday, October 9. (Pipers Alley, 3:00) Luminous Moss See listing under Friday, October 9. (Pipers Alley, 3:00) Short Documentaries From the U.S., John Keitel’s An All American Story and Michael Moore’s Pets or Meat: The Return to Flint (a mini-sequel to Roger & Me), Debbie Shuter’s Beigels Already from the UK, Genevieve Mersch’s The Red Bridge from Belgium, and Leonie Dickinson’s Tram Ways from Australia. (Music Box, 3:00) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 5:00) From Hollywood to Hanoi Tiana Thi Thanh Nga’s documentary has an identity crisis, but since identity is central to this partially autobiographical film it’s not surprising that the Vietnamese American filmmaker has tried to cover a lot in 80 minutes. Most of the film is shot in Vietnam, where Nga goes against her family’s wishes to look for lost relatives and to discover her own feelings about the country of her birth, which her family fled in 1966. She focuses on herself and her large family and their relationship to Vietnam, but she also deals with the plight of children fathered by American GIs and the cultural identity of Asian Americans in general. The My Lai massacre, Agent Orange, North Vietnam versus South Vietnam, and familial responsibility also receive serious screen time. Ultimately this complex mix works, exploring the divided loyalties and painful unresolved issues a Vietnamese American must live with. Nga balances the images of pain and joy in her trip effectively, though her monotonously cheerful, chirpy narration sometimes gets in the way of the images. (Scharres) (Music Box, 5:00) Acting It Out Sonke Wortmann’s German feature, declared the best first feature at the Montreal film festival, is about three aspiring actors in their 20s preparing in Munich for an audition in Berlin. (Pipers Alley, 5:15) Venice/Venice Henry Jaglom has made a very personal series of films over the last 20 years. They are idiosyncratic, coming from Jaglom’s own obsessions and his acute observations of everyday incidents and behavior. His first–and arguably his best–film, A Safe Place (1971), was a multileveled tale of modern city life, delightful, witty, with a sly performance by Orson Welles and a cunningly hilarious one by the magnificent Tuesday Weld. For a while he managed to push his own experiences into a seemingly more objective, fictional form that allowed him a safe space to operate in. With each film, however, we have been forced to look more and more directly into Jaglom’s own navel, not always a pretty sight. With Venice/Venice the embarrassment quotient has risen above the level of acceptance. Here Jaglom the director allows Jaglom the person to drone on and on about the director’s place in the American cinema (an important one insofar as he remains independent, original, and an often healthy antidote to mainstream cliche, but probably not as significant as Jaglom maintains). Then Jaglom the writer/director has a very attractive French woman fall madly, passionately, obsessively in love with Jaglom the person/actor. The seemingly improvised dialogue, the contrived situations, and the actions of the characters simply make one cringe and wish Jaglom had at least cast the film differently so that the gap between what his ego tells him is probable and what we see might not be so wide. (DO) (Pipers Alley, 5:15) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:30) Love in the Time of Hysteria Alfonso Cuaron’s Mexican safe-sex farce about a modern-day Don Juan; known in Mexico as Solo con tu pareja. (Pipers Alley, 7:00) Sofie Liv Ullmann makes a formidable debut as coscreenwriter and director of this rich, passionate philosophical tale of a young Jewish woman (Karen-Lise Mynster) growing up in Copenhagen at the end of the 19th century. Will Sofie run away with the great love of her life, a Christian painter with a burning soul, or marry a likable dullard, who placates her religious family because he is an Orthodox Jew? Ullmann lets her tale unfold in a deliberate, leisurely, contemplative manner, over several decades of births and deaths, bar mitzvahs, and kosher meals. Erland Josephson, Ullmann’s perennial costar in Ingmar Bergman films, steals the movie in a remarkable performance as Sofie’s Orthodox father. This piece of deft story telling captured the jury prize at the 16th Montreal film festival in September. (GP) (Music Box, 7:00) Equinox Like his mentor Robert Altman, Alan Rudolph is an actor’s director with a penchant for ensemble casts. In Equinox the cast is led by Matthew Modine, who plays twins separated at birth and representing the equal portions of good and evil suggested by the title. Modine’s impressive performance, his best since Full Metal Jacket, rivals that of Jeremy Irons in Dead Ringers. Unfortunately, Lara Flynn Boyle is no Genevieve Bujold. The story concerns the discovery of a blind trust fund established at birth for the unknowing twins, and a journalist’s efforts to identify them as the beneficiaries. The narrative is unisatisfying both dramatically and spiritually but individual scenes can be savored as the work of a true virtuoso. (WL) (Pipers Alley, 7:15) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 7:30) Benny’s Video Although difficult to watch and even more difficult to like, Benny’s Video commands respect for its intellectually refined and uncompromisingly bleak vision of a complacent consumer society numb to all feeling. Fourteen-year-old Benny comes from a family rich in material possessions, but emotionally impoverished and noncommunicative. His relation to the outside world is mediated entirely by technology: even the view from his shuttered bedroom window appears on a video monitor. Benny’s alienation is so grave that he commits a heinous act, captured on videotape, just to “see what it’s like.” When his parents see the tape, their reaction is equally chilling. They express no shock, no outrage, no moral judgment; their only concern is to return to the status quo of their comfortable lives. Austrian director Michael Haneke (The Seventh Continent) considers the film part of “a report on the progressive emotional glaciation of my country.” He lays out his thesis with objective camera work and low-key performances from the three central players, never indulging viewers in seductive techniques or telling them what to think. This cool treatment of an inherently hot topic should make it one of the most discussed films at the festival. (AS) (Pipers Alley, 7:30) Warsaw: Year 5703 There must have been good reasons for bringing this small-scale wartime story of Jewish survival to the screen, but the resulting tepid drama makes one wonder what they were. Magnetic Julie Delpy and wooden Lambert Wilson star as a pair of escapees from the Warsaw ghetto who find shelter in an apartment belonging to a sympathetic Polish woman (Hanna Schygulla). Forced by circumstances into uncomfortable role-playing, the couple finds itself partaking in a love triangle that is as potentially destructive as the oppression raging outside the apartment’s walls. Shot mainly in dark, somber tones, Warsaw: Year 5703 (the title refers to the Jewish numbering of the year 1943) turns the apartment into a microcosm that collapses under the weight of escalating intimate tensions. Yet the ensuing drama never quite catches fire: there is too much predictability and redundancy to engulf the viewer in emotion. What might have worked well on stage resonates here with a distant feeling of deja vu. The relative lack of chemistry among the principal players further dilutes what historically must have consisted of a series of agonizing choices. (ZB) (Pipers Alley, 9:00) The Boys From St. Petri Soren Kragh-Jacobsen’s The Boys From St. Petri is an elaborately mounted but forgettable movie directed toward adolescents about the origins of the Danish resistance against Nazi occupation. Set in the summer of 1942, it follows a clique of high school seniors (almost all potential Calvin Klein models) who join a clever working-class boy in staging a series of pranks. Their success encourages them to bolder acts of sabotage, which eventually lead to the bombing of a train and their capture. While there’s an attempt to portray how individual loyalties and motivations lead to political actions, most of the script consists of shorthand cliches instead of drama. Several devices fall flat, including a pretentious Last Supper tableau before their final act and a student production of Hamlet with the inevitable foregrounding of the line “Something is rotten in the state of Denmark.” The movie’s lasting impression lies in its pretty faces, lovely glades, handsome interiors, and the honeyed light that drenches everything. (Pride) (Pipers Alley, 9:30) Luna Park This electrifying second feature by Pavel Lounguine, director of Taxi Blues, charts a vertiginous roller coaster ride toward national identity quite different from the “liberation from communism” that’s the West’s only perception of Russia’s fall from grace. And a wild ride it is. It opens with a scene of extraordinary, virtuoso violence–a bloody head-on, hand-to-hand collision of skinheads and police–and ends with a quiet train excursion through verdant countryside with no particular destination. Our hero, Andrei, is one of the leaders of a neo-Nazi group headquartered in an old amusement park and dedicated to purifying Mother Russia by ridding her of the taint of Jews, homosexuals, and other undesirables. But when Andrei’s angry search for his hitherto unknown and unexpectedly Jewish father leads him into the heart of that darkness, it is only to discover an infuriatingly innocuous and quite likable bunch of eccentrics puttering around an apartment, good-naturedly nattering about prostate problems, or inviting him to impromptu music recitals and thrown-together meals. Of course it helps to be able to rush through those incredible rabbit-warren Moscow apartments, with their innumerable rooms, odd twists and turns, and always unexpected contents. But what is truly extraordinary in Luna Park is the sheer vitality of Lounguine’s camera no matter what it’s recording, a vitality capable of encompassing the most disparate human possibilities. (RS) (Pipers Alley, 9:30) On Earth as in Heaven The premise of Marion Hansel’s film is simple: all the babies about to be born decide they don’t want to be born. As in many SF films of the 50s, the press, the scientists, the doctors–even the expectant mothers deny the evidence, unable to accept the obvious. Yet the reasons for the revolt are as clear as the televised images of violence against innocent children that the fetuses, through the bodies of their mothers, witness each day. The future of the human race comes to rest upon one woman–a Spanish journalist living in France, whose encounter with a nice-but-married man has resulted in a child she’s determined to keep. Her quest to understand the babies’ choosing death over life and her search for an argument to persuade her child to choose life is at the center of a film that, perhaps honestly, asks eternal questions about bringing a child into a far-from-perfect world. But no film exists in a void, and in a time when abortion clinics are bombed, images of talking fetuses can’t be construed as born-again innocence. (RS) (Pipers Alley, 9:30) Amazing Grace Amos Gutman’s feature seems less a consideration of a homosexual relationship between two young Tel Aviv men than a particularly sad, cruel, and desperate portrait of alienation and loss. It’s studded with provocative themes of intense gay longing, rejection, freedom, and desire, but it lacks the concentration, energy, and drive to fully sustain them. Gutman, production designer Shmuel Ma’oz, and cinematographer Amnon Zalayit do a wonderful job of expressing the entrapment and claustrophobic conditions of a gay underground that’s been destroyed by AIDS, as captured in the tentative, doom-laden affair between the naive and innocent Jonathan (Gal Hoyberger) and the cynical, HIV-positive Thomas (Sharon Alexander). The central relationship lacks definition, and the film quickly devolves into a series of less interesting subplots, various family dynamics, and secondary characters rather than leading to any discoveries. Amazing Grace, with its bad-taste decor, revelry in kitsch, and sublime contempt for the heterosexual structure, is like a John Waters film without the jokes. For better or worse, it’s very much a film about Jewish mothers, pitched between camp farce and the far more serious pain and injury produced by the sons’ sexual identities (and inevitable lack of children). Gutman’s direct, natural style serves his actors well, and there are isolated moments of terror and pain, though the film lacks the dramatic clarity to reach actual gravity or, for that matter, grace. (PZM) (Music Box, 10:00) Vegas in Space See listing under Friday, October 9. (Music Box, midnight) SUNDAY, OCTOBER 11 Crystal Nights See listing under Friday, October 9. (Pipers Alley, 1:00) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 1:00) Warsaw: Year 5703 See listing under Saturday, October 10. (Pipers Alley, 1:00) Mussolini: The Last 600 Days In this age of instant communication it doesn’t happen often that new documentary footage surfaces suddenly, especially that dealing with a period as thoroughly researched as World War II. But miles of stock footage on the last two years of Mussolini’s reign were recently discovered by the Italian Istituto Luce. Shot between October 1943 and May 1945 and never publicly shown, the material provides a fascinating look into the atmosphere of wartime Italy and the uneasiness that stemmed from the clash between the country’s perceived historical purpose and the desire for peace. The film alternates briskly between the big picture of Mussolini’s political dealings and their effects on the proud but confused Italian population, neither deifying nor condemning the man who single-handedly charted the course of his nation. Of particular historic interest is newsreel footage that sheds new light on the complex relationship between Italy and Germany. From a purely cinematic standpoint, there is nothing that necessitates watching Mussolini: The Last 600 Days on the big screen. The film could function just as well–if not better–within the more intimate format of television, but is there a station with enough programming inspiration to devote some of its precious airtime to a foreign documentary, even one as excellent as this? (ZB) (Pipers Alley, 1:00) Deadly Currents Back and forth, back and forth, Canadian documentarian Simcha Jacobovici moves his camera between impassioned, intractable Israelis and Palestinians to take one of the most thorough, and thoroughly depressing, looks to date at the debacle in the Middle East. Both sides are totally right and righteous. Both sides are totally wrong. Nobody gives an inch, and the ancient territorial fight goes on. Deadly Currents was handsomely shot in 35-millimeter, which helps the film go beyond the hobbled look of the usual well-intentioned 16-millimeter documentary. Also, Jacobovici, a Toronto Jew, manages to shoot things Jews rarely see, including secret meetings of veiled intifada leaders and a horrifying raid on an Arab marketplace in retaliation for the kidnapping and assassination of an alleged Israeli spy. “I wanted to show the legitimate concerns of both sides,” Jacobovici has said of his genuinely important film. “And I wanted to tell those who weren’t directly involved to cool it. Don’t take sides too quickly. It’s more complex than you think.” (GP) (Music Box, 1:30) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 3:00) Luna Park See listing under Saturday, October 10. (Pipers Alley, 3:00) The Sergeant Exhausted after fighting for eight years in the Iran-Iraq war, a man returns home to face a smaller war in his hometown. This time the enemy is a fellow citizen who will stop at nothing to take his land from him. At this critical juncture his Russian-born wife conveniently leaves him to go with her mother to join relatives in Soviet Azerbaijan. In his 14th commercial feature, director Masud Kimia’ie barely criticizes the corruption of the antirevolutionary factions within Iran, focusing instead on his usual themes of heroism, male bonding, and the separation of men and women. (As in his Snake Fang, shown at last year’s festival, there are unexplained instances of paranoid behavior in the hero.) Made in postrevolutionary Iran, The Sergeant excludes sex but makes much of violence. It resorts to sentimental, extended dramatic pauses at emotional moments, and its stereotypical characters and unconvincing symbolism provide a shallow image of the conditions of Iran after the war. (MSV) (Pipers Alley, 3:15) Dream of Light See listing under Friday, October 9. (Pipers Alley, 3:30) Sofie See listing under Saturday, October 10. (Music Box, 3:30) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 5:00) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 5:00) The Boys From St. Petri See listing under Saturday, October 10. (Pipers Alley, 5:30) Love in the Time of Hysteria See listing under Saturday, October 10. (Music Box, 6:30) Rich in Love Many of the people who brought you Driving Miss Daisy–director Bruce Beresford, screenwriter Alfred Uhry, and producers Richard and Lili Zanuck–have conspired on this light drama about Jill Clayburgh leaving her family (including Albert Finney) and striking out on her own. With Kyle MacLachlan, Piper Laurie, and Alfre Woodard. (Pipers Alley, 7:00) Goldberg Variations Ferenc Grunwalsky’s Goldberg Variations is a grim, frantic nightmare of the emotional chaos experienced by a husband and wife the day after their teenage son’s funeral. The visual style is unhinged from the start, with canted, grainy shots of their grimy apartment, unexpected dissolves within scenes, zooms from close-up to closer up, and many nearly abstract compositions. There’s less a linear narrative than a series of painfully emotional vignettes. Blaming himself for his son’s suicide and having no answers, the husband, too, wants to die; the wife, sharing his pain, has no compunctions about killing him. Grunwalsky’s shifting visual grammar is a turbulent complement to the emotional disorder of the bereaved parents. As the film progresses, his images are rent by shards of harsh light, with elongated shadows torturing the battered apartment walls, and the camera itself blinded by lens flare. Light becomes a killing thing, a bleaching emblem of madness. The sound track adds to the chaos: Bach’s Goldberg Variations (performed by Marta Kurtag) drop in at odd moments, paired with wails like a more hysterical version of Glenn Gould’s keenings over his version of the Variations. This alternates with grubby, hyperventilating musique concrete of urban and industrial din, gossiping voices, the hum of wind, and the tearing of flesh. (Pride) (Pipers Alley, 7:00) The Churning The founding of a farmers’ cooperative in a remote Indian village, as dramatized by the leader of India’s socially conscious cinema, Shyam Benegal. The 1976 film, which stars Smita Patil and Girish Karnad, was financed on the contributions of 500,000 Indian farmers. (Dave Kehr) (Pipers Alley, 7:00) Dark of Noon After an extended period of what appeared to be creative fatigue, Raul Ruiz is back with his most sumptuous and conceivably most accessible movie to date, filmed in Portugal on a budget of roughly $4 million–all of which shows on the screen. The dialogue is in French and English; the cast includes John Hurt, David Warner, Didier Bourdon, and Lorraine Evanoff. While I’d hate to stake my life on an accurate plot synopsis, the story, which periodically resembles a gothic novel, concerns a French doctor (Bourdon) who “has two passions–miracles and foreign languages.” Arriving in a Portuguese village to claim a family fortune, he finds a profusion of dogs, crutches planted everywhere like gateposts, a mysterious marquis (Hurt), an artificial limb manufacturer (Hurt again), a painter fond of burying people alive (Warner), and a little boy who constantly performs miracles, to the consternation of the local priest. The special effects are gorgeous, and the director’s usual metaphysical quirkiness and irreverent humor lead to many of his best formal shock tactics–for example, suddenly turning the camera sideways when the mood suits him. As usual, Ruiz goes well beyond surrealism and magical realism into a realm of philosophical play more conducive to spectacle than to story, though this feature has a much cleaner narrative than most of his other works. How the New York film festival could have passed over this film after opting to show one of Ruiz’s very worst–The Golden Boat, apparently for the sole reason that it was made in New York–is one of those questions of cosmic injustice that defy explanation. (JR) (Pipers Alley, 7:30) Venice/Venice See listing under Saturday, October 10. (Music Box, 8:30) Equinox See listing under Saturday, October 10. (Pipers Alley, 9:00) Acting It Out See listing under Saturday, October 10. (Pipers Alley, 9:30) Homework See listing under Saturday, October 10. (Pipers Alley, 9:30) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:30) MONDAY, OCTOBER 12 Deadly Currents See listing under Sunday, October 11. (Pipers Alley, 5:00) Mussolini: The Last 600 Days See listing under Sunday, October 11. (Pipers Alley, 5:00) Homework See listing under Saturday, October 10. (Pipers Alley, 5:00) Student Program I Shorts by film students from the Massachusetts College of Art, New York University, the University of Iowa, the American Film Institute, the Art Institute of Chicago, AFTRS-Australia, the Munich Film & TV School, and the University of Southern California. (Music Box, 5:00) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:15) The Boon A condemnation of village superstition by “new wave” Indian filmmaker Shyam Benegal. A young Brahmin leaves his wife to go on a religious quest; he encounters a holy man, who gives him a magic root, and returns to his village to take up the position of spiritual leader. All goes well until a goddess appears in his dreams and commands him to rid his village of the spiritually impure (1977). (Dave Kehr) (Pipers Alley, 7:00) The Art of Animation Animated shorts by Tim Webb, Peter Lord, Geoff Dunbar, Daniel Greaves, Richard Goleszowski, and Paul Berry from the UK; Jerzy Kucia from Poland; Christopher Hinton and Craig Welch from Canada; and Howard E. Baker and Matt O’Callaghan from the U.S. (Pipers Alley, 7:00) From Hollywood to Hanoi See listing under Saturday, October 10. (Music Box, 7:00) Back to the USSR Aficionados of the truly strange may enjoy this bizarre black comedy from Finland, which appropriates vampire-film conventions to satirize the collapse of communism. All others should take warning. The drunken lout Reima, the last official of the defunct Finnish Communist Party and caretaker of the People’s House, tries to commit suicide. He’s stiff dangling from the rope that failed to break his neck when Vladimir, a Lenin look-alike, walks in seeking a room. Learning that Vladimir is a vampire, Reima plots revenge on his scornful neighbors, but the unfailingly polite Vladimir lacks a certain bite. An uneasy mixture of the grotesque and clever political commentary, Jari Halonen’s Back to the USSR has enough spurting bodily fluids to alienate serious-minded viewers, though it would require a faster pace and some flying body parts to satisfy the midnight-movie crowd. (AS) (Pipers Alley, 7:15) On Earth as In Heaven See listing under Saturday, October 10. (Pipers Alley, 7:15) Being at Home With Claude This is a film that is promoted with adjectives like “brutal,” “shocking,” “harrowing,” and “soul-stripping,” which are conveniently repeated in the press kit. It is, however, one of those earnestly conceived adaptations, all stupendous performance and self-important suspense with little lasting emotional resonance. Directed by Canadian Jean Beaudin, adapted from an original play by Rene-Daniel Dubois, and starring Quebec’s hottest young actor, Roy Dupuis, the action consists almost entirely of a police inspector interrogating a male prostitute who has savagely murdered a client. The film uses flashbacks to cinematically, open up what is essentially a one-set, one-act monologue. The suspense centers around discovering why the sensitive but world-weary Yves has killed the bookish, bisexual university student who adored him. Dupuis’ performance is the kind of tour de force that is fascinating to watch under any circumstances, and yet its escalating passion seems too precisely calculated to be moving. Sad to say, the dark-wood decor of the interrogation room leaves a more indelible impression. (Scharres) (Music Box, 9:00) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:15) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 9:15) Il Capitano The title sounds Italian, but this is a Swedish-Danish-Finnish coproduction by the much-praised Swedish director Jan Troell (The Emigrants, The New Land). Based on a true story about two loners who commit three gratuitous murders, it was voted the best Swedish film of last year by the Swedish Association of Film Critics. (Pipers Alley, 9:30) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 9:30) TUESDAY, OCTOBER 13 My Dear Tom Mix is an unrelentingly gentle tale of two elderly dreamers whose paths cross in a small town in Mexico in the 30s. Joaquina, played by Ana Ofelia Murguia, is a lifelong fan of silent movie star and save-the-day cowboy character Tom Mix. She cherishes every one of his heroic episodes, sending him letters laced with tactical tips for catching the bad guys. But Joaquina’s devotion slips into delusion when Domingo (Federico Luppi), a handsome white-haired stranger in a white hat, comes to town on a white horse and finds work as the projectionist at the local cinema. Hiding out in the projection booth while bandits shoot up the town, the star-crossed couple find their matching fantasies come true in an adventure suitable for a matinee, topped off with a ride-into-the-sunset finale. Unlike Buster Keaton’s 1924 film Sherlock, Jr., in which there’s a surreal edge to a sentimental adventure about a projectionist who gets mixed up in the on-screen action, director Carlos Garcia Agraz plays it straight and sweet in My Dear Tom Mix, with just a touch of quixotic camp. (Stamets) (Pipers Alley, 5:00) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 5:00) The Role The Indian film industry of the 30s and 40s is the setting for Shyam Benegal’s 1977 melodrama about a poor girl’s rise to stardom and her problems with a weak husband and a possessive lover. The film is based on the biography of Hansa Wadkar, the “Joan Crawford of India.” With Smita Patil and Anant Nag. (Dave Kehr) (Pipers Alley, 5:00) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 5:00) Short Documentaries See listing under Saturday, October 10. (Music Box, 5:00) Il Capitano See listing under Monday, October 12. (Pipers Alley, 7:00) Visions of Light: The Art of Cinematography Just when you thought there was nothing left for talking heads to say about movies, here’s a first-rate visit with many of the best cinematographers in the business–John Bailey, Vilmos Zsigmond, Laszlo Kovacs, Conrad Hall, the late Nestor Almendros, Gordon Willis, Haskell Wexler, Vittorio Storaro, and Sven Nykvist, among others–talking with rare insight and perception about their craft (and discussing some of their predecessors, such as Billy Bitzer and Gregg Toland). The filmmakers, Arnold Glassman, Todd McCarthy, and Stuart Samuels, are smart enough not only to listen to what these artists have to say, but also to come up with the best clips from the best prints available to illustrate their comments. It’s a pity that they’ve basically restricted their inquiry to the U.S. industry–but not surprising considering that the American Film Institute, which coproduced this movie, differs from its counterparts elsewhere in the world by limiting most of its effort to preserving and promoting local mogul interests, foreign work be damned. (Typically, the many non-American cinematographers here are highlighted almost exclusively for their American work.) But the uncommon virtue of this documentary is that it teaches us a great deal about things we think we already know. Why, for instance, was the lighting so low in the Godfather films? You might be surprised. (JR) (Pipers Alley, 7:00) Immaculate Conception Written, directed, and produced by Pakistani expatriate Jamil Dehlavi, Immaculate Conception offers one of the most perceptive glimpses ever into the clashing values of Western and Eastern cultures. Set in Karachi in 1988 amid historical events that included the death of Pakistan’s president General Zia, the subsequent election of Benazir Bhutto, and the controversy generated by the publication of The Satanic Verses, the film follows a stunning array of characters: fundamentalists, a group of eunuchs, a Yale-educated local woman, and numerous Westerners who call Pakistan home. At the center of the story stand an English environmentalist and his Jewish American wife, whose inability to conceive a child draws both closer to the mystical fringes of the Muslim faith. An accomplished, if controversial, filmmaker, Oxford-educated Dehlavi knows enough about both the East and the West to craft believable layers of cultural conflict without taking sides. So while the Westerners–as expected–appear to be somewhat arrogant and exploitative, it is quite surprising to see many of the Pakistanis depicted as cunning, opportunistic, and down-deep hypocritically materialistic. And yet the inherent moral complexity and ambiguity written into the roles make the characters more convincing. Apart from his educational prowess, Dehlavi proves to be a master storyteller, skillfully interweaving the plot’s several interdependent threads. His fourth feature to date is a real eyeopener, to say the least. (ZB) (Music Box, 7:00) Dust of Angels This first feature by Hsu Hsiao-ming was produced by the great Taiwanese director Hou Hsiao-hsien, whose influence is evident in the visual style, primarily in the long takes. But Hsu, who shows considerable talent, has also been influenced by the violent gangster genre, and he joins young Hong Kong directors Wong Kar-wai and Lawrence Ah Mon in working toward a stylized romantic realism. Dust of Angels beautifully evokes the profound visual contrasts of the Taiwanese landscape, simultaneously not-of-this-century rural and grimly industrial, which become an offhand metaphor for deep economic and generational divisions. And the gun-toting teenagers of the story strike a chilling note as they casually deal drugs, weapons, and death. But Hsu seems unable to decide whether he wants to film action and high drama or follow his mentor’s exquisitely observational mode–two mutually exclusive ways of seeing the world. The film has been reedited since its Western debut at Cannes last May and is far more cohesive. Well worth seeing. (Scharres) (Pipers Alley, 7:15) Goldberg Variations See listing under Sunday, October 11. (Pipers Alley, 8:00) Forbidden Homework Jaime Humberto Hermosillo’s riff on the familiar themes of voyeurism, incest, and the omnipresence of video seems shallow and jejune only two years removed from his virtually identical Homework. Santiago (Esteban Soberanes), a bright, enthusiastic film student, enlists the help of Virginia (Maria Rojo), a radiant middle-aged actress, to complete his senior project. His assignment is to make a film composed in a single, uninterrupted take. While the two discuss the form and shape of the proposed narrative, Santiago surreptitiously records their discussions with the intention of passing off this footage as the finished work. The conversation inevitably moves to their shared past, where key details emerge, principally Santiago’s raging obsession for Virginia set off by their brief, intense liaison two years earlier. Hermosillo’s initial withholding of crucial exposition produces a series of genuine revelations and discoveries, but he can’t bring these shards and vignettes to a satisfying resolution. Almost the entire story unfolds on a cramped apartment roof, and the confinement and alienation produce all the wrong effects, oppression and stasis rather than liberation or freedom. Technically the film is dull, especially Alex Phillips’s flat cinematography. On the other hand the luminous Maria Rojo (Danzon) is an astonishing actress whose intricate and deft line readings and body language are breathtaking. She belongs in a better movie. (PZM) (Pipers Alley, 9:00) Being at Home With Claude See listing under Monday, October 12. (Pipers Alley, 9:15) Back to the USSR See listing under Monday, October 12. (Music Box, 9:15) Candyman Bernard Rose’s American debut is adapted from executive producer Clive Barker’s short story The Forbidden, transposing the narrative from Liverpool to Chicago. Virginia Madsen plays a UIC doctoral candidate obsessed with the unsolved murder of a Cabrini-Green woman, considered the handiwork of “Candyman,” a mythological 19th-century black serial killer. When Madsen unleashes his spirit, he commits a series of sadistic murders and frames Madsen for the crimes, including the kidnapping of a young child. It’s a stylistically impressive film, with some dazzling uses of color, framing, decor, and striking overhead shots to convey discord and tension. But Rose is far less expressive in shaping the narrative: the pacing is off, and he’s unable to create terror through characters or situations, relying instead on repulsive forms of violence and mutilation. Rose, who also wrote the script, demonizes Cabrini-Green in a particularly brutal, ugly way without any effort at actually getting inside the heads of any nonwhite characters. The housing project is used metaphorically to represent white society’s greatest fears. Though the film falls because the conceptualization of Candyman (played by the gifted Tony Todd) is so thin and psychologically bereft of ideas, the real subtext seems to be the threat posed to repressed, orderly (i.e., white) society by an outsize, feverish black sexuality–ideas one wishes we’d gotten rid of with D.W. Griffith. The interesting Philip Glass score is used to dubious ends. (PZM) (Pipers Alley, 9:30) WEDNESDAY, OCTOBER 14 Il Capitano See listing under Monday, October 12. (Pipers Alley, 5:00) Possessed Indian superstar Shashi Kapoor as a Muslim nobleman who falls in love with the daughter of a British soldier during the first years of English rule in India. While his friends plan revolt, Kapoor retreats into a world of passive sentimentality. Shyam Benegal directed (1978). (Dave Kehr) (Pipers Alley, 5:00) Back to the USSR See listing under Monday, October 12. (Pipers Alley, 5:00) Being at Home With Claude See listing under Monday, October 12. (Music Box, 5:00) Hugh Hefner: Once Upon a Time The world premiere of this feature-length documentary produced by David Lynch and Mark Frost, who had done a half-hour feature on Hefner for their short-lived series American Chronicles. Robert Heath directed; this screening will be preceded by a champagne reception, and Hefner himself will be present. (Pipers Alley, 7:00) Short Program III If you’re wondering what happened to Short Program II, not to worry; it’ll be showing next week, along with Short Program IV. This selection consists of two short films from Canada (Salome Breziner’s Blue and Anna Bourque’s Lovely Boys), one from Australia (Stavros Efthymiou’s Road to Alice), and six from the U.S. (Bill Morrison’s Footprints, John Ebbert’s New Valley, Charles Merzbacher’s Subway Map, Douglas Kunin’s Twist of Fate, Huck Botko’s Until There Are None, and Kelly Baker’s You’ll Change). (Music Box, 7:00) Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 7:30) My Dear Tom Mix See listing under Tuesday, October 13. (Pipers Alley, 7:30) Visions of Light: The Art of Cinematography See listing under Tuesday, October 13. (Pipers Alley, 8:00) Bathroom Mirror The first feature of Mexican filmmaker Jaime Humberto Hermosillo to use a single camera setup for the duration of the entire film. In this case, the camera is placed behind the mirror in a middle-class family’s bathroom. (Music Box, 9:00) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 9:30) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 9:45) The Border This Slavic Romeo and Juliet story shows the complexity of the inter-ethnic hatreds long extant in Yugoslavia. In the Vojvodina territory on the Yugoslav-Hungarian border, the period between 1945 and 1948 saw a shifting of nationalities and allegiances as the government brought in Serbian “freedom fighters” to claim the property of repatriated minorities. When the Topics, a family of Bosnian Serbs, move into a primarily Croatian village, a forbidden romance grows between the oldest son and his beautiful but war-scarred neighbor. As the winds of change follow the winds of war, blowing hardship on Serb and Croat alike, the families of the young lovers finally accept their common humanity, but only after irreversible tragedy. The themes of Zoran Masirevic’s debut film, made in 1990, seem particularly poignant in light of current events. Sadly, the lesson that it offers has gone unheeded. (AS) (Pipers Alley, 9:45) THURSDAY, OCTOBER 15 Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 5:00) The Machine Age Shyam Benegal’s Indian film is an update of the Mahabhatata, transposing the story of two warring families to the newly industrialized India of the 1950s. The Puranchads and the Khubchands are the owners of opposing industrial empires, linked by blood and divided by competition for the same markets. With Shashi Kapoor (1981). (Dave Kehr) (Pipers Alley, 5:00) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 5:00) Bathroom Mirror See listing under Wednesday, October 14. (Pipers Alley, 5:15) Especially on Sunday Four episodes make up this Italian composite film, all penned by Antonioni’s ace screenwriter Tonino Guerra (L’avventura, La notte), but only three survived the cut for the American release. None of these decidedly lightweight short films comes off as significant. The wry first episode, uniting Cinema Paradiso director Giuseppe Tornatore and star Philippe Noiret, is certainly the most crowd-pleasing, though Roger Corman and Vincent Price could have done the same Poe-like comedy in their sleep: a grouchy cobbler is followed about by a mongrel dog with a blue spot on its head. The cobbler disowns it, denies it, even shoots it, and the dog keeps coming back for more, even from beyond the grave. The second episode, directed by Giuseppe Bertolucci, is dull and decadent, with Bruno Ganz stopped on the road and cloyingly played with by a tiresome incestuous brother-sister team. The sister is pouty Ornella Muti of Swann’s Way fame. The third episode, directed by Marco Tullio Giordaria, is the most psychologically compelling: an old woman confesses to her priest that she obsessively watches her son and daughter-in-law make love night after night. (GP) (Pipers Alley, 7:00) The Land Behind the Rainbow An autobiographical first feature by German filmmaker Herwig Kipping, set in a village in East Germany in the 5Os and focusing in part on a dash of social views between himself as a child and his father and grandfather. (Pipers Alley, 7:00) The Magical World of Chuck Jones After a celebration of ace Warners animation director Chuck Jones’s 80th birthday, complete with cake, the world premiere of a feature-length tribute to Jones directed by TV veteran George Daugherty will be shown. This tribute includes dips from many of Jones’s masterworks (including What’s Opera, Doc? and Duck Dodgers in the 24th and a Half Century) and comments from George Lucas, Steven Spielberg, Fritz Frelong, Ray Bradbury, Whoopi Goldberg, Leonard Maltin, Ron Howard, and Matt Groening, among others. (Music Box, 7:00) Hyenas Since his extraordinary first feature Touki Bouki (1973)–the first and perhaps only experimental feature in African cinema–Senegalese filmmaker Djibril Diop Mambety has survived mainly as a stage and film actor, and expectations about his second feature have naturally run high. My first response to Hyenas was that it’s a safer film than its predecessor, but on further reflection I find it in many ways a more considered and mature one, with ironies that may turn out to be even deadlier. This is an African adaptation of Friedrich Durrenmatt’s famous German play The Visit (also filmed, rather unsatisfactorily, by Bernhard Wicki with Ingrid Bergman and Anthony Quinn in the mid-60s): A wealthy, aging woman returns to the impoverished village she left many years before and offers a fortune to the people there if they will murder a local shopkeeper who seduced, impregnated, and abandoned her when she was 16. At first the villagers disdainfully reject her offer, but then they decide they’re at least entitled to purchase the shopkeeper’s goods on credit, and then their taste for luxuries starts to grow–clearly a comic allegory about contemporary colonialism, consumerism, and what they have to do with each other. Mambety shows an able hand in managing his talented cast and cuts quite a commanding figure himself when he appears in a pivotal small role. (JR) (Pipers Alley, 7:30) Actress (also known as Center Stage.) A masterpiece by Stanley Kwan, the greatest Hong Kong film I’ve seen. The story of silent film actress Ruan Ling Yu (1910-1935), known as the Garbo of Chinese cinema, it combines documentary with period re-creation, biopic glamor with profound curiosity, and ravishing historical clips with color simulations of the same sequences being shot–all to explore a past that seems more complex, mysterious, and sexy than the present. Maggie Cheung won a well-deserved best actress prize at Berlin for her classy performance in the title role, and a large part of what Kwan does as a director is to create a kind of nimbus around her poise and grace. (If I had to pick a Hollywood equivalent, I’d opt for George Cukor.) Kwan also creates a labyrinth of questions around who Ruan was and why she committed suicide–a labyrinth both physical (with beautifully ambiguous uses of black-and-white movie sets) and metaphysical–and keeps these questions perpetually open. You should be prepared for a picture that lasts 146 minutes and invites you to relish every one of them–not only the stylish beauty of an imagined Shanghai film world of the 30s, but also the flat abrasiveness of Kwan chatting with Cheung on video about what all this means and coming up with damn little. Any historical movie worth its salt historicizes the present along with the past, and this movie is partly and implicitly about our inadequacy next to those potent clips of Ruan Ling Yu herself (JR) (Pipers Alley, 8:00) The Border See listing under Wednesday, October 14. (Pipers Alley, 9:15) *Gas Food Lodging Nora (Brooke Adams) is a hard-luck waitress at the Pull-Off Plaza Truck Stop in Laramie, New Mexico, with two teenage daughters to reckon with: dreamy Shade (Fairuza Balk), who spends her days at the Bijou enraptured by Mexican melodramas, and devil-may-care Trudi (Ione Skye), who squanders her nights with men in the backseats of trucks and automobiles. All three pine for good relationships and the good life. Allison Anders’s first feature is warm, poignant, and sensitively directed–a “women’s film” in the best sense, with intelligence and heart. Fairuza Balk is a find as the teenage ingenue, and glamorous Brooke Adams settles into a mature “mom” role with grace. This screening is a first peek at what could prove to be this year’s best-loved American independent film. (GP) (Music Box, 9:15) Gun Crazy Tamra Davis’s film is not really a remake of the 1949 Joseph H. Lewis cult classic, but there are parallels and connections. Both are youth exploitation films about misfits with guns moving through a sinister and dark America. The first half of the new film works wonderfully well. Living in a trailer with her lecherous stepfather (the marvelously low-life Joe Dallesandro), Anita, the 17-year-old town slut (played by the exploitation queen of the 90s, Drew Barrymore, who gives little in the way of performance but a good deal in the way of sleazy presence), brings her ex-con pen pal Howard to town. He gets a job by claiming to be reborn. The town religious cult master may or may not be a phony, and Howard’s conversion may or may not be cynical. This portrait of backwoods America is hilarious and trenchant. When Anita has to shoot her stepfather, the two lovers are forced to run. At this point the film should explode as violence meets violence on the road in the States. Alas, the two settle into a house in the suburbs and the film deflates. (DO) (Pipers Alley, 9:30) Forbidden Homework See listing under Tuesday, October 13. (Pipers Alley, 9:30)
18075	yago	3	49	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	en	Here Comes the 28th Chicago International Film Festival	https://i0.wp.com/chicag…=368%2C116&ssl=1	https://i0.wp.com/chicag…=368%2C116&ssl=1	[ "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-1.png?fit=358%2C79&ssl=1", "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-white-1.png?fit=358%2C79&ssl=1", "https://www.facebook.com/tr?id=2967168196628692&ev=PageView&noscript=1&cd%5Bpage_title%5D=Here+Comes+the+28th+Chicago+International+Film+Festival&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=https%3A%2F%2Fchicagoreader.com%2Farts-culture%2Fhere-comes-the-28th-chicago-international-film-festival&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=10529276" ]	[]	[]	[ "" ]	null	[ "Zbigniew Banas", "Meredith Brody", "Andy Klein", "Wendy Lidell", "Patrick Z. McGavin", "David Overbey", "Gerald Peary", "Reece Pendelton", "Ray Pride", "Jonathan Rosenbaum" ]	1992-10-08T09:00:00+00:00	The Films: Week One	en	https://chicagoreader.co…o-icon-32x32.png	Chicago Reader	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	FRIDAY, OCTOBER 9 Dream of Light This Spanish film by Victor Erice will inevitably be compared to La belle noiseuse, Jacques Rivette’s masterpiece in which Michel Piccoli impersonates a painter who exhaustively sketches Emmanuelle Beart as she tirelessly bends her nude body into evermore tortuous poses over four hours (two hours in the television version). Erice’s film follows his friend the Spanish realist painter Antonio Lopez as he tortuously (under a canopy in rain, laying boards over the mud when the rain stops) paints a beloved quince tree in his backyard, discarding one painting, starting another, as he tries to capture the elusive quality of Spain’s late-summer light (the original title translates to “Sun on the Quince Tree”). All the while he converses with artist friends, the builders next door, visiting collectors, and family about the work at hand. The art of the film gets inextricably mixed up with the painter’s art, the delicious languorous rhythm of the cutting confounded with the painter’s delicate brushwork. just as the inexplicable touches of white paint that Lopez carefully daubs day after day on the canvas eventually resolve into a coherent pattern of light and shadow, the film’s vagrant bits of information magically add up in the end to a consideration of life and love and beauty. Quite a lot for two hours and 18 minutes–there’s even a surprise in store, as the painter gets painted himself, and Erice moves us out into the velvet dusk of Madrid. It’s an extraordinary film. (MB) (Pipers Alley, 7:00) Roy Rogers–King of the Cowboys Dutch filmmaker Thys Ockersen previously made adulatory documentaries about American B-movie directors like Sam Fuller. On this trip to the USA he goes after aging six-gun hero Roy Rogers. But before he gets to the ailing cowpoke in California, the peripatetic director attends a creaky B-cowboy-movie convention in Ohio and then rambles about rural America seeking out Rogers lore. It’s thin stuff, a fanzinelike road movie. The film’s payoff is a genial encounter at last with the ever-regal King of the Cowboys, who, on his sickbed, proves a sharpshooter in answering the soft, soft questions put to him. That’s all, folks: idolization of Hollywood without a trace of irony. (GP) (Pipers Alley, 7:00) The Lost Language of Cranes Nigel Finch made this adaptation for British television, transposing David Leavitt’s first novel from New York to London. The move works surprisingly well: lack of communication and sexual repression are right at home with the British couple Rose and Owen Benjamin (beautifully portrayed by Eileen Atkins–her lips were never thinner–and the tragically pale Brian Cox), whose tense, bloodless marriage might have gone on unexamined forever but for their son’s announcement that he is gay. It seems that he has fallen in love with an expatriate American who was raised by a gay couple (John Schlesinger and Rene Auberjonois in delicious cameos) after his parents died in a car crash. Something akin to a car crash results in the Benjamin household, too. Screened on PBS in an altered version (some language was cut–the lost language of The Lost Language of Cranes–and new love scenes were shot with actors in underwear rather than nude), this small but solid movie deserves a wide audience and a life on the big screen. (MB) (Music Box, 7:00) Happy Birthday! This is German director Doris Dorrie’s best film since her 1985 art-house hit Men, although she’s made several films in the intervening years, including the unreleased American coproduction Him and Me, in which a man and his talking penis are the main characters. Cheekiness is typical of Dorrie’s approach to comedy, and the viewer’s perception of inappropriateness or borderline offensiveness of her subject matter is a necessary component of the black humor. This film, originally titled Happy Birthday, Turk!, is a very black comedy in which streetwise Kemal Kayankaya, a Turkish-German private eye who speaks not a word of Turkish, is hired by a mysterious and beautiful Turkish woman to investigate the death of her father and find her missing husband. Part detective story, the film also makes much satirically of Kemal’s uphill struggle against second-class citizenship. Dorrie has always had a problem with endings, and hers are usually off-putting in a way that serves to nullify the comedy. In this way a shockingly savage beating near the end of Happy Birthday! abruptly changes the tone of the film, although Dorrie does succeed in bringing off a reasonably apt, if rather lame, ending. (Scharres) (Pipers Alley, 7:15) Mozart Quarter Jean-Pierre Bekolo’s comedy-fantasy from Cameroon follows a young girl named Chef de Quartier who is transformed into a man called Montype by a witch after betraying too much curiosity for her age. He/she promptly joins a boys’ gang and starts romancing the daughter of a neighborhood cop. The plot carries a few coincidental echoes of George Axelrod’s play Goodbye Charlie, but what’s most notable about this first feature is how much it owes to the films of Spike Lee and other recent African American directors, a fact it briefly acknowledges in the dialogue. One can find the implications of this influence disquieting, but Bekolo’s deft handling of his actors still makes this a charmer. (JR) (Pipers Alley, 7:15) Friends and Enemies This first feature by Andrew Frank tells the story of four friends from a tightly knit Italian American community in New York whose friendship is put to the test when one of them kills a man in a drunken rage behind a neighborhood bar. The friends, who are also witnesses to the crime, help dispose of the evidence and create an alibi only to find their friendship turn to hatred when each one begins to suspect the others of cracking under police questioning. Any hope of rescuing the film from predictability is dashed by some painfully awkward acting; the attempt at genuine neighborhood banter between friends is executed with all the authenticity of a beer commercial. Perhaps the film’s only redeeming performance comes from Roger Rignack, who, as one of the friends, serves as the film’s moral center, although one has to wait until the last half hour of the film to see anything of substance from him. (Pendleton) (Pipers Alley, 9:00) Luminous Moss A Japanese author doing research for a new novel comes across the story of a strange incident that took place during the waning days of World War II. As seen in a flashback, a small Japanese naval ship on a routine supply mission runs aground during a winter storm. The four survivors are forced to take refuge in a small cave and wait out the brutal winter before they can venture out for help. When one of the four men dies of frostbite, the captain decides that the survivors must resort to cannibalism in order to stay alive. The film centers mainly on the ethical and moral dilemmas the remaining three men face as they struggle to live with–and possibly die by–the individual choices they make. Veteran director Kei Kumai does best when directly addressing the issues of guilt and what it means to retain one’s humanity under such circumstances. However, the thematic link between the main story and that of the author ends up undermining the often eerie atmosphere and proves to be a distraction. The result is a rather flat rendering of what might have been a more consistently effective film. (Pendleton) (Pipers Alley, 9:00) Sweet Emma, Dear Bobe After the histrionics of Mephisto and the tightlipped pageantry of Colonel Redl, Istvan Szabo’s latest film is a curiously understated, almost contemplative, and never condescending little film about little people leading little lives. Two friends from the country, Emma and Bobe, teach Russian and share confidences, adventures, and a room in a drab teachers’ dorm in Budapest. But the abrupt overthrow of communism leaves them awash in a sea of bureaucratic uncertainty, where changes in power can mean changes in language. When Russian is suddenly dropped from the required curriculum, the women, in a frantic game of catch-up, study English in the evening so they can teach what they’ve learned to their classes the next morning. No longer secure within the old system and ill-equipped to profit from the new, they moonlight at odd jobs and snatch at dead-end relationships, trying desperately to carve out a life, until even their friendship can’t sustain them. (RS) (Music Box, 9:00) Crystal Nights If Tonia Marketaki’s Crystal Nights never quite manages to make its obsessions ours, it at least convinces us that they belong to someone. This film is a dream or a nightmare of obsession–of obsessional love, obsessional denial, and obsessional displacement. A German matron living in 1940s Greece who’s mystically, even satanically, linked to a darker Teutonic past, falls in love with a much younger Jew. Through time, betrayal, and death and reincarnation, she finds herself–or maybe it isn’t her–reliving the impossibility of that love. While the imagery is strange, even distasteful at times, a real visual imagination is at work here. Yet despite the subtle shifts from black and white to color and the well-crafted slow-motion dawnings of desire, this movie’s too long and too weird to make sense. The more the characters incant in German and stare at murky sacrificial murals, the more ancient Greek it all seems–ruled by the blood madness of a Phaedra or Medea but not, unfortunately, blessed with their clarity. (RS) (Pipers Alley, 9:30) The Footstep Man This New Zealand-produced feature by Leon Narbey is a competent anecdote about a sound-effects man (Steven Grives) who brings, along with his sack of shoes and miscellaneous noisemakers, a little mental instability to the job of laying in the sound effects for a spurious biopic of Toulouse-Lautrec. The wan script never gets too deeply into this sweaty man, but it’s interesting to see a story about a craftsman, rather than the standard-issue “artist” (read writer or director) becoming haunted by his creation. Narbey and cowriter Martin Edmond’s ideas outstrip the movie’s achievement, but there’s a fascinating notion burled in the sound man’s growing obsession with a doomed prostitute in the lengthy film-within-the-film, as he produces a series of creaks, rustles, and footsteps that become the proof of the movie character’s every on-screen motion. (Pride) (Pipers Alley, 9:30) Vegas in Space The title of Phillip R. Ford’s American independent feature may sound like a Don Rickles routine, but actually it’s a “sci-fi, musical drag queen extravaganza” with camp and kitsch trimmings. (Music Box, 11:00) SATURDAY OCTOBER 10 Homework This clever, gimmicky 1991 Mexican film unfolds in real time: in the opening shot, a 40ish student (Maria Rojo) hides a camera in her apartment (providing our point of view) as preparation for a date with a former lover (Jose Alonso), whom she intends to seduce on video for a school project. In the manner of Hitchcock’s Rope, the movie pretends to have been shot in one long take; in reality there are several clever diversions–e.g., the lover accidentally drapes his jacket over the camera–to mask the reel changes. Writer/director Jaime Humberto Hermosillo is fond of this device: he used it a year earlier in Bathroom Mirror and has repeated it since in Forbidden Homework (both also on the festival schedule). The plot takes several turns, as the victim progresses from innocent to outraged to complicit . . . and beyond. The always sly, slick, and wicked Hermosillo is working in much shallower waters here than in his devastating 1984 Dona Herlinda and Her Son. But he rings enough delightful changes on his one-note theme to make it an enjoyable romp, and he wisely keeps it well under 90 minutes. (AK) (Pipers Alley, 1:00) The Footstep Man See listing under Friday, October 9. (Pipers Alley, 1:00) Roy Rogers–King of the Cowboys See listing under Friday, October 9. (Pipers Alley, 1:00) The Lost Language of Cranes See listing under Friday, October 9. (Music Box, 1: 00) The Seedling Shyam Benegal, one of the festival jurors this year, made over 30 documentaries and 600 commercials before trying his first feature film in 1974. The first in a six-film series of Benegal works at the festival, The Seedling transcends the cinematic cliches of its day. Benegal displays a rewarding grasp of visual design and social dynamics that eclipses the last efforts of Satyajit Ray, the Indian director best known to American moviegoers. In The Seedling a powerful landowner forces his insolent son Surya, played by Anant Nag, to oversee the family farm instead of going to college. Surya spurns caste niceties in the countryside, but his iconoclasm proves opportunistic when his servant’s pregnancy doesn’t serve his domestic agenda. Benegal handles the cultural contradictions of family, gender, and power in modern India with precise moral insight and dramatic sophistication, and his camera movement and compositional style are highly refreshing compared to the dry, boxy look of Ray’s films. (Stamets) (Pipers Alley, 1:30) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 3:00) Crystal Nights See listing under Friday, October 9. (Pipers Alley, 3:00) Luminous Moss See listing under Friday, October 9. (Pipers Alley, 3:00) Short Documentaries From the U.S., John Keitel’s An All American Story and Michael Moore’s Pets or Meat: The Return to Flint (a mini-sequel to Roger & Me), Debbie Shuter’s Beigels Already from the UK, Genevieve Mersch’s The Red Bridge from Belgium, and Leonie Dickinson’s Tram Ways from Australia. (Music Box, 3:00) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 5:00) From Hollywood to Hanoi Tiana Thi Thanh Nga’s documentary has an identity crisis, but since identity is central to this partially autobiographical film it’s not surprising that the Vietnamese American filmmaker has tried to cover a lot in 80 minutes. Most of the film is shot in Vietnam, where Nga goes against her family’s wishes to look for lost relatives and to discover her own feelings about the country of her birth, which her family fled in 1966. She focuses on herself and her large family and their relationship to Vietnam, but she also deals with the plight of children fathered by American GIs and the cultural identity of Asian Americans in general. The My Lai massacre, Agent Orange, North Vietnam versus South Vietnam, and familial responsibility also receive serious screen time. Ultimately this complex mix works, exploring the divided loyalties and painful unresolved issues a Vietnamese American must live with. Nga balances the images of pain and joy in her trip effectively, though her monotonously cheerful, chirpy narration sometimes gets in the way of the images. (Scharres) (Music Box, 5:00) Acting It Out Sonke Wortmann’s German feature, declared the best first feature at the Montreal film festival, is about three aspiring actors in their 20s preparing in Munich for an audition in Berlin. (Pipers Alley, 5:15) Venice/Venice Henry Jaglom has made a very personal series of films over the last 20 years. They are idiosyncratic, coming from Jaglom’s own obsessions and his acute observations of everyday incidents and behavior. His first–and arguably his best–film, A Safe Place (1971), was a multileveled tale of modern city life, delightful, witty, with a sly performance by Orson Welles and a cunningly hilarious one by the magnificent Tuesday Weld. For a while he managed to push his own experiences into a seemingly more objective, fictional form that allowed him a safe space to operate in. With each film, however, we have been forced to look more and more directly into Jaglom’s own navel, not always a pretty sight. With Venice/Venice the embarrassment quotient has risen above the level of acceptance. Here Jaglom the director allows Jaglom the person to drone on and on about the director’s place in the American cinema (an important one insofar as he remains independent, original, and an often healthy antidote to mainstream cliche, but probably not as significant as Jaglom maintains). Then Jaglom the writer/director has a very attractive French woman fall madly, passionately, obsessively in love with Jaglom the person/actor. The seemingly improvised dialogue, the contrived situations, and the actions of the characters simply make one cringe and wish Jaglom had at least cast the film differently so that the gap between what his ego tells him is probable and what we see might not be so wide. (DO) (Pipers Alley, 5:15) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:30) Love in the Time of Hysteria Alfonso Cuaron’s Mexican safe-sex farce about a modern-day Don Juan; known in Mexico as Solo con tu pareja. (Pipers Alley, 7:00) Sofie Liv Ullmann makes a formidable debut as coscreenwriter and director of this rich, passionate philosophical tale of a young Jewish woman (Karen-Lise Mynster) growing up in Copenhagen at the end of the 19th century. Will Sofie run away with the great love of her life, a Christian painter with a burning soul, or marry a likable dullard, who placates her religious family because he is an Orthodox Jew? Ullmann lets her tale unfold in a deliberate, leisurely, contemplative manner, over several decades of births and deaths, bar mitzvahs, and kosher meals. Erland Josephson, Ullmann’s perennial costar in Ingmar Bergman films, steals the movie in a remarkable performance as Sofie’s Orthodox father. This piece of deft story telling captured the jury prize at the 16th Montreal film festival in September. (GP) (Music Box, 7:00) Equinox Like his mentor Robert Altman, Alan Rudolph is an actor’s director with a penchant for ensemble casts. In Equinox the cast is led by Matthew Modine, who plays twins separated at birth and representing the equal portions of good and evil suggested by the title. Modine’s impressive performance, his best since Full Metal Jacket, rivals that of Jeremy Irons in Dead Ringers. Unfortunately, Lara Flynn Boyle is no Genevieve Bujold. The story concerns the discovery of a blind trust fund established at birth for the unknowing twins, and a journalist’s efforts to identify them as the beneficiaries. The narrative is unisatisfying both dramatically and spiritually but individual scenes can be savored as the work of a true virtuoso. (WL) (Pipers Alley, 7:15) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 7:30) Benny’s Video Although difficult to watch and even more difficult to like, Benny’s Video commands respect for its intellectually refined and uncompromisingly bleak vision of a complacent consumer society numb to all feeling. Fourteen-year-old Benny comes from a family rich in material possessions, but emotionally impoverished and noncommunicative. His relation to the outside world is mediated entirely by technology: even the view from his shuttered bedroom window appears on a video monitor. Benny’s alienation is so grave that he commits a heinous act, captured on videotape, just to “see what it’s like.” When his parents see the tape, their reaction is equally chilling. They express no shock, no outrage, no moral judgment; their only concern is to return to the status quo of their comfortable lives. Austrian director Michael Haneke (The Seventh Continent) considers the film part of “a report on the progressive emotional glaciation of my country.” He lays out his thesis with objective camera work and low-key performances from the three central players, never indulging viewers in seductive techniques or telling them what to think. This cool treatment of an inherently hot topic should make it one of the most discussed films at the festival. (AS) (Pipers Alley, 7:30) Warsaw: Year 5703 There must have been good reasons for bringing this small-scale wartime story of Jewish survival to the screen, but the resulting tepid drama makes one wonder what they were. Magnetic Julie Delpy and wooden Lambert Wilson star as a pair of escapees from the Warsaw ghetto who find shelter in an apartment belonging to a sympathetic Polish woman (Hanna Schygulla). Forced by circumstances into uncomfortable role-playing, the couple finds itself partaking in a love triangle that is as potentially destructive as the oppression raging outside the apartment’s walls. Shot mainly in dark, somber tones, Warsaw: Year 5703 (the title refers to the Jewish numbering of the year 1943) turns the apartment into a microcosm that collapses under the weight of escalating intimate tensions. Yet the ensuing drama never quite catches fire: there is too much predictability and redundancy to engulf the viewer in emotion. What might have worked well on stage resonates here with a distant feeling of deja vu. The relative lack of chemistry among the principal players further dilutes what historically must have consisted of a series of agonizing choices. (ZB) (Pipers Alley, 9:00) The Boys From St. Petri Soren Kragh-Jacobsen’s The Boys From St. Petri is an elaborately mounted but forgettable movie directed toward adolescents about the origins of the Danish resistance against Nazi occupation. Set in the summer of 1942, it follows a clique of high school seniors (almost all potential Calvin Klein models) who join a clever working-class boy in staging a series of pranks. Their success encourages them to bolder acts of sabotage, which eventually lead to the bombing of a train and their capture. While there’s an attempt to portray how individual loyalties and motivations lead to political actions, most of the script consists of shorthand cliches instead of drama. Several devices fall flat, including a pretentious Last Supper tableau before their final act and a student production of Hamlet with the inevitable foregrounding of the line “Something is rotten in the state of Denmark.” The movie’s lasting impression lies in its pretty faces, lovely glades, handsome interiors, and the honeyed light that drenches everything. (Pride) (Pipers Alley, 9:30) Luna Park This electrifying second feature by Pavel Lounguine, director of Taxi Blues, charts a vertiginous roller coaster ride toward national identity quite different from the “liberation from communism” that’s the West’s only perception of Russia’s fall from grace. And a wild ride it is. It opens with a scene of extraordinary, virtuoso violence–a bloody head-on, hand-to-hand collision of skinheads and police–and ends with a quiet train excursion through verdant countryside with no particular destination. Our hero, Andrei, is one of the leaders of a neo-Nazi group headquartered in an old amusement park and dedicated to purifying Mother Russia by ridding her of the taint of Jews, homosexuals, and other undesirables. But when Andrei’s angry search for his hitherto unknown and unexpectedly Jewish father leads him into the heart of that darkness, it is only to discover an infuriatingly innocuous and quite likable bunch of eccentrics puttering around an apartment, good-naturedly nattering about prostate problems, or inviting him to impromptu music recitals and thrown-together meals. Of course it helps to be able to rush through those incredible rabbit-warren Moscow apartments, with their innumerable rooms, odd twists and turns, and always unexpected contents. But what is truly extraordinary in Luna Park is the sheer vitality of Lounguine’s camera no matter what it’s recording, a vitality capable of encompassing the most disparate human possibilities. (RS) (Pipers Alley, 9:30) On Earth as in Heaven The premise of Marion Hansel’s film is simple: all the babies about to be born decide they don’t want to be born. As in many SF films of the 50s, the press, the scientists, the doctors–even the expectant mothers deny the evidence, unable to accept the obvious. Yet the reasons for the revolt are as clear as the televised images of violence against innocent children that the fetuses, through the bodies of their mothers, witness each day. The future of the human race comes to rest upon one woman–a Spanish journalist living in France, whose encounter with a nice-but-married man has resulted in a child she’s determined to keep. Her quest to understand the babies’ choosing death over life and her search for an argument to persuade her child to choose life is at the center of a film that, perhaps honestly, asks eternal questions about bringing a child into a far-from-perfect world. But no film exists in a void, and in a time when abortion clinics are bombed, images of talking fetuses can’t be construed as born-again innocence. (RS) (Pipers Alley, 9:30) Amazing Grace Amos Gutman’s feature seems less a consideration of a homosexual relationship between two young Tel Aviv men than a particularly sad, cruel, and desperate portrait of alienation and loss. It’s studded with provocative themes of intense gay longing, rejection, freedom, and desire, but it lacks the concentration, energy, and drive to fully sustain them. Gutman, production designer Shmuel Ma’oz, and cinematographer Amnon Zalayit do a wonderful job of expressing the entrapment and claustrophobic conditions of a gay underground that’s been destroyed by AIDS, as captured in the tentative, doom-laden affair between the naive and innocent Jonathan (Gal Hoyberger) and the cynical, HIV-positive Thomas (Sharon Alexander). The central relationship lacks definition, and the film quickly devolves into a series of less interesting subplots, various family dynamics, and secondary characters rather than leading to any discoveries. Amazing Grace, with its bad-taste decor, revelry in kitsch, and sublime contempt for the heterosexual structure, is like a John Waters film without the jokes. For better or worse, it’s very much a film about Jewish mothers, pitched between camp farce and the far more serious pain and injury produced by the sons’ sexual identities (and inevitable lack of children). Gutman’s direct, natural style serves his actors well, and there are isolated moments of terror and pain, though the film lacks the dramatic clarity to reach actual gravity or, for that matter, grace. (PZM) (Music Box, 10:00) Vegas in Space See listing under Friday, October 9. (Music Box, midnight) SUNDAY, OCTOBER 11 Crystal Nights See listing under Friday, October 9. (Pipers Alley, 1:00) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 1:00) Warsaw: Year 5703 See listing under Saturday, October 10. (Pipers Alley, 1:00) Mussolini: The Last 600 Days In this age of instant communication it doesn’t happen often that new documentary footage surfaces suddenly, especially that dealing with a period as thoroughly researched as World War II. But miles of stock footage on the last two years of Mussolini’s reign were recently discovered by the Italian Istituto Luce. Shot between October 1943 and May 1945 and never publicly shown, the material provides a fascinating look into the atmosphere of wartime Italy and the uneasiness that stemmed from the clash between the country’s perceived historical purpose and the desire for peace. The film alternates briskly between the big picture of Mussolini’s political dealings and their effects on the proud but confused Italian population, neither deifying nor condemning the man who single-handedly charted the course of his nation. Of particular historic interest is newsreel footage that sheds new light on the complex relationship between Italy and Germany. From a purely cinematic standpoint, there is nothing that necessitates watching Mussolini: The Last 600 Days on the big screen. The film could function just as well–if not better–within the more intimate format of television, but is there a station with enough programming inspiration to devote some of its precious airtime to a foreign documentary, even one as excellent as this? (ZB) (Pipers Alley, 1:00) Deadly Currents Back and forth, back and forth, Canadian documentarian Simcha Jacobovici moves his camera between impassioned, intractable Israelis and Palestinians to take one of the most thorough, and thoroughly depressing, looks to date at the debacle in the Middle East. Both sides are totally right and righteous. Both sides are totally wrong. Nobody gives an inch, and the ancient territorial fight goes on. Deadly Currents was handsomely shot in 35-millimeter, which helps the film go beyond the hobbled look of the usual well-intentioned 16-millimeter documentary. Also, Jacobovici, a Toronto Jew, manages to shoot things Jews rarely see, including secret meetings of veiled intifada leaders and a horrifying raid on an Arab marketplace in retaliation for the kidnapping and assassination of an alleged Israeli spy. “I wanted to show the legitimate concerns of both sides,” Jacobovici has said of his genuinely important film. “And I wanted to tell those who weren’t directly involved to cool it. Don’t take sides too quickly. It’s more complex than you think.” (GP) (Music Box, 1:30) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 3:00) Luna Park See listing under Saturday, October 10. (Pipers Alley, 3:00) The Sergeant Exhausted after fighting for eight years in the Iran-Iraq war, a man returns home to face a smaller war in his hometown. This time the enemy is a fellow citizen who will stop at nothing to take his land from him. At this critical juncture his Russian-born wife conveniently leaves him to go with her mother to join relatives in Soviet Azerbaijan. In his 14th commercial feature, director Masud Kimia’ie barely criticizes the corruption of the antirevolutionary factions within Iran, focusing instead on his usual themes of heroism, male bonding, and the separation of men and women. (As in his Snake Fang, shown at last year’s festival, there are unexplained instances of paranoid behavior in the hero.) Made in postrevolutionary Iran, The Sergeant excludes sex but makes much of violence. It resorts to sentimental, extended dramatic pauses at emotional moments, and its stereotypical characters and unconvincing symbolism provide a shallow image of the conditions of Iran after the war. (MSV) (Pipers Alley, 3:15) Dream of Light See listing under Friday, October 9. (Pipers Alley, 3:30) Sofie See listing under Saturday, October 10. (Music Box, 3:30) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 5:00) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 5:00) The Boys From St. Petri See listing under Saturday, October 10. (Pipers Alley, 5:30) Love in the Time of Hysteria See listing under Saturday, October 10. (Music Box, 6:30) Rich in Love Many of the people who brought you Driving Miss Daisy–director Bruce Beresford, screenwriter Alfred Uhry, and producers Richard and Lili Zanuck–have conspired on this light drama about Jill Clayburgh leaving her family (including Albert Finney) and striking out on her own. With Kyle MacLachlan, Piper Laurie, and Alfre Woodard. (Pipers Alley, 7:00) Goldberg Variations Ferenc Grunwalsky’s Goldberg Variations is a grim, frantic nightmare of the emotional chaos experienced by a husband and wife the day after their teenage son’s funeral. The visual style is unhinged from the start, with canted, grainy shots of their grimy apartment, unexpected dissolves within scenes, zooms from close-up to closer up, and many nearly abstract compositions. There’s less a linear narrative than a series of painfully emotional vignettes. Blaming himself for his son’s suicide and having no answers, the husband, too, wants to die; the wife, sharing his pain, has no compunctions about killing him. Grunwalsky’s shifting visual grammar is a turbulent complement to the emotional disorder of the bereaved parents. As the film progresses, his images are rent by shards of harsh light, with elongated shadows torturing the battered apartment walls, and the camera itself blinded by lens flare. Light becomes a killing thing, a bleaching emblem of madness. The sound track adds to the chaos: Bach’s Goldberg Variations (performed by Marta Kurtag) drop in at odd moments, paired with wails like a more hysterical version of Glenn Gould’s keenings over his version of the Variations. This alternates with grubby, hyperventilating musique concrete of urban and industrial din, gossiping voices, the hum of wind, and the tearing of flesh. (Pride) (Pipers Alley, 7:00) The Churning The founding of a farmers’ cooperative in a remote Indian village, as dramatized by the leader of India’s socially conscious cinema, Shyam Benegal. The 1976 film, which stars Smita Patil and Girish Karnad, was financed on the contributions of 500,000 Indian farmers. (Dave Kehr) (Pipers Alley, 7:00) Dark of Noon After an extended period of what appeared to be creative fatigue, Raul Ruiz is back with his most sumptuous and conceivably most accessible movie to date, filmed in Portugal on a budget of roughly $4 million–all of which shows on the screen. The dialogue is in French and English; the cast includes John Hurt, David Warner, Didier Bourdon, and Lorraine Evanoff. While I’d hate to stake my life on an accurate plot synopsis, the story, which periodically resembles a gothic novel, concerns a French doctor (Bourdon) who “has two passions–miracles and foreign languages.” Arriving in a Portuguese village to claim a family fortune, he finds a profusion of dogs, crutches planted everywhere like gateposts, a mysterious marquis (Hurt), an artificial limb manufacturer (Hurt again), a painter fond of burying people alive (Warner), and a little boy who constantly performs miracles, to the consternation of the local priest. The special effects are gorgeous, and the director’s usual metaphysical quirkiness and irreverent humor lead to many of his best formal shock tactics–for example, suddenly turning the camera sideways when the mood suits him. As usual, Ruiz goes well beyond surrealism and magical realism into a realm of philosophical play more conducive to spectacle than to story, though this feature has a much cleaner narrative than most of his other works. How the New York film festival could have passed over this film after opting to show one of Ruiz’s very worst–The Golden Boat, apparently for the sole reason that it was made in New York–is one of those questions of cosmic injustice that defy explanation. (JR) (Pipers Alley, 7:30) Venice/Venice See listing under Saturday, October 10. (Music Box, 8:30) Equinox See listing under Saturday, October 10. (Pipers Alley, 9:00) Acting It Out See listing under Saturday, October 10. (Pipers Alley, 9:30) Homework See listing under Saturday, October 10. (Pipers Alley, 9:30) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:30) MONDAY, OCTOBER 12 Deadly Currents See listing under Sunday, October 11. (Pipers Alley, 5:00) Mussolini: The Last 600 Days See listing under Sunday, October 11. (Pipers Alley, 5:00) Homework See listing under Saturday, October 10. (Pipers Alley, 5:00) Student Program I Shorts by film students from the Massachusetts College of Art, New York University, the University of Iowa, the American Film Institute, the Art Institute of Chicago, AFTRS-Australia, the Munich Film & TV School, and the University of Southern California. (Music Box, 5:00) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:15) The Boon A condemnation of village superstition by “new wave” Indian filmmaker Shyam Benegal. A young Brahmin leaves his wife to go on a religious quest; he encounters a holy man, who gives him a magic root, and returns to his village to take up the position of spiritual leader. All goes well until a goddess appears in his dreams and commands him to rid his village of the spiritually impure (1977). (Dave Kehr) (Pipers Alley, 7:00) The Art of Animation Animated shorts by Tim Webb, Peter Lord, Geoff Dunbar, Daniel Greaves, Richard Goleszowski, and Paul Berry from the UK; Jerzy Kucia from Poland; Christopher Hinton and Craig Welch from Canada; and Howard E. Baker and Matt O’Callaghan from the U.S. (Pipers Alley, 7:00) From Hollywood to Hanoi See listing under Saturday, October 10. (Music Box, 7:00) Back to the USSR Aficionados of the truly strange may enjoy this bizarre black comedy from Finland, which appropriates vampire-film conventions to satirize the collapse of communism. All others should take warning. The drunken lout Reima, the last official of the defunct Finnish Communist Party and caretaker of the People’s House, tries to commit suicide. He’s stiff dangling from the rope that failed to break his neck when Vladimir, a Lenin look-alike, walks in seeking a room. Learning that Vladimir is a vampire, Reima plots revenge on his scornful neighbors, but the unfailingly polite Vladimir lacks a certain bite. An uneasy mixture of the grotesque and clever political commentary, Jari Halonen’s Back to the USSR has enough spurting bodily fluids to alienate serious-minded viewers, though it would require a faster pace and some flying body parts to satisfy the midnight-movie crowd. (AS) (Pipers Alley, 7:15) On Earth as In Heaven See listing under Saturday, October 10. (Pipers Alley, 7:15) Being at Home With Claude This is a film that is promoted with adjectives like “brutal,” “shocking,” “harrowing,” and “soul-stripping,” which are conveniently repeated in the press kit. It is, however, one of those earnestly conceived adaptations, all stupendous performance and self-important suspense with little lasting emotional resonance. Directed by Canadian Jean Beaudin, adapted from an original play by Rene-Daniel Dubois, and starring Quebec’s hottest young actor, Roy Dupuis, the action consists almost entirely of a police inspector interrogating a male prostitute who has savagely murdered a client. The film uses flashbacks to cinematically, open up what is essentially a one-set, one-act monologue. The suspense centers around discovering why the sensitive but world-weary Yves has killed the bookish, bisexual university student who adored him. Dupuis’ performance is the kind of tour de force that is fascinating to watch under any circumstances, and yet its escalating passion seems too precisely calculated to be moving. Sad to say, the dark-wood decor of the interrogation room leaves a more indelible impression. (Scharres) (Music Box, 9:00) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:15) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 9:15) Il Capitano The title sounds Italian, but this is a Swedish-Danish-Finnish coproduction by the much-praised Swedish director Jan Troell (The Emigrants, The New Land). Based on a true story about two loners who commit three gratuitous murders, it was voted the best Swedish film of last year by the Swedish Association of Film Critics. (Pipers Alley, 9:30) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 9:30) TUESDAY, OCTOBER 13 My Dear Tom Mix is an unrelentingly gentle tale of two elderly dreamers whose paths cross in a small town in Mexico in the 30s. Joaquina, played by Ana Ofelia Murguia, is a lifelong fan of silent movie star and save-the-day cowboy character Tom Mix. She cherishes every one of his heroic episodes, sending him letters laced with tactical tips for catching the bad guys. But Joaquina’s devotion slips into delusion when Domingo (Federico Luppi), a handsome white-haired stranger in a white hat, comes to town on a white horse and finds work as the projectionist at the local cinema. Hiding out in the projection booth while bandits shoot up the town, the star-crossed couple find their matching fantasies come true in an adventure suitable for a matinee, topped off with a ride-into-the-sunset finale. Unlike Buster Keaton’s 1924 film Sherlock, Jr., in which there’s a surreal edge to a sentimental adventure about a projectionist who gets mixed up in the on-screen action, director Carlos Garcia Agraz plays it straight and sweet in My Dear Tom Mix, with just a touch of quixotic camp. (Stamets) (Pipers Alley, 5:00) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 5:00) The Role The Indian film industry of the 30s and 40s is the setting for Shyam Benegal’s 1977 melodrama about a poor girl’s rise to stardom and her problems with a weak husband and a possessive lover. The film is based on the biography of Hansa Wadkar, the “Joan Crawford of India.” With Smita Patil and Anant Nag. (Dave Kehr) (Pipers Alley, 5:00) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 5:00) Short Documentaries See listing under Saturday, October 10. (Music Box, 5:00) Il Capitano See listing under Monday, October 12. (Pipers Alley, 7:00) Visions of Light: The Art of Cinematography Just when you thought there was nothing left for talking heads to say about movies, here’s a first-rate visit with many of the best cinematographers in the business–John Bailey, Vilmos Zsigmond, Laszlo Kovacs, Conrad Hall, the late Nestor Almendros, Gordon Willis, Haskell Wexler, Vittorio Storaro, and Sven Nykvist, among others–talking with rare insight and perception about their craft (and discussing some of their predecessors, such as Billy Bitzer and Gregg Toland). The filmmakers, Arnold Glassman, Todd McCarthy, and Stuart Samuels, are smart enough not only to listen to what these artists have to say, but also to come up with the best clips from the best prints available to illustrate their comments. It’s a pity that they’ve basically restricted their inquiry to the U.S. industry–but not surprising considering that the American Film Institute, which coproduced this movie, differs from its counterparts elsewhere in the world by limiting most of its effort to preserving and promoting local mogul interests, foreign work be damned. (Typically, the many non-American cinematographers here are highlighted almost exclusively for their American work.) But the uncommon virtue of this documentary is that it teaches us a great deal about things we think we already know. Why, for instance, was the lighting so low in the Godfather films? You might be surprised. (JR) (Pipers Alley, 7:00) Immaculate Conception Written, directed, and produced by Pakistani expatriate Jamil Dehlavi, Immaculate Conception offers one of the most perceptive glimpses ever into the clashing values of Western and Eastern cultures. Set in Karachi in 1988 amid historical events that included the death of Pakistan’s president General Zia, the subsequent election of Benazir Bhutto, and the controversy generated by the publication of The Satanic Verses, the film follows a stunning array of characters: fundamentalists, a group of eunuchs, a Yale-educated local woman, and numerous Westerners who call Pakistan home. At the center of the story stand an English environmentalist and his Jewish American wife, whose inability to conceive a child draws both closer to the mystical fringes of the Muslim faith. An accomplished, if controversial, filmmaker, Oxford-educated Dehlavi knows enough about both the East and the West to craft believable layers of cultural conflict without taking sides. So while the Westerners–as expected–appear to be somewhat arrogant and exploitative, it is quite surprising to see many of the Pakistanis depicted as cunning, opportunistic, and down-deep hypocritically materialistic. And yet the inherent moral complexity and ambiguity written into the roles make the characters more convincing. Apart from his educational prowess, Dehlavi proves to be a master storyteller, skillfully interweaving the plot’s several interdependent threads. His fourth feature to date is a real eyeopener, to say the least. (ZB) (Music Box, 7:00) Dust of Angels This first feature by Hsu Hsiao-ming was produced by the great Taiwanese director Hou Hsiao-hsien, whose influence is evident in the visual style, primarily in the long takes. But Hsu, who shows considerable talent, has also been influenced by the violent gangster genre, and he joins young Hong Kong directors Wong Kar-wai and Lawrence Ah Mon in working toward a stylized romantic realism. Dust of Angels beautifully evokes the profound visual contrasts of the Taiwanese landscape, simultaneously not-of-this-century rural and grimly industrial, which become an offhand metaphor for deep economic and generational divisions. And the gun-toting teenagers of the story strike a chilling note as they casually deal drugs, weapons, and death. But Hsu seems unable to decide whether he wants to film action and high drama or follow his mentor’s exquisitely observational mode–two mutually exclusive ways of seeing the world. The film has been reedited since its Western debut at Cannes last May and is far more cohesive. Well worth seeing. (Scharres) (Pipers Alley, 7:15) Goldberg Variations See listing under Sunday, October 11. (Pipers Alley, 8:00) Forbidden Homework Jaime Humberto Hermosillo’s riff on the familiar themes of voyeurism, incest, and the omnipresence of video seems shallow and jejune only two years removed from his virtually identical Homework. Santiago (Esteban Soberanes), a bright, enthusiastic film student, enlists the help of Virginia (Maria Rojo), a radiant middle-aged actress, to complete his senior project. His assignment is to make a film composed in a single, uninterrupted take. While the two discuss the form and shape of the proposed narrative, Santiago surreptitiously records their discussions with the intention of passing off this footage as the finished work. The conversation inevitably moves to their shared past, where key details emerge, principally Santiago’s raging obsession for Virginia set off by their brief, intense liaison two years earlier. Hermosillo’s initial withholding of crucial exposition produces a series of genuine revelations and discoveries, but he can’t bring these shards and vignettes to a satisfying resolution. Almost the entire story unfolds on a cramped apartment roof, and the confinement and alienation produce all the wrong effects, oppression and stasis rather than liberation or freedom. Technically the film is dull, especially Alex Phillips’s flat cinematography. On the other hand the luminous Maria Rojo (Danzon) is an astonishing actress whose intricate and deft line readings and body language are breathtaking. She belongs in a better movie. (PZM) (Pipers Alley, 9:00) Being at Home With Claude See listing under Monday, October 12. (Pipers Alley, 9:15) Back to the USSR See listing under Monday, October 12. (Music Box, 9:15) Candyman Bernard Rose’s American debut is adapted from executive producer Clive Barker’s short story The Forbidden, transposing the narrative from Liverpool to Chicago. Virginia Madsen plays a UIC doctoral candidate obsessed with the unsolved murder of a Cabrini-Green woman, considered the handiwork of “Candyman,” a mythological 19th-century black serial killer. When Madsen unleashes his spirit, he commits a series of sadistic murders and frames Madsen for the crimes, including the kidnapping of a young child. It’s a stylistically impressive film, with some dazzling uses of color, framing, decor, and striking overhead shots to convey discord and tension. But Rose is far less expressive in shaping the narrative: the pacing is off, and he’s unable to create terror through characters or situations, relying instead on repulsive forms of violence and mutilation. Rose, who also wrote the script, demonizes Cabrini-Green in a particularly brutal, ugly way without any effort at actually getting inside the heads of any nonwhite characters. The housing project is used metaphorically to represent white society’s greatest fears. Though the film falls because the conceptualization of Candyman (played by the gifted Tony Todd) is so thin and psychologically bereft of ideas, the real subtext seems to be the threat posed to repressed, orderly (i.e., white) society by an outsize, feverish black sexuality–ideas one wishes we’d gotten rid of with D.W. Griffith. The interesting Philip Glass score is used to dubious ends. (PZM) (Pipers Alley, 9:30) WEDNESDAY, OCTOBER 14 Il Capitano See listing under Monday, October 12. (Pipers Alley, 5:00) Possessed Indian superstar Shashi Kapoor as a Muslim nobleman who falls in love with the daughter of a British soldier during the first years of English rule in India. While his friends plan revolt, Kapoor retreats into a world of passive sentimentality. Shyam Benegal directed (1978). (Dave Kehr) (Pipers Alley, 5:00) Back to the USSR See listing under Monday, October 12. (Pipers Alley, 5:00) Being at Home With Claude See listing under Monday, October 12. (Music Box, 5:00) Hugh Hefner: Once Upon a Time The world premiere of this feature-length documentary produced by David Lynch and Mark Frost, who had done a half-hour feature on Hefner for their short-lived series American Chronicles. Robert Heath directed; this screening will be preceded by a champagne reception, and Hefner himself will be present. (Pipers Alley, 7:00) Short Program III If you’re wondering what happened to Short Program II, not to worry; it’ll be showing next week, along with Short Program IV. This selection consists of two short films from Canada (Salome Breziner’s Blue and Anna Bourque’s Lovely Boys), one from Australia (Stavros Efthymiou’s Road to Alice), and six from the U.S. (Bill Morrison’s Footprints, John Ebbert’s New Valley, Charles Merzbacher’s Subway Map, Douglas Kunin’s Twist of Fate, Huck Botko’s Until There Are None, and Kelly Baker’s You’ll Change). (Music Box, 7:00) Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 7:30) My Dear Tom Mix See listing under Tuesday, October 13. (Pipers Alley, 7:30) Visions of Light: The Art of Cinematography See listing under Tuesday, October 13. (Pipers Alley, 8:00) Bathroom Mirror The first feature of Mexican filmmaker Jaime Humberto Hermosillo to use a single camera setup for the duration of the entire film. In this case, the camera is placed behind the mirror in a middle-class family’s bathroom. (Music Box, 9:00) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 9:30) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 9:45) The Border This Slavic Romeo and Juliet story shows the complexity of the inter-ethnic hatreds long extant in Yugoslavia. In the Vojvodina territory on the Yugoslav-Hungarian border, the period between 1945 and 1948 saw a shifting of nationalities and allegiances as the government brought in Serbian “freedom fighters” to claim the property of repatriated minorities. When the Topics, a family of Bosnian Serbs, move into a primarily Croatian village, a forbidden romance grows between the oldest son and his beautiful but war-scarred neighbor. As the winds of change follow the winds of war, blowing hardship on Serb and Croat alike, the families of the young lovers finally accept their common humanity, but only after irreversible tragedy. The themes of Zoran Masirevic’s debut film, made in 1990, seem particularly poignant in light of current events. Sadly, the lesson that it offers has gone unheeded. (AS) (Pipers Alley, 9:45) THURSDAY, OCTOBER 15 Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 5:00) The Machine Age Shyam Benegal’s Indian film is an update of the Mahabhatata, transposing the story of two warring families to the newly industrialized India of the 1950s. The Puranchads and the Khubchands are the owners of opposing industrial empires, linked by blood and divided by competition for the same markets. With Shashi Kapoor (1981). (Dave Kehr) (Pipers Alley, 5:00) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 5:00) Bathroom Mirror See listing under Wednesday, October 14. (Pipers Alley, 5:15) Especially on Sunday Four episodes make up this Italian composite film, all penned by Antonioni’s ace screenwriter Tonino Guerra (L’avventura, La notte), but only three survived the cut for the American release. None of these decidedly lightweight short films comes off as significant. The wry first episode, uniting Cinema Paradiso director Giuseppe Tornatore and star Philippe Noiret, is certainly the most crowd-pleasing, though Roger Corman and Vincent Price could have done the same Poe-like comedy in their sleep: a grouchy cobbler is followed about by a mongrel dog with a blue spot on its head. The cobbler disowns it, denies it, even shoots it, and the dog keeps coming back for more, even from beyond the grave. The second episode, directed by Giuseppe Bertolucci, is dull and decadent, with Bruno Ganz stopped on the road and cloyingly played with by a tiresome incestuous brother-sister team. The sister is pouty Ornella Muti of Swann’s Way fame. The third episode, directed by Marco Tullio Giordaria, is the most psychologically compelling: an old woman confesses to her priest that she obsessively watches her son and daughter-in-law make love night after night. (GP) (Pipers Alley, 7:00) The Land Behind the Rainbow An autobiographical first feature by German filmmaker Herwig Kipping, set in a village in East Germany in the 5Os and focusing in part on a dash of social views between himself as a child and his father and grandfather. (Pipers Alley, 7:00) The Magical World of Chuck Jones After a celebration of ace Warners animation director Chuck Jones’s 80th birthday, complete with cake, the world premiere of a feature-length tribute to Jones directed by TV veteran George Daugherty will be shown. This tribute includes dips from many of Jones’s masterworks (including What’s Opera, Doc? and Duck Dodgers in the 24th and a Half Century) and comments from George Lucas, Steven Spielberg, Fritz Frelong, Ray Bradbury, Whoopi Goldberg, Leonard Maltin, Ron Howard, and Matt Groening, among others. (Music Box, 7:00) Hyenas Since his extraordinary first feature Touki Bouki (1973)–the first and perhaps only experimental feature in African cinema–Senegalese filmmaker Djibril Diop Mambety has survived mainly as a stage and film actor, and expectations about his second feature have naturally run high. My first response to Hyenas was that it’s a safer film than its predecessor, but on further reflection I find it in many ways a more considered and mature one, with ironies that may turn out to be even deadlier. This is an African adaptation of Friedrich Durrenmatt’s famous German play The Visit (also filmed, rather unsatisfactorily, by Bernhard Wicki with Ingrid Bergman and Anthony Quinn in the mid-60s): A wealthy, aging woman returns to the impoverished village she left many years before and offers a fortune to the people there if they will murder a local shopkeeper who seduced, impregnated, and abandoned her when she was 16. At first the villagers disdainfully reject her offer, but then they decide they’re at least entitled to purchase the shopkeeper’s goods on credit, and then their taste for luxuries starts to grow–clearly a comic allegory about contemporary colonialism, consumerism, and what they have to do with each other. Mambety shows an able hand in managing his talented cast and cuts quite a commanding figure himself when he appears in a pivotal small role. (JR) (Pipers Alley, 7:30) Actress (also known as Center Stage.) A masterpiece by Stanley Kwan, the greatest Hong Kong film I’ve seen. The story of silent film actress Ruan Ling Yu (1910-1935), known as the Garbo of Chinese cinema, it combines documentary with period re-creation, biopic glamor with profound curiosity, and ravishing historical clips with color simulations of the same sequences being shot–all to explore a past that seems more complex, mysterious, and sexy than the present. Maggie Cheung won a well-deserved best actress prize at Berlin for her classy performance in the title role, and a large part of what Kwan does as a director is to create a kind of nimbus around her poise and grace. (If I had to pick a Hollywood equivalent, I’d opt for George Cukor.) Kwan also creates a labyrinth of questions around who Ruan was and why she committed suicide–a labyrinth both physical (with beautifully ambiguous uses of black-and-white movie sets) and metaphysical–and keeps these questions perpetually open. You should be prepared for a picture that lasts 146 minutes and invites you to relish every one of them–not only the stylish beauty of an imagined Shanghai film world of the 30s, but also the flat abrasiveness of Kwan chatting with Cheung on video about what all this means and coming up with damn little. Any historical movie worth its salt historicizes the present along with the past, and this movie is partly and implicitly about our inadequacy next to those potent clips of Ruan Ling Yu herself (JR) (Pipers Alley, 8:00) The Border See listing under Wednesday, October 14. (Pipers Alley, 9:15) *Gas Food Lodging Nora (Brooke Adams) is a hard-luck waitress at the Pull-Off Plaza Truck Stop in Laramie, New Mexico, with two teenage daughters to reckon with: dreamy Shade (Fairuza Balk), who spends her days at the Bijou enraptured by Mexican melodramas, and devil-may-care Trudi (Ione Skye), who squanders her nights with men in the backseats of trucks and automobiles. All three pine for good relationships and the good life. Allison Anders’s first feature is warm, poignant, and sensitively directed–a “women’s film” in the best sense, with intelligence and heart. Fairuza Balk is a find as the teenage ingenue, and glamorous Brooke Adams settles into a mature “mom” role with grace. This screening is a first peek at what could prove to be this year’s best-loved American independent film. (GP) (Music Box, 9:15) Gun Crazy Tamra Davis’s film is not really a remake of the 1949 Joseph H. Lewis cult classic, but there are parallels and connections. Both are youth exploitation films about misfits with guns moving through a sinister and dark America. The first half of the new film works wonderfully well. Living in a trailer with her lecherous stepfather (the marvelously low-life Joe Dallesandro), Anita, the 17-year-old town slut (played by the exploitation queen of the 90s, Drew Barrymore, who gives little in the way of performance but a good deal in the way of sleazy presence), brings her ex-con pen pal Howard to town. He gets a job by claiming to be reborn. The town religious cult master may or may not be a phony, and Howard’s conversion may or may not be cynical. This portrait of backwoods America is hilarious and trenchant. When Anita has to shoot her stepfather, the two lovers are forced to run. At this point the film should explode as violence meets violence on the road in the States. Alas, the two settle into a house in the suburbs and the film deflates. (DO) (Pipers Alley, 9:30) Forbidden Homework See listing under Tuesday, October 13. (Pipers Alley, 9:30)
18075	yago	2	72	https://www.lightspeedmagazine.com/fiction/the-crystal-spheres/	en	The Crystal Spheres	https://www.lightspeedma…2018/05/Brin.jpg	https://www.lightspeedma…2018/05/Brin.jpg	[ "https://www.facebook.com/tr?id=421461225046491&ev=PageView&noscript=1", "https://www.lightspeedmagazine.com/wp-content/themes/lightspeed-generate/images/lightspeed-logo.png", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/07/the-crawling-moon-ad.png", "https://www.lightspeedmagazine.com/wp-content/uploads/2011/06/David-Brin-1-220x170.jpg", "https://www.lightspeedmagazine.com/wp-content/files_mf/cache/th_364f27d0a9e0903ba4ca66b270091c81_1719960049_magicfields_issuecoverimage_1_1.jpg", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/07/Edges_300x250_v2.jpg", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/05/AD_Born-in-Space.jpg", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/06/GoblinFruitFantasyAd.gif", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/07/Lady-Eves-Last-Con_Lightspeed-Ad.png", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/05/Dystopia-Triptych-ad-gif-300x250-1.gif", "https://www.nightmare-magazine.com/wp-content/uploads/2022/03/LOST-WORLDS-AND-MYTHOLOGICAL-KINGDOMS.png", "https://www.lightspeedmagazine.com/wp-content/uploads/2024/06/BASFF-2024-ad5.png" ]	[ "//www.facebook.com/plugins/like.php?href=https%3A%2F%2Fwww.lightspeedmagazine.com%2Ffiction%2Fthe-crystal-spheres%2F&send=false&layout=button_count&width=150&show_faces=false&action=like&colorscheme=light&font&height=21&appId=264599650242477" ]	[]	[ "" ]	null	[ "Wendy Wagner" ]	2018-05-17T10:01:34+00:00	It was just a luckychance that I had been defrosted when I was---the very year that farprobe 992573-aa4 reported back that it had found a goodstar with a shattered crystalsphere. I was one of only twelve deepspacers alivewarm at the time, so naturally I got to take part in the adventure. At first I knew nothing about it. When the flivver came, I was climbing the flanks of the Sicilian plateau, in the great valley a recent ice age had made of the Mediterranean Sea I had once known.	en	https://www.lightspeedmagazine.com/wp-content/themes/lightspeed-generate/images/favicon.ico	Lightspeed Magazine	https://www.lightspeedmagazine.com/fiction/the-crystal-spheres/	1 It was just a luckychance that I had been defrosted when I was—the very year that farprobe 992573-aa4 reported back that it had found a goodstar with a shattered crystalsphere. I was one of only twelve deepspacers alivewarm at the time, so naturally I got to take part in the adventure. At first I knew nothing about it. When the flivver came, I was climbing the flanks of the Sicilian plateau, in the great valley a recent ice age had made of the Mediterranean Sea I had once known. I and five other newly awakened Sleepers had come to camp and tramp through this wonder while we acclimated to the times. We were a motley assortment from various eras, though none was older than I. We had just finished a visit to the once-sunken ruins of Atlantis, and were hiking out on a forest trail under the evening glow of the ring-city high overhead. In the middle latitudes, night was now a pale thing. Nearer the equator, there was little to distinguish it from day, so glorious was the lightribbon in the sky. Not that night could ever be the same as it had been when my grandfather was a child, even if every work of man were removed. For ever since the twenty-second century there had been the Shards, casting colors out where once there had been but galaxies and stars. No wonder no one had objected to the banishment of night from Earthsurface. Humanity out on the smallbodies might have to look upon the Shards, but Earthdwellers had no particular desire to gaze out upon those unpleasant reminders. Being only a year thawed, I wasn’t ready yet to even ask what century it was, let alone begin finding some passable profession for this life. Reawakened sleepers were generally given a decade or so to enjoy and explore the differences that had grown in the Earth and in the solar system before having to make any choices. This was especially true of deepspacers like me. The State—more ageless than any of its nearly immortal members—had a nostalgic affection for us strange ones, officers of a near-extinct service. When a deepspacer awakened, he or she was encouraged to go about the altered Terra without interference, seeking strangeness. He might even dream he was exploring another goodworld, where no man had ever trod, instead of breathing the same air that had been in his own lungs so many times, during so many ages past. I had expected to go on my rebirthtrek unbothered. So it was with amazement, that evening on the forestflank of Sicily, that I saw a creamy-colored Sol-Gov flivver drop out of a bank of lacy clouds and drift toward the campsite, where my group of timecast wanderers had settled to doze and aimlessly gossip about the events of the day. We all stood and watched it come. The other campers looked at one another suspiciously as the flivver fell toward us. They wondered who was important enough to compel the ever-polite Worldcomps to break into our privacy, sending this teardrop down below the Palermo heights to parklands where it didn’t belong. I kept my secret feeling to myself. The thing had come for me. I knew it. Don’t ask me how. A deepspacer knows things. That is all. We who have been out beyond the shattered Shards of Sol’s broken crystalsphere, and have peered from the outside to see living worlds within faraway shells . . . We are the ones who have pressed our faces against the glass at the candy store, staring in at what we could not have. We are the ones who understand the depth of our deprivation, and the joke the Universe has played on us. The billions of our fellow humans—those who have never left Sol’s soft, yellow kindness—need psychists even to tell of the irreparable trauma they endure. Most people drift through their lives suffering only occasional bouts of greatdepression, easily treated, or ended with finalsleep. But we deepspacers have rattled the bars of our cage. We know our neuroses arise out of the Universe’s great jest. I stepped forward into the clearing where the Sol-Gov flivver was settling. It gave my campmates someone to blame for the interruption. I could feel their burning stares. The beige teardrop opened, and out stepped a tall woman. She possessed a type of statuesque, austere beauty that had not been in fashion on Earth during any of my last four lives. Clearly she had never indulged in biosculpting. I admit freely that in that first instant I did not recognize her, though we had thrice been married over these slow waityears. The first thing I knew, the very first thing of all, was that she wore our uniform . . . the uniform of a Service that had been “mothballed” (O quaint term!) thousands of years ago. Silver against dark blue, and eyes that matched . . . “Alice,” I breathed after a long moment. “Is it true at last?” She came forward and took my hand. She must have known how weak and tense I felt. “Yes, Joshua. One of the probes has found another cracked shell.” “There is no mistake? It’s a goodstar?” She shook her head, saying yes with her eyes. Black ringlets framed her face, shimmering like the trail of a rocket. “The probe called a class-A alert.” She grinned. “There are Shards all around the star, shattered and glimmering like the Oort-sky of Sol. And the probe reports that there is a world within! One that we can touch!” I laughed out loud and pulled her to me. I could tell the campers behind me came from times when one did not do such things, for they muttered in consternation. “When? When did the news come?” “We found out months ago, just after you thawed. Worldcomp still said that we had to give you a year of wakeup, but I came the instant it was over. We have waited long enough, Joshua. Moishe Bok is taking out every deepspacer nowalive. “Joshua, we want you to come. We need you. Our expedition leaves in three days. Will you join us?” She need not have asked. We embraced again. And this time I had to blink back tears. Of recent weeks, as I wandered, I had pondered what profession I would pursue in this life. But joy of joys, it never occurred to me I would be a deepspacer again! I would wear the uniform once more, and fartravel to the stars! 2 The project was under a total news blackout. The Sol-Gov psychists were of the opinion that the race could not stand another disappointment. They feared an epidemic of greatdepression, and a few of them even tried to stop us from mounting the expedition. Fortunately, the Worldcomps remembered their ancient promise. We deepspacers long ago agreed to stop exploring, and raising peoples’ hopes with our efforts. In return, the billion robot farprobes were sent out, and we would be allowed to go investigate any report they sent back of a cracked shell. By the time Alice and I arrived at Charon, the others had almost finished recommissioning the ship we were to take. I had hoped we would be using the Robert Rodgers, or Ponce de Leon, two ships I had once commanded. But they had chosen instead to use the old Pelenor. She would be big enough for the purposes we had in mind, without being unwieldy. Sol-Gov tugs were loading aboard ten thousand corpsicles even as the shuttle carrying Alice and me passed Pluto and began rendezvous maneuvers. Out here, ten percent of the way to the Edge, the Shards glimmered with a brightsheen of indescribable colors. I let Alice do the piloting, and stared out at the glowing fragments of Sol’s shattered crystalsphere. When my grandfather was a boy, Charon had been a site of similar activity. Thousands of excited men and women had clustered around an asteroid ship half the size of the little moon itself, taking aboard a virtual ark of hopeful would-be colonists, their animals, and their goods. Those early explorers knew they would never see their final destination. But they were not sad. They suffered from no greatdepression. Those people launched forth in their so-primitive first starship full of hope for their great-grandchildren—and for the world which their sensitive telescopes had proved circled, green and pleasant, around the star Tau Ceti. Ten thousand waityears later, I looked out at the mammoth Yards of Charon as we passed overhead. Rank on serried rank of starships lay berthed below. Over the millennia, thousands had been built, from generation ships and hiberna-barges to ram-shippers and greatstrutted wormhole-divers. They all lay below, all except the few that were destroyed in accidents, or whose crews killed themselves in despair. They had all come back to Charon, failures. I looked at the most ancient hulks, the generation ships, and thought about that day of my grandfather’s youth, when the Seeker cruised blithely over the Edge, and collided at one percent of light speed with the inner face of Sol’s crystalsphere. They never knew what hit them, that firstcrew. They had begun to pass through the outermost shoals of the solar system . . . the Oort Cloud, where billions of comets drifted like puffs of snow in the sun’s weakened grasp. Seeker’s instruments sought through the sparse cloud, touching isolated, drifting balls of ice. The would-be colonists planned to keep busy doing science throughout the long passage. Among the questions they wanted to solve on their way was the mystery of the comets’ mass. Why was it, astronomers had asked for centuries, that virtually all of these icy bodies were nearly the same size—a few miles across? Seeker’s instruments ploughed for knowledge. Little did her pilots know she would reap the Joke of the Gods. When she collided with the crystalsphere, it bowed outward with her over a span of lightminutes. Seeker had time for a frantic lasercast back to Earth. They only knew that something strange was happening. Something had begun tearing them apart, even as the fabric of space itself seemed to rend! Then the crystalsphere shattered. And where there had once been ten billion comets, now there were ten quadrillion. Nobody ever found the wreckage of Seeker. Perhaps she was vaporized. Almost half the human race died in the battle against the comets, and by the time the planets were safe again, centuries later, Seeker was long gone. We never did find out how, by what accident, she managed to crack the shell. There are still those who contend that it was the crew’s ignorance that crystalspheres even existed that enabled them to achieve what had forever since seemed so impossible. Now the Shards illuminate the sky. Sol shines within a halo of light, reflected by the ten quadrillion comets . . . the mark of the only goodstar accessible to man. “We’re coming in,” Alice told me. I sat up in my seat and watched her nimble hands dance across the panel. Then Pelenor drifted into view. The great globe shone dully in the light from the Shards. Already the nimbus of her drives caused space around her to shimmer. The Sol-Gov tugs had finished loading the colonists aboard, and were departing. The ten thousand corpsicles would require little tending during our mission, so we dozen deepspacers would be free to explore. But if the goodstar did, indeed, shine onto an accessible goodworld, we would awaken the men and women from frozensleep and deliver them to their new home. No doubt the Worldcomps chose well these sleepers to be potential colonists. Still, we were under orders that none of them should be awakened unless a colony was possible. Perhaps this trip would turn out to be just another disappointment, in which case the corpsicles were never to know that they had been on a journey twenty thousand parsecs and back. “Let’s dock,” I said eagerly. “I want to get going.” Alice smiled. “Always the impatient one. The deepspacer’s deepspacer. Give it a day or two, Joshua. We’ll be winging out of the nest soon enough.” There was no point in reminding her that I had been latewaiting longer than she—indeed, longer than nearly any other human left alive. I kept my restlessness within and listened, in my head, to the music of the spheres. 3 In my time, there were four ways known to cheat Einstein, and two ways to flat-out fool him. On our journey, Pelenor used all of them. Our route was circuitous, from wormhole to quantumpoint to collapsar. By the time we arrived, I wondered how the deepprobe had ever gotten so far, let alone back, with its news. The find was in the nearby minor galaxy, Sculptor. It took us twelve years, shiptime, to get there. On the way, we passed close to at least two hundred goodstars, glowing hotyellow, stable, and solitary. In every case, there were signs of planets circling round. Several times we swept by close enough to catch glimpses, in our superscopes, of bright blue waterworlds, circling invitingly like temptresses, forever out of reach. In the old days, we would have mapped these places, excitedly standing off just outside of the dangerzone, studying the Earth-like worlds with our instruments. We would have charted them carefully, against the day when mankind finally learned how to do on purpose what Seeker had accomplished in ignorance. Once we did stop, and lingered two lightdays away from a certain goodstar—just outside of its crystalsphere. Perhaps we were foolish to come so close, but we couldn’t help it. For there were modulated radio waves coming from the waterworld within! It was only the fourth time technological civilization had been found. We spent an excited year setting up robot watchers and recorders to study the phenomenon. But we did not bother trying to communicate. We knew, by now, what would happen. Any probe we sent in would collide with the crystalsphere around this goodstar. It would be crushed, ice precipitating upon it from all directions until it was destroyed and hidden under megatons of water—a newborn comet. Any focused beams we cast inward would cause a similar reaction, creating a reflecting mirror that blocked all efforts to communicate with the locals. Still, we could listen to their traffic. The crystalsphere was a one-way barrier to modulated light and radio, and intelligence of any form. But it let the noise the locals made escape. In this case, we soon concluded that it was another hive-race. The creatures had no interest in, or even conception of, spacetravel. Disappointed, we left our watchers in place and hurried on. Our target was obvious as soon as we arrived within a few lightweeks of the goal. Our excitement rose as we found that the probe had not lied. It was a goodstar—stable, old, companionless—and its friendly yellow glow diffracted through a pale, shimmering aura of ten quadrillion snowflakes . . . its shattered crystalsphere. “There’s a complete suite of planets,” announced Yen Ching, our cosmophysicist. His hands groped about in his holistank, touching in its murk what the ship’s instruments were able to decipher from this distance. “I can feel three gasgiants, about two million asteroid smallbodies, and”—he made us wait, while he felt carefully to make sure—“three littleworlds!” We cheered. With numbers like those, odds were that at least one of the rocky planets circled within the Lifezone. “Let me see . . . there’s one littleworld here that has—” Yen pulled his hand from the tank. He popped a finger into his mouth and tasted for a moment, rolling his eyes like a connoisseur savoring fine wine. “Water.” He smacked thoughtfully. “Yes! Plenty of water. I can taste life, too. Standard adenine-based carbolife. Hmmm. In fact, it’s chlorophyllic and left-handed!” In the excited, happy babble that followed, Moishe Bok, our captain, had to shout to be heard. “All right! People! Look, it’s clear none of us are going to get any sleep soon. Lifesciencer Taiga, have you prepared a list of corpsicles to thaw, in case we have found a goodworld?” Alice drew the list from her pocket. “Ready, Moishe. I have biologists, technicians, planetologists, crystallographers . . .” “You’d also better awaken a few archaeologists and Contacters,” Yen added dryly. We turned and saw that his hands were back in the holistank. His face bore a dreamy expression. “It took our civilization three thousand years to herd our asteroids into optimum orbits for space colonies. But compared with this system, we’re amateurs. Every small-body orbiting this star had been transformed. They march around like ancient soldiers on a drillfield. I have never even imagined engineering on this scale.” Moishe’s gaze flickered to me. As executive officer, it would be my job to fight for the ship, if Pelenor found herself in trouble . . . and to destroy her if capture were inevitable. Long ago, we had reached one conclusion. If goodstars without crystalspheres were rare, and dreamt of by a frustrated mankind, the same might hold for some other star-traveling race. If some other people had managed to break out of its shell, and now wandered about, like us, in search of another open goodstar, what would such a race think, upon detecting our ship? I know what we would think. We would think that the intruder had to come from somewhere . . . an open goodstar. My job was to make sure nobody ever followed Pelenor back to Earth. I nodded to my assistant, Yoko Murukami, who followed me to the armsglobe. We unfolded the firing panel and waited while Moishe ordered Pelenor piloted cautiously closer. Yoko looked at the panel dubiously. She obviously doubted the efficacy of even a mega-terawatt laser against technology of the scale described by Yen. I shrugged. We would find out soon. My duty was done the moment I flicked the arming switch and took hold of our deadman autodestruct. In the hours that passed, I watched the developments carefully, but could not help deepremembering. 4 Back in the days before starships—before Seeker broke Sol’s eggshell and precipitated the two-century CometWar—mankind had awakened to a quandary that caused the thinkers of those early days many sleepless nights. As telescopes improved, as biologists began to understand, and even tailormake life, more and more people began to look up at the sky and ask, “Where the hell is everybody?” The great lunar-based cameras tracked planets around nearby yellow suns. There were telltale traces of life even in those faint twenty-first-century spectra. Philosophers case nervous calculations to show that the galaxies must teem with living worlds. And as they prepared our first starships, the deepthinkers began to wonder. If travel between the stars was as easy as it appeared to be, why hadn’t the fertile stars already been settled by somebody else? After all, we were getting ready to head out and colonize. By even modest estimates of expansion rates, we seemed sure to fill the entire galaxy with human settlements within a few million years. So why hadn’t this already happened? Why was there no sign of traffic among the stars? Why had the predicted galactic radio network of communication never been detected? Even more puzzling . . . why was there absolutely no evidence that Earth had ever been colonized in the past? We were by then quite certain that our world had never hosted visitors from other worlds. For one thing, there was the history of the Precambrian to consider. Before the age of reptiles, before fish or trilobites or even amoebae, there was, on Earth, a two-billion-year epoch in which the only lifeforms were crude single-celled organisms without nuclei—the procaryotes—struggling slowly to invent the basic structure of life. No alien colonists ever came to Earth during all that time. We knew that for certain, for if they had, the very garbage they buried would have changed the history of life on our planet. A single leaky latrine would have filled the oceans with superior lifeforms that would have overwhelmed our crude little ancestors. Two billion years without being colonized . . . and then the silent emptiness of the radioways . . . the philosophers of the twenty-first century called it the Great Silence. They hoped the starships would find the answer. Then the very first ship, Seeker, somehow smashed the crystalsphere we hadn’t even known existed, and inadvertently explained the mystery for us. During the ensuing CometWar, we had little time for philosophical musings. I was born into that battle, and spent my first hundred years in harsh screaming littleships, blasting and herding iceballs that, left alone, would have fallen upon and crushed our fragile worlds. We might have let Earth fall then. After all, more than half of humanity at that time lived in space colonies, which could be protected more easily than any sittingduck planet. That might have been logical. But mankind went a little crazy when Earthmother was threatened. Belters herded cities of millions into the paths of hurling iceballs, just to save a heavy world they had only known from books and a faint blue-twinkle in the blackness. The psychists took a long time to understand why. At the time it seemed like some sort of divine madness. Finally the war was won. The comets were tamed and we started looking outward again. New starships were built, better than before. I had to wait for a berth on the twelfth ship, and the wait saved my life. The first seven ships were lost. As they beamed back their jubilant reports, spiraling closer to the beautiful green worlds they had found, they plowed into unseen crystalspheres and were destroyed. And, unlike Seeker, they did not accomplish anything by dying. The crystalspheres remained after the ships had been icecrushed into comets. We had all had such hopes . . . though those who remembered Seeker had worried quietly. Humanity seemed about to breathe free, at last! We were going to spread our eggs to other baskets, and be safe for the first time. No more would we have to fear overpopulation, crowding, or stagnation. And all at once the hopes were smashed—dashed against those unseen, deadly spheres. It took centuries even to learn how to detect the deathzones! How, we asked. How could the universe be so perverse? Was it all some great practical joke? What were these monstrous barriers that defied all the physics we knew, and kept us away from the beautiful littleworlds we so desired? For three centuries, humanity went a little crazy. I missed the worst years of the greatdepression. I was with a group trying to study the sphere around Tau Ceti. By the time I got back, some degree of order had been restored. But I returned to a solar system that had clearly lost a piece of its heart. It was a long time before I heard true laughter again, on Earth or on her smallbodies. I too went to bed and pulled the covers over my head for a couple of hundred years. 5 The entire crew breathed a reliefsigh when Captain Bok ordered me to put the safeties back on. I finally let go of my deadman switch and got up. The tension seeped away into a chain of shivers, and Alice had to hold me until I could stand again on my own. Moishe had ordered us off alert because the goodsun’s system was empty. To be accurate, the system teemed with life, but none of it was intelligent. The greater asteroids held marvelous, self-sustaining ecosystems, absorbing sunlight under great windows. Twenty moons sheltered huge forests beneath tremendous domes. But there was no traffic, no radio or light messages. Yen’s detectors revealed no machine activity, nor the thought-touch of analytical beings. It felt eerie to poke our way through those civilized lanes in the smallbody ways. For so long we had only performed such maneuvers in the well-known spaces of Solsystem. During those first centuries after the crystal crisis, some men and women still thought it would be possible to live among the stars. Belters mostly, they claimed aloud that planets were nasty, heavy places anyway. So who needed them? They went out to the badstars—red giants and tiny red dwarves, tight binaries and unstable suns. The badstars were protected by no crystalspheres. The would-be colonists found drifting clots of matter near the suns, and set up smallbody cities as they had at home. Every one of the attempts failed within a few generations. The colonists simply lost interest in procreation. The psychists finally decided the cause was related to the divine madness that had enabled us to win the CometWar. Simply put, men and women could live on asteroids, but they needed to know that there was a blue world nearby—to see it in their sky. It’s a flaw in our character, no doubt, but we cannot go out and live in space all alone. We have to have waterworlds, if the universe is ever to be ours. This system’s waterworld we named Quest, after the beast so long sought by King Pelenor, our ship’s namesake. It shone blue and brown, under a clean whiteswaddling of clouds. For hours we circled above it, and simply cried. Alice awakened ten corpsicles—prominent scientists who, the Worldcomps had promised, would not fall apart on the reawakening of hope. We watched them take their turn at the viewport, joytears streaming down their faces, and we joined them to weep freely once again. 6 Pelenor was hardly up to the task of exploring this system by herself. We spent a year recovering and modifying several of the ancient ships we found drifting over our planet, so that teams could spread out, investigating every farcorner of this system. By our second anniversary, a hundred biologists were quickscampering over the surface of Quest. They gene scanned the local flora and fauna excitedly, and already were modifying Earthplants to fit into the ecosystem without causing imbalance. Soon they would start on animals from our genetanks. Engineers exploring the smallbodies excitedly declared that they could get the lifemachines left behind by the prior race to work. There was room for a billion colonists out there, straight from the start. But the archeologists were the ones whose report we awaited most anxiously. Between my ferrying runs, they were the ones I helped. I joined them in the dusty ruins of Oldcity, at the edge of Longvalley, putting together piles of artifacts to be catalogued and slowly analyzed. We learned that the inhabitants had called themselves the Nataral. They were about as similar to us as we might have expected—bipedal, ninefingered, weirdlooking. Still, one got used to their faces after staring at their statues and pictures long enough. I even began to perceive subtle facial cues, and delicate, sensitive nuances of expression. When the language was cracked, we learned their race name and some of their story. Unlike the few other alien intelligences we had observed from afar, the Natarals were individuals, and explorers. They too had spread into their planetary system after a worldbound history fully as colorful and goodbad as our own. Like us, they had two conflicting dreams. They longed for the stars, for room to grow. And they also wished for other faces, for neighbors. By the time they built a starship—their first—they had given up on the idea of neighbors. There was no sign anybody had ever visited their world. They heard nothing but silence from the stars. Still, when they were ready, they launched their firstship toward their other dream—Room. And within weeks of the launching, their sun’s crystalsphere shattered. • • • • For two weeks we double-checked the translations. We triple-checked. For millennia we had been searching for a way to destroy these deadly barriers around goodstars . . . trying to duplicate on purpose what Seeker had accomplished by accident. And now we had the answer! The Nataral, like us, had managed to destroy one and only one crystalsphere. Their own. And the pattern was exactly the same, down to the CometWar that subsequently almost wrecked their high civilization. The conclusion was obvious. The deathbarriers were destructible, but only from the inside! And just when that idea was starting to sink in, the archaeologists dug up the Obelisk. 7 Our top linguist, Garcia Cardenas, had a flair for the dramatic. When Alice and I visited him in his encampment at the base of the newly excavated monument, he insisted on putting off all discussion of his discovery until the next day. He and his partners instead prepared a special meal for us, and raised their glasses to toast Alice. She stood and accepted their accolades with dry wit, and then sat down to continue nursing our baby. Old habits break hard, and only a few of the women had managed yet to break centuries of biofeedback conditioning not to breed. Alice was among the first to reactivate her ovaries and bring a child to our new world. It wasn’t that I was jealous. After all, I basked in the only slightly lesser glory of fatherhood. But I was getting impatient with all of this ballyhoo. Except for Moishe Bok, I was perhaps the oldest human here—old enough to remember when people had children as a matter of course, and therefore made time for other matters, when something important was up! Finally, when the celebration had wound down, Garcia Cardenas nodded to me, and led me out the back flap of the tent. We followed a dim path down a sloping trail to the digs, by the light of the ring of bright smallbodies the Nataral had left permanently in place over the equatorial sky of Quest. We finally arrived at a bright alloy wall that towered high above our heads. It was made of a material our techs had barely begun to analyze, and was nearly impervious to the effects of time. On it were inscribed hardpatterns bearing the tale of the last days of the Nataral. A lot of that story we knew from other translated records. But the end itself was still a mystery, and no small cause of nervousness. Had it been some terrible plague? Did the intelligent machines, on which both their civilization and ours relied, rebel and slaughter their master? Did their sophisticated bioengineering technology get out of their control? What we did know was that the Nataral had suffered. Like humans, they had gone out and found the universe closed to them. Both of their great dreams—of goodplaces to spreadsettle, and of other minds to meet—had been shattered like the deathsphere around their own star. Like humans, they spent quite a long time not entirely sane. In the darkness deep within the dig, Cardenas had promised I would find answers. As he prepared his instruments I listened to the sounds of the surrounding forestjungle. Life abounded on this world. There were lovely, complicated creatures, some clearly natural, and some just as clearly the result of clever biosculpting. In their creatures, in their art and architecture, in the very reasons they had almost despaired, I felt a powerful closeness to the Nataral. I would have liked them, I imagined. I was glad to take this world for humanity, for it might mean salvation for my species. Still, I regretted that the other race was gone. Cardenas motioned me over to a holistank he had set up at the base of the Obelisk. As we put our hands into the blackness, a light appeared on the face of the monolith. Where the light traveled, we would touch, and feel the passion of those final days of the Nataral. I stroked the finetuned, softresonant surface. Cardenas led me, and I felt the Endingtime as the Nataral meant it to be felt. • • • • Like us, the Nataral had passed through a long period of bitterness, even longer than we had endured until now. To them, indeed, it seemed as if the universe was a great, sick joke. Life was found everywhere among the stars. But intelligence arose only slowly and rarely, with many false starts. Where it did occur, it was often in a form that did not happen to covet space or other planets. But if the crystalspheres had not existed, the rare sites where starfaring developed would spread outward. Species like us would expand, and eventually make contact with each other, instead of searching forever among sandgrains. An elder race might arrive where another was just getting started, and help it over some of its crises. If the crystalspheres had not existed . . . But that was not to be. Starfarers could not spread, because crystalspheres could only be broken from the inside! What a cruel universe it was! Or so the Nataral had thought. But they persevered. And after ages spent hunting for the miraculous goodstar, their farprobes found five waterworlds unprotected by deathbarriers. My touchhand trembled as I stroked the coordinates of these accessible planets. My throat caught at the magnitude of the gift that had been given us on this obelisk. No wonder Cardenas had made me wait! I, too, would linger when I showed it to Alice. But then, I wondered, where had the Nataral gone? And why? With six worlds, surely their morale would have lifted! There was a confusing place on the Obelisk . . . talk of black holes and of time. I touched the spot again and again, while Cardenas watched my reaction. Finally, I understood. “Great Egg!” I cried. The revelation of what had happened made the discovery of the five good worlds pale into insignificance. “Is that what the crystalspheres are for?” I couldn’t believe it. Cardenas smiled. “Watch out for teleology, Joshua. It is true that the barriers would seem to show the hand of a creator at work. But it might be simply circumstance, rather than some grand design. “All that we do know is this. Without the crystalspheres, we ourselves would not exist. Intelligence would be more rare than it already is. And the stars would be almost barren of life. “We have cursed the crystalspheres for ten thousand years,” Cardenas sighed. “The Nataral did so for far longer—until they at last understood.” 8 If the crystalspheres had not existed . . . I thought about it that night, as I stared up at the shimmering, pale light from the drifting Shards, through which the brighter stars still shone. If the crystalspheres had not existed, then there would come to each galaxy a first race of star-treaders. Even if most intelligences were stay-at-homes, the coming of an aggressive, colonizing species was inevitable, sooner or later. If the crystalspheres had not existed, the first such star-treaders would have gone out and taken all the worlds they found. They would have settled all the waterworlds, and civilized the smallbodies around every single goodstar. Two centuries before we discovered our crystalsphere, we humans had already started wondering why this had never happened to Earth. Why, during the three billion years that Earth was “choice real estate,” had no race like us come along and colonized it? We found out it was because of the deathbarrier surrounding Sol, which kept our crude little ancestors safe from interference from the outside . . . which let our nursery world nurture us in peace and isolation. If the crystalspheres had not been, then the first star-treaders would have filled the galaxy, perhaps the universe. It is what we would have done, had the barriers not been there. The histories of those worlds would be forever changed. And there is no way to imagine the death-of-possibility that would have resulted. So, the barriers protect worlds until they develop life capable of cracking the shells from within. But what was the point? What benefit was there in protecting some young thing, only for it to grow up into bitter, cramped loneliness in adulthood? Imagine what it must have been like for the very first race of star-treaders. Never, were they patient as Job, would they find another goodstar to possess. Not until the next egg cracked would they have neighbors to talk to. No doubt they despaired long before that. Now we, humanity, had been gifted of six beautiful worlds. And if we could not meet the Nataral, we could, at least, read their books and come to know them. And from their careful records we could learn about the still earlier races which had emerged from each of the other five goodworlds, each into a lonely universe. Perhaps in another billion years the universe will more closely resemble the sciencefictional schemes of my grandfather’s day. Maybe then commerce will plow the starlanes between busy, talky worlds. But we, like the Nataral, came too early for that. We are cursed, if we hang around until that day, to be an ElderRace. I looked one more time toward the constellation we named Phoenix, whither the Nataral had departed millions of our years ago. I could not see the dark star where they had gone. But I knew exactly where it lay. They had left explicit instructions. Then I turned and entered the tent that I shared with Alice and our child, leaving the stars and shards behind me. Tomorrow would be a busy day. I had promised Alice that we might begin building a house on a hillside not far from Oldcity. She muttered some dreamtalk and cuddled close as I slipped into bed beside her. The baby slept quietly in her cradle a few feet away. I held Alice, and breathed slowly. But sleep came only gradually. I kept thinking about what the Nararal had given us. Correction . . . what they had lent us. We could use their six worlds, on the condition we were kind to them. Those were the same conditions they had accepted when they took the four worlds long abandoned by the Lap-Klenno, their predecessors on the lonely starlanes . . . and that the Lap-Klenno had agreed to on inheriting the three Thwoozoon suns . . . So long as the urge to spreadsettle was primary in us, the worlds were ours, and any others we happened upon. But someday our priorities would change. Elbowroom would no longer be our chief fixation. More and more, the Nataral had understood, we would begin to think instead about loneliness. I knew they were right. Someday my great-to-the-nth descendants would find that they could no longer bear a universe without other voices in it. They would tire of these beautiful worlds, and pack up the entire tribe to head for a darkstar. There, within the event horizon of a great black hole, they would find the Nataral, and the Lap-Klenno, and the Thwoozoon, waiting in a cup of suspended time. I listened to the wind gentleflapping the tent, and envied my great-nth grandchildren. I, at least, would like to meet the other star-treaders, so very much like us. Oh, we could wait around for a few billion years, till that distant time when most of the shells have cracked, and the universe bustles with activity. But by then we would have changed. By necessity we would indeed have become an ElderRace . . . But what species in its right mind would choose such a fate? Better, by far, to stay young until the universe finally becomes a fun place to enjoy! To wait for that day, the races who came before us sleep at the edge of their timestretched black hole. Within, they abide to welcome us; and we shall sit out, together, the barren early years of the galaxies. I felt the last shreds of the old greatdepression dissipate as I contemplated the elegant solution of the Nataral. For so long we had feared that the Universe was a practical joker, and that our place in it was to be victims—patsies. But now, at last, my darkthoughts shattered like an eggshell . . . like the walls of a crystalcage. I held my woman close. She sighed something said in dreamthought. As sleep finally came, I felt better than I had in a thousand years. I felt so very, very young.
18075	yago	0	84	https://vdoc.pub/documents/drawn-to-sound-animation-film-music-and-sonicity-vq91lh9bcu80	en	Drawn To Sound: Animation Film Music And Sonicity [PDF] [vq91lh9bcu80]	https://vdoc.pub/img/det…vq91lh9bcu80.jpg	https://vdoc.pub/img/det…vq91lh9bcu80.jpg	[ "https://vdoc.pub/theme/static/images/header-logo3.png", "https://vdoc.pub/theme/static/images/logo-socudoc-square.png", "https://vdoc.pub/theme/static/images/logo-socudoc-square.png", "https://vdoc.pub/img/detail/vq91lh9bcu80.jpg", "https://vdoc.pub/img/crop/300x300/vq91lh9bcu80.jpg", "https://vdoc.pub/img/crop/300x300/3p75v2dc1mkg.jpg", "https://vdoc.pub/img/crop/300x300/u7v6vn43njo0.jpg", "https://vdoc.pub/img/crop/300x300/40lbng1kfdm0.jpg", "https://vdoc.pub/img/crop/300x300/3be053j26jn0.jpg", "https://vdoc.pub/img/crop/300x300/qhlpuagk5d40.jpg" ]	[]	[]	[ "" ]	null	[]	null	Drawn To Sound: Animation Film Music And Sonicity [PDF] [vq91lh9bcu80]. Scoring animation film.	en	https://vdoc.pub/theme/s…avicon-32x32.png		https://vdoc.pub/documents/drawn-to-sound-animation-film-music-and-sonicity-vq91lh9bcu80	Toc: Scoring animation film. "Everybody scream!" : Tim Burton's animated gothic-horror musical-comedies / Janet K. Halfyard Halas and Batchelor's sound decisions : musical approaches in the British context / Paul Wells An animated partnership : Joe Hisaishi's musical contributions to Hayao Miyazaki's films / Kyoko Koizumi -- Musical intertextuality. Something old, something new, something borrowed-- something blue : the Beatles' Yellow submarine / Ian Inglis Polar grooves : dance, music and musicality in Happy feet / Philip Hayward Minstrelsy and musical framing in Who framed Roger Rabbit? / Neil Lerner An aesthetic of ambiguity : musical representation of indigenous peoples in Disney's Brother bear / Janice Esther Tulk -- Music and sonicity. Sonic nostalgia and Les triplettes de Belleville / Daniel Goldmark Resilient appliances : sound, image and narrative in The brave little toaster / Jon Fitzgerald and Philip Hayward Lupin III and the Gekiban approach : western-styled music in a Japanese format / Kentaro Imada -- Music and industrial contexts. DreamWorking Wallace & Gromit : musical thematics in The curse of the were-rabbit / Rebecca Coyle and Peter Morris Cowboy bebop : corporate strategies for animation music products in Japan / Aki Yamasaki Disney does Broadway : musical storytelling in The little mermaid and The lion king / Rebecca Coyle and Jon Fitzgerald.
18075	yago	1	27	http://www.hri.org/news/turkey/anadolu/2000/00-09-17.anadolu.html	en	Anadolu Agency: News in English, 00			[ "http://www.hri.org/images/logo_hrnet.gif", "http://www.hri.org/images/arch_blue_top.gif", "http://www.hri.org/images/topbar/home_off.gif", "http://www.hri.org/images/topbar/about_off.gif", "http://www.hri.org/images/topbar/news_off.gif", "http://www.hri.org/images/topbar/sites_off.gif", "http://www.hri.org/images/topbar/documents_off.gif", "http://www.hri.org/images/topbar/services_off.gif", "http://www.hri.org/images/topbar/usage_off.gif", "http://www.hri.org/images/topbar/contact_off.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/hri_project.gif", "http://www.hri.org/images/arch_yellow_top.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/arch_yellow_bottom.gif", "http://www.hri.org/images/blank.gif", "http://www.hri.org/images/arch_yellow_bottom_left.gif", "http://www.hri.org/images/top.gif" ]	[]	[]	[ "" ]	null	[]	null					null	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
18075	yago	2	25	https://www.popularmechanics.com/science/a46854031/time-crystal-long-lasting/	en	Scientists Built a Time Crystal That Lasted for 40 Minutes. 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"https://www.popularmechanics.com/_assets/design-tokens/latest/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523000000&id=social-button-icon", "https://www.popularmechanics.com/_assets/design-tokens/latest/fre/static/icons/social/instagram.f282b14.svg?primary=%2523000000&id=social-button-icon", "https://www.popularmechanics.com/_assets/design-tokens/latest/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523000000&id=social-button-icon", "https://www.popularmechanics.com/_assets/design-tokens/latest/popularmechanics/static/images/logos/network-logo.910b3ba.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Darren Orf" ]	2024-02-24T14:00:04.355846+00:00	This state of matter laughs in the face of decay.	en	/_assets/design-tokens/latest/popularmechanics/static/images/favicon.ee0d102.ico	Popular Mechanics	https://www.popularmechanics.com/science/a46854031/time-crystal-long-lasting/	A relatively new field in physics, time crystals display mind-bending properties—being arranged in repeating patterns like crystals, but in time instead of space. Although scientists have created many discrete time crystals, only one team has been able to create a continuous time crystal, and for only a few milliseconds. Now, scientists from TU Dortmund have created one that lasted 10 million times longer, at around 40 minutes. Time crystals are one of the most mind-bending concepts in modern physics—so mind-bending, in fact, that even their name feels more at home in Middle-Earth than actual Earth. While the atoms of normal, everyday crystals are arranged in a repeating pattern in space, time crystals are additionally arranged in a repeating pattern in time—essentially, they are crystals existing in a dimension beyond our typical 3D perception. “It’s a way to kind of have your cake and eat it too” said U.S. Nobel laureate Frank Wilczek, who first conceived of time crystals in 2012. Time crystals are created similar to how many things are created in advanced physics—through the use of super-cooled atoms (i.e. a Bose-Einstein condensates) and lasers. Although this fascinating new phase of matter could have game-changing applications in the world of quantum computing, they don’t tend to survive very long. In 2022, for example, scientists from Universität Hamburg observed a continuous time crystal, but it only lasted for a few milliseconds. Now, researchers from TU Dortmund University have created a continuous time crystal that lasted 10 million times longer, at around 40 minutes. To use Wilczek’s own words—that’s a lot of cake. To create this time crystal, TU Dortmund physicist Alex Greilich and his team created a crystal of indium gallium arsenide doped with silicon (a.k.a. a semiconductor). In this crystal, the nuclear spins “act as a reservoir for the time crystal,” according to the university press statement. Once cooled to 6 Kelvin and shot with a laser, a nuclear spin forms as a result of the laser’s interaction with loosely-held electrons. Then, the polarization of the nuclear spin creates oscillations resembling a time crystal. And amazingly, this repeating oscillation lasted a whole 40 minutes—an order of magnitude far greater than any continuous time crystal that’s come before. The results of this study were published in late January . While 40 minutes is quite the achievement, it could also only be the beginning of how long these kinds of time crystals can exist. According to ScienceAlert, this crystal showed no signs of decay in 40 minutes, implying that future time crystals could last for hours, or even longer. This is all well and good, but... what would we even use these time crystals for? Previous work has suggested that time crystals could find applications in the world of quantum computing, where linked time crystals act as qubits. But as with many amazing breakthroughs and discoveries, scientists don’t really know what uses could be dreamed up in the future—just as the inventors of the transistor in the late 1940s couldn't foresee the iPhone.
18075	yago	3	86	https://www.yumpu.com/en/document/view/38784327/greek-cinema-hellenic-university-club-of-southern-california	en	Greek cinema - Hellenic University Club of Southern California	https://www.yumpu.com/en…ook/38784327.jpg	https://www.yumpu.com/en…ook/38784327.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/38784327/1/500x640/greek-cinema-hellenic-university-club-of-southern-california.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://img.yumpu.com/48416803/1/190x245/greek-cinema-100-years-of-film-history-1900-2000-hellenic-.jpg?quality=85", "https://img.yumpu.com/40777394/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/38784317/1/190x245/flier-and-synopsis.jpg?quality=85", "https://img.yumpu.com/14614070/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/11379532/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/6511030/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "huc.org", "participated", "festival", "nikos", "giorgos", "directed", "demetris", "greece", "produced", "kostas", "cinema", "hellenic", "southern", "huc.org" ]	null	[ "Yumpu.com" ]	null	Greek cinema - Hellenic University Club of Southern California	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/38784327/greek-cinema-hellenic-university-club-of-southern-california	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
18075	yago	0	1	https://www.onassis.org/people/tonia-marketaki	en				[]	[]	[]	[ "" ]	null	[]	null					null
18075	yago	2	64	https://httydfanon.fandom.com/wiki/Crystal_Fury	en	Crystal Fury	https://static.wikia.nocookie.net/httydfanon/images/b/b6/Crystal_fury.png/revision/latest/scale-to-width-down/1200?cb=20160822131424	https://static.wikia.nocookie.net/httydfanon/images/b/b6/Crystal_fury.png/revision/latest/scale-to-width-down/1200?cb=20160822131424	[ "https://static.wikia.nocookie.net/httydfanon/images/e/e6/Site-logo.png/revision/latest?cb=20210603090025", "https://static.wikia.nocookie.net/httydfanon/images/b/b6/Crystal_fury.png/revision/latest/scale-to-width-down/354?cb=20160822131424", "https://static.wikia.nocookie.net/httydfanon/images/3/3a/Crystal_fury_blast.png/revision/latest?cb=20160822135601", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to How to Train Your Dragon Fanon Wiki" ]	2024-07-29T22:27:06+00:00	The Crystal Fury is a subspecies of Night Furies that have evolved to blend in with caves with crystals in them. A typical Crystal Fury's fins, armour plates, and ear-like growths appear to be made of the same mineral as their eggs, as well as their claws. These are a special type of armour...	en	/skins-ucp/mw139/common/favicon.ico	How to Train Your Dragon Fanon Wiki	https://httydfanon.fandom.com/wiki/Crystal_Fury	The Crystal Fury is a subspecies of Night Furies that have evolved to blend in with caves with crystals in them. Appearance[] A typical Crystal Fury's fins, armour plates, and ear-like growths appear to be made of the same mineral as their eggs, as well as their claws. These are a special type of armour that will eventually grow across the entire Fury if given enough time. Most Crystal Furies have labradorescent, iridescent, or opalescent armour. A dwindling minority has quartzescent armour, as the example above. Their bodies are usually black or a very dull colour, and are typically iridescent, shifting multiple colours in the light. Juveniles removed from the caves will never grow their armour, and when they are adults, they look little different from a normal Night Fury aside from their slimmer build, spikier growths, and iridescent or sparkling skin, which they are commonly hunted for as clothing or decor. Similar to that of the Light Fury, many Crystal Furies are known to heat their armour to a reflective state with plasma blasts, helping to camouflage better within cave systems. However, usually many of these Crystal Furies are labradorescent, or iridescent types - the quartzescent and opalescent types, as having different scales, cannot heat them to a point of reflection. However, the quartzescent types are known to have facets upon their plates, which can give an automatic reflective sheen, and the opalescent types refract differently coloured rays of light. Genetic Structure[] It is related to Night Furies and Light Furies, diverging from a mutual common ancestor about 300,000 years ago and adapting to their high mineral environment. This MCA is theorized to look generally like the common Night Fury of today, however it is theorized to have had subtle patterning not unlike that of a melanistic leopard or jaguar, about 30% bigger size with bulkier armour plates, and sabre teeth. It may have even had fur or feathers. The wingspan may have been up to 50% the size of what they are today. The Crystal Fury has retained a smaller size, but many Crystal Furies are known to grow irretractable sabre teeth, likely a vestigial trait. They can interbreed with Night Furies and Light Furies. It has been suggested that the various types may be different ethnicities of Crystal Furies rather than one overarching superfamily, as between varieties there are subtle details that can affect studies and subsequently the information gathered within. It is shown that differing settlements, though similar, can have higher concentrations of certain varieties depending upon the breeding pairs and their gene pools. Genetic testing shows that the different types of scales are passed through families and many are partial to certain features as, faceting, shimmering, etc, by an inherited trait limited to that of their type, with iridescent types with shimmering being the most common over all and quartzescent with faceting being relatively rare. There are atypical and half-sequenced genetic traces that may originate from a now extinct previous Fury race which are reconstructed as having had aventurescent armour, with these aventurescent types possibly being the Furies depicted living harmoniously with humans upon the walls in the Finnish Caverns where the Crystal Furies were first discovered. Habitat[] The majority of their home and food source are currently unknown and perhaps multiple colonies are hidden across the world, but using sonar blasts in the Finnish Caverns where they had been discovered, studies have shown that there are underground labyrinths with pools of freshwater. Animals taken from the area have a much higher mineral count. It is very likely that the reason for the vivid colouration in the Crystal Fury's jewel plates is because of their diet. Theories speculate that the Crystal Furies themselves created these cave systems like ants, but readings and tests show that these were not created by any dragon. There have been intricate carvings that show humans and dragons together on the walls that suggest an ancient, highly advanced but lost to time civilization created them for the Furies as refuge. Sociability[] Usually a very friendly creature, they live in packs, and have a highly complicated hierarchy for their species, with one absolute ruler, a 'King' or 'Queen', who usually has five 'Royal Guards', who have their own 'Squadron Leaders', who have their 'Soldiers'. Eggs[] Their eggs are about the size of a full grown human male's head, and in the first few weeks, they are jet black in colouration. Compared to other dragons, a Crystal Fury's eggs are slow to hatch, and usually take more than a month, in which the mineral-rich shells act as a starter for small crystals to start growing on the gemstone. This is not intentional, but it works to both conceal and prevent predators from cracking open the egg. More than one time a sticky-handed thief with more greed than brains has snatched one or two eggs from the nests of a Crystal Fury, intent on cutting them up to sell them as precious gemstones and jewelry, and came out little more than a pile of smoking bones. Statistics[] Strength: Can fight off a Monstrous Nightmare with ease. 8/10. Agility: Pretty fast, but not as fast as a Night Fury. 6/10. Camouflage: You won't spot them coming if you're in a cave. 9/10. Climbing: If you're a tree dweller, you might want to move. 6/10. Firing: Their plasma blasts are like that of a Night Fury's, but are hotter than a Monstrous Nightmare on fire. 10/10. Echolocation: Can spot anything with sound, if it's not too far away or flying. 6/10. Weaknesses: Flashlights, anything that can emit light in a cave, Dragon Root, Dragon Nip, scratches on the chin, shiny things. Notes[] Sometimes a Fury's crystals can grow on their tails, and they can shoot these at will, but have their own limit. It is debated if it should go into Sharp class rather than Mystery class. Like most Fury subspecies, they are incredibly curious creatures, and such curiosity can get the better of them. Depending on the minerals consumed, a Fury's crystals can be most any colour. There have been no cases of an Alpha Crystal Fury yet, likely due to no competition in the past hundreds of years. Known Crystal Furies: Shimmer, Glimmer and Speckle (near adult juvenile male triplets who were stolen by thieves, confiscated, then grew up in a dragon park alongside Dire Strait and Tempestas, friendly to humans and other dragons, very sociable akin to dogs, examples of armour plates not growing in) Dune (adult male, hostile towards humans but passive amongst own kind, downed by a slayer but saved by conservationists, example of the rare quartzescent type shown above) Dire Strait (adult female, sociable, hatched into manmade crystal cavern / dragon park and fed with animals from the known Crystal Fury habitat, example of labradorescent type) Tempestas (adult female, shy but friendly, hatched into an arena, confiscated and then placed in a healthy dragon park, example of opalescent type) Veritas (adult male, asocial, living within his own territory, example of iridescent type) Kor (juvenile male, asocial, son of Veritas, example of iridescent type)
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Anually in May the festival presents about 110 international documentary films on the big screen at 20 partner venues in the centre of Munich. The programme is divided into four main competitions and nine series. After two online editions, the festival has been held as a dual event since 2022: on the big screen in the cinema as well as on the digital screen @home. The 39th edition is scheduled for May 1-12 in cinemas and additional May 6-20 @home with selectied films online throughout Germany. Browse the full programme here and stay tuned FB. Every year, the programme brings together a selection of the most outstanding current international documentary films. The festival presents the highlights of documentary filmmaking and at the same time is guided by a clear curatorial signature. Three main competitions are at the heart of the programme: DOK.international Main Competition, DOK.deutsch Competition and DOK.horizonte – Cinema of Urgency. With the Student Award and the FFF Talent Award Documentary Film, we also present two relevant prizes for up-and-coming filmmakers. In the programme sections DOK.panorama, Best of Fests, DOK.music, Munich Premieres, DOK.4teens and In Memoriam, the festival presents numerous specials, often in cooperation with selected partners from art, culture and society in Munich and beyond. The award winning german documentaries are: VIKTOR DOK.international: JOHATSU – INTO THIN AIR \| JOHATSU – DIE SICH IN LUFT AUFLÖSEN by Andreas Hartmann, Arata Mori, 86min, WS: CAT&Docs, D: RFF – Real Fiction Filmverleih, P: Ossa Film, [Main Competition] Jury statement: "Picking one out of so many beautifully and impressively told stories was not an easy task, and we would like to congratulate all of the competition filmmakers on making such important and impactful work. We decided to award a film that introduced us to a world and issues we didn’t know existed. One that did so in a deeply empathetic and moving way, while also taking us on an immersive cinematic journey with its intimate – yet far from intrusive – camerawork and evocative music. The filmmakers successfully wove together very complex stories of loneliness, despair and shame – without any sense of judgment, and instead with deep respect for individual human experiences. It's a unique and delicately crafted film that moved and surprised us, and we hope it will be seen and appreciated by audiences around the world. The VIKTOR award in the section Main Competition DOK.international goes to: JOHATSU – INTO THIN AIR by Andreas Hartmann and Arata Mori. Congratulations!" VIKTOR DOK.horizonte Competition – Cinema of Urgency: KAMAY by Ilyas Yourish, Shahrokh Bikaran, 105min, WS: CAT&Docs, P: Clin d'oeil films, ROW Pictures, [DOK.horizonte] Jury statement: "We would like to reward a previously untold story that sheds light on the heartbreaking events that take place in one family, reflecting the drama of a whole ethnic group. The directors carefully guide the viewer through the grief of the family members, revealing the roots of hundreds of years of oppression. The two directors of KAMAY, llyas Yourish and Shahrokh Bikaran, are also searching for a unique cinematic language to preserve and represent the culture of the Hazara people and find a considerate and poetic way to make their voices heard. We appreciate their respectful approach towards the sensitive subject matter and the protagonists, who find themselves in a vulnerable position, as well as the directors’ brave attempt to expose the issues standing in the way of achieving justice for the protagonists’ daughter. We hope that this film will help raise awareness about the current situation in Afghanistan and give more attention to and space for the voices of refugees from the region. Congratulations!" FFF-Förderpreis Dokumentarfilm: EXILE NEVER ENDS by Bahar Bektas, 100min, P: Pink Shadow Films, [Filmmaking in Exile] Jury statement: "It is rare for a documentary to capture the full complexity of the experience of exile. EXILE NEVER ENDS is a remarkable exception because it explores two exiles: of a Kurdish family, who fled persecution from Turkey to Germany, and of the two sons who question their relationship with the country they grew up in. It touches on issues such as generational conflict and the challenges of integration without following an agenda of its own. This multi-layered, intimate story is told by Bahar Bektas, who sensitively traces the complex emotions of her family members, while asserting a space of her own, as she delves into the emotional and geographical realms of displacement and new beginnings. The jury was unanimous in recognising the sensitivity and exploration demonstrated by a very talented director. Congratulations!" megaherz Student Award: HAUSNUMMER NULL by Lilith Kugler, 90min, P: now films, Torero Film, Filmuniversität Babelsberg KONRAD WOLF, [Student Award] Jury statement: "We, the Student Award jury, have chosen a film that touched us from the very first shot, captivated us for 95 minutes in the darkness of the cinema and has not let go ever since. HAUSNUMMER NULL is a courageous film that focuses closely and with a clear view on its protagonist, but also accompanies the important supporting characters through harsh reality with a loving eye. It is an important film because it really engages with this harsh reality that others only glimpse at. And it is also a beautiful film because the camera repeatedly finds images and perspectives that fascinate and gently guide our gaze. Working as a filmmaker also means constantly developing a method to do the subject and the protagonists justice. Maintaining integrity, going where others look away, having confidence in your own project and never losing it: the director has achieved all of this. We congratulate Lilith Kugler on winning the Student Award 2024 for her film HAUSNUMMER NULL." kinokino Audience Award HIS PARENTS \| JENSEITS VON SCHULD by Katharina Köster, Katrin Nemec, 79min, P: Trimafilm, D: RFF – Realfiction Filmverleih, [DOK.deutsch Competition] The media call their son the 'patient killer.' He was given a life sentence for his numerous crimes. Life goes on for his parents Ulla and Didi Högel but nothing is the same as before. They must accept the bitter truth, figure out how to cope with everyday life and reposition themselves in relation to their child. A compelling, precisely observed film about parenthood and love. [39 DOK.fest München catalogue, Ysabel Fantou] AND VFF Documentary Film Production Award : VENEZUELA: COUNTRY OF LOST CHILDREN \| LAND DER VERLORENEN KINDER by Juan Camilo Cruz, Marc Wiese. P: Dreamer Joint Venture Filmproduktion GmbH. [DOK.panorama] From the jury statement: "It is impressive to see the adverse conditions under which Oliver Stoltz and his team made this film: Without the protection of a gang of youths, filming on location would have been too dangerous; professional camera equipment had to be smuggled in over the border. In a country where foreign camera teams are monitored at every turn, a project like this can only succeed with the utmost conspiracy. To this end, the producer used a local crew. Oliver Stoltz has proven to have nerves of steel and deserves public recognition for the successful completion of this film: in this case, the VFF Documentary Film Production Award 2024." German Documentary Film Music Award: MY STOLEN PLANET by Farahnaz Sharifi, P: JYOTI Film, Pak Film, WS: CAT&Docs, [Filmmaking in Exile] From the jury statement: "The film music by Atena Eshtiaghi (1989 in Iran) is particularly effective because of what it does not do. She avoids the conventions of illustrative film music and instead uses silence as a stylistic device for this equally radical and personal film by Farahnaz Sharif. The director’s private video archive of old Super 8 recordings, edited together with footage of current demonstrations, is highly politically charged against the backdrop of the comprehensive ban on images in Iran. Atena Eshtiaghi gives strong expression to these messages of uncensored life by accompanying the images with minimalist patterns rather than pathetically exaggerating them. This creates a sense of distance and, at the same time, creates spaces of time in which a great sadness is inscribed. Eshtiaghi’s music does not clothe the film in a pleasing rhythm, rather it emphasizes the heterogeneity and creates a resonance space for what the film is about through its precise texture: Isolation, resistance, hope." The Audience Award 2024 goes to HIS PARENTS \| JENSEITS VON SCHULD by Katharina Köster, Katrin Nemec — a former DOK.forum Marketplace 2023 project. LineUp German productions and co-productions showcasing in the programme of the festival: 2UNBREAKABLE by Maike Conway, 90min, D: Cine Global, [Munich Premieres] CHILDREN OF THE FOREST \| WALDKINDER by Maximilian Plettau, 92min, P: Nominal Film, [Munich Premieres] DANN GEHSTE EBEN NACH PARCHIM – VON DER LEIDENSCHAFT DES JUNGEN THEATERS by Dieter Schumann, 94min, P: Basthorster Filmmanufaktur, D: RFF – Realfiction Filmverleih, [DOK.deutsch Competition] DEMOCRACY NOIR by Connie Field, 113min, P: Clarity Films, Real Lava, ma.ja.de., T, [DOK.focus Democrazy] DANGEROUSLY CLOSE \| GEFÄHRLICH NAH – WENN BÄREN TÖTEN by Andreas Pichler, 90mon, WS: Autlook, P: beetz brothers film production, Miramonte Film KG, [Main Competition] DISCO FOX by Carmen Kirchweger, 103min, P: ndf Entertainment GmbH, [Munich Premieres] DORIS DÖRRIE – DIE FLANEUSE by Sabine Lidl, 64min, P: Medea Film Factory, [Munich Premieres] ECHOES FROM BORDERLAND by Lara Milena Brose, 70min, P: HFF Munich, [Student Award] EINHUNDERTVIER \| ONE HUNDRED FOUR by Jonathan Schörnig, 93min, P: Jonathan Schörnig, WS: UCM.ONE GmbH, [Best of Fests] ELEVEN TOMORROWS \| ELF MAL MORGEN: BERLINALE MEETS FUSSBALL by Maximilian Bungarten, Anna-Maria Dutoit, Kilian Armando Friedrich, Indira Geisel, Eva Gemmer, Felix Herrmann, Hannah Jandl, Justina Jürgensen, Hilarija Laura Locmele, Daniela Magnani-Hüller, Sophie Mühe, Camille Tricaud, Marie Zrenner, 110min, P: Internationale Filmfestspiele Berlin, BENEDETTA FILMS, HFF Munich, [Munich Premieres] EMPEROR by Marion Burger, Ilan Cohen, 40min, P: Reynard Films, Atlas V, [VR Pop Up Kino] THE EMPTY GRAVE \| DAS LEERE GRAB by Agnes Lisa Wegner, Cece Mlay, 97min, [DOK.network Africa] ETERNAL YOU \| ETERNAL YOU – VOM ENDE DER ENDLICHKEIT by Hans Block, Moritz Riesewieck, WS: DOGWOOF, P: beetz brothers film production, [DOK.panorama] THE ENTREPRENEUR, THE VILLAGE AND THE ARTIST \| DER UNTERNEHMER, DAS DORF UND DIE KÜNSTLER by Marcelo Busse, Julia Suermondt, 86min, P: Marcelo Busse Filmproduktion, [DOK.deutsch Competition] EVERYTHING BELONGS TO YOU / EVERYTHING IS YOURS \| ALLES GEHÖRT DIR by Mani Pham Bui, Hien Nguyen, 13min, P: DrehsUm, [DOK.education]_ EXILE NEVER ENDS by Bahar Bektas, 100min, P: Pink Shadow Films, [Filmmaking in Exile] FRAGMENTE AUS DER PROVINZ by Martin Weinhart, 84min, P: CROSS MEDIA Medienproduktion, [DOK.focus Democrazy] FREDDY – I DIVE FOR GHOST NETS \| FREDDY – ICH TAUCHE NACH GEISTERNETZEN by Bernadette Hauke, 15min, P: Pangolin Doxx, [DOK.education] HAUSNUMMER NULL by Lilith Kugler, 90min, P: now films, Torero Film, Filmuniversität Babelsberg KONRAD WOLF, [Student Award] HENRY FONDA FOR PRESIDENT by Alexander Horwath, 184min, P: Medea Film Factory GmbH, Mischief Films, [Best of Fests] HIS PARENTS \| JENSEITS VON SCHULD by Katharina Köster, Katrin Nemec, 79min, P: Trimafilm, D: RFF – Realfiction Filmverleih, [DOK.deutsch Competition] HOLLYWOODGATE by Ibrahim Nash’a, 92min, WS: Cinephil, [DOK.panorama] IN WOLF COUNTRY \| IM LAND DER WÖLFE by Ralf Bücheler, 102min, WS: RISE AND SHINE WORLD SALES U.G., P: if… Productions Film, D: mindjazz pictures , [Munich Premieres] I WANNA BE UR DOG by Oliver Czeslik, Kathrin Brunner, 38-62min, P: mYndstorm productions, [VR Pop Up Kino] JOANA MALLWITZ – MOMENTUM by Günter Atteln, 88min, P: accentus music, D: déjà-vu FILM, [DOK.music] JOHATSU – INTO THIN AIR \| JOHATSU – DIE SICH IN LUFT AUFLÖSEN by Andreas Hartmann, Arata Mori, 86min, WS: CAT&Docs, D: RFF – Real Fiction Filmverleih, P: Ossa Film, [Main Competition] KAMAY by Ilyas Yourish, Shahrokh Bikaran, 105min, WS: CAT&Docs, P: Clin d'oeil films, ROW Pictures, [DOK.horizonte] THE LADY WITH THE ARROWS \| DIE VISION DER CLAUDIA ANDUJAR by Heidi Specogna, 89min, WS: RUSHLAKE MEDIA, P: LICHTBLICK FILM, PS Film, D: W-film, Filmcoopi Zürich AG, [DOK.horizonte] MALQUERIDAS by Tana Gilbert, Editor: Javiera Velozo, 75min, WS: Square Eyes Film, P: ERRANTE PRODUCTIONS, Dirk Manthey Film, [Main Competition] MANANA SOL by Denis Pavlovic, 90min, P: GLASS FROG FILMS, Filmakademie Baden-Württemberg, [Student Award] MANHOOD \| MANNSCHAFT by Tobit Kochanek, 71min, P: Filmakademie Baden Württemberg, [Student Award] MISTY – THE ERROLL GARNER STORY by Georges Gachot, 93min WS: The Party Film Sales, D: RFF – Real Fiction, P: Gachot Films, Idéale Audience, Achtung Panda! Media, 2 Pilots Filmproduction, _ [DOK.music] MY STOLEN PLANET by Farahnaz Sharifi, P: JYOTI Film, Pak Film, WS: CAT&Docs, [Filmmaking in Exile] THE NEW GOOD GERMAN \| DER NEUE GUTE DEUTSCHE by Peter Heller, 72min, P: Filmkraft, [DOK.network Africa] OF CARAVAN AND THE DOGS by Askold Kurov, Anonymous 1, 89min, P: Askold Kurov, WS: RISE AND SHINE, [DOK.focus Democrazy] OMAR AND CEDRIC: IF THIS EVER GETS WEIRD by Nicolas Jack Davies, 85min, WS: auTLOOK FILMSALES, [DOK.music] OMI NOBU – THE NEW MAN by Carlos Yuri Ceuninck, 64min, P: NRW sprl – NEON ROUGE PRODUCTION, AUTENTIKA FILMS, KORI KAXORU FILMS, [DOK.horizonte] OUR LAND, OUR FREEDOM by Meena Nanji, Zippy Kimundu, 100min, WS: First Hand Films, P: Muiraquita Filmes, Twende Pictures, AUTENTIKA FILMS, [DOK.horizonte] THE PICKERS \| BITTERE FRÜCHTE – AUSBEUTUNG IN DER LANDWIRTSCHAFT by Elke Sasse, 80min, P: berlin producers Media GmbH, [DOK.panorama] POL POT DANCING by Enrique Sanchez Lansch, 99min, WS: NEW DOCS, P: Fruitmarket Arts & Media GmbH, Up North Films, [DOK.panorama] RESTORATION by Gudrun Gruber, 72min, P: NeoSolaris Filmproduktion, [Student Award] ROUTE 181 \| ROUTE 181 – FRAGMENTE EINER REISE IN PALÄSTINA – ISRAEL by Eyal Sivan, Michel Khleifi, WS: mec film, ©2003 [DOK.special: Israel-Palästina] SHAHID by Narges Kalhor, 82min, P: Michael Kalb Filmproduktion, [Filmmaking in Exile] THE SILENCE OF 600 MILLION RESULTS by Sophie Lahusen, 15min, P: headroom GbR, [Student Award] SILENT TREES by Agnieszka Zwiefka, 84min, P: ma.ja.de. Filmprod. [DOK.panorama] STICK TOGETHER \| BIS HIERHIN UND WIE WEITER? D: W-film, [Student Award] SUBJECT: FILMMAKING [THE FILMING CLASSROOM] \| FILMSTUNDE_23 by Edgar Reitz, Jörg Adolph, 89min, WS: RISE AND SHINE WORLD SALES U.G., D: RFF – Real Fiction Filmverleih, P: if…Productions Film GmbH, [Munich Premieres] TELL THEM ABOUT US by Rand Beiruty, 92min, WS: Syndicado Film Sales, [DOK.deutsch Competition] TODAY IS TOMORROW'S YESTERDAY \| HEUTE IST DAS GESTERN VON MORGEN by Jonas Neumann, 82min, P: Michael Kalb Filmproduktion, [Munich Premieres] TRUST ME by Joanna Ratajczak, 88min, P: Dreamer Joint Venture Filmproduktion, [DOK.deutsch Competition] VENEZUELA: COUNTRY OF LOST CHILDREN \| LAND DER VERLORENEN KINDER by Juan Camilo Cruz, Marc Wiese. P: Dreamer Joint Venture Filmproduktion GmbH. [DOK.panorama] WATCHING YOU – THE WORLD OF PALANTIR AND ALEX KARP \| WATCHING YOU – DIE WELT VON PALANTIR UND ALEX KARP by Klaus Stern, 99min, WS: RISE AND SHINE, [Main Competition] WHERE WE USED TO SLEEP by Matthäus Wörle, 82min, P: megaherz GmbH, [Main Competition] VFF Documentary Film Production Award focuses on the work of documentary film producers is sponsored by the VFF Verwertungsgesellschaft der Film und Fernsehproduzenten mbH and is endowed with € 7,500.–. This year's award goes to producer Oliver Stoltz for the documentary VENEZUELA: COUNTRY OF LOST CHILDREN \| LAND DER VERLORENEN KINDER by directors Juan Camilo Cruz and Marc Wiese. Oliver Stoltz produced the film with his company Dreamer Joint Venture Filmproduktion GmbH. From the jury statement: "It is impressive to see the adverse conditions under which Oliver Stoltz and his team made this film: Without the protection of a gang of youths, filming on location would have been too dangerous; professional camera equipment had to be smuggled in over the border. In a country where foreign camera teams are monitored at every turn, a project like this can only succeed with the utmost conspiracy. To this end, the producer used a local crew. Oliver Stoltz has proven to have nerves of steel and deserves public recognition for the successful completion of this film: in this case, the VFF Documentary Film Production Award 2024." The award ceremony and the German premiere of VENEZUELA: COUNTRY OF LOST CHILDREN \| LAND DER VERLORENEN KINDER will take place on Tuesday, 7 May at HFF Munich. Nominees are the following films with outstanding creative significance of the production: BLACK WATER GREEN GOLD by Axel Javier Sulzbacher, Producer: Axel Javier Sulzbacher, Tzintzuni Studio, THE GIRLS WHO RIDE DRAGONS by Peyman Ghalambor, Producer: Peyman Ghalambor, HIS PARENTS (WT: BEYOND GUILT) \| JENSEITS VON SCHULD by Katharina Köster, Katrin Nemec, Producer: Isabelle Bertolone, David Armati Lechner, Trini Götze, Trimafilm, POLIZEIAKADEMIE – POLICE ACADEMY BERLIN by Moritz Schulz, Producer: Maximilian Becht, Kojoten Filmproduktion, DIE WELT AUF RÄDERN by Felix Rudolph, Producer: Fabian Schwarz, Comoedia Mundi e.V., VENEZUELA: COUNTRY OF LOST CHILDREN \| LAND DER VERLORENEN KINDER by Juan Camilo Cruz, 93min, Producer: Oliver Stoltz, Dreamer Joint Venture Filmproduktion GmbH, WATCHING YOU – THE WORLD OF PALANTIR AND ALEX KARP \| WATCHING YOU – DIE WELT VON PALANTIR UND ALEX KARP by Klaus Stern, 99min, Producer Klaus Stern, Sternfilm, WS: RISE AND SHINE, [OPENING] DOK.edit Award is endowed with € 5000.- and aims to shed light on the post-production of documentaries and to honor the work of editors. The nominated films will be presented at #DOKfest2024 with extended Q&As with the DOK.edit jury and the respective editor. Among the six nominated documentaries are the following three German productions and co-productions. EINHUNDERTVIER by Jonathan Schörnig, 93min, P: Jonathan Schörnig, Editors: Jonathan Schörnig, Moritz Petzold, [nominated for DOK.edit Award] MALQUERIDAS by Tana Gilbert, Editor: Javiera Velozo, 75min, WS: Square Eyes Film, P: Erante Productions, Dirk Manthey Film, [nominated for DOK.edit Award] MISTY – THE ERROLL GARNER STORY by Georges Gachot, Editors: Hansjörg Weissbrich, Stephan Krumbiegel, Vincent Pluss, 93min WS: The Party Film Sales, D: RFF – Real Fiction, P : Gachot Films, Idéale Audience, Achtung Panda! Media, 2 Pilots Filmproduction, _ [nominated for DOK.edit Award] Annualy the GERMAN DOCUMENTARY FILM MUSIC AWARD honours a composition that connects with the documentary film narrative in an outstanding way. The award is endowed with € 5,000.- and is sponsored by Versicherungskammer Kulturstiftung. And the winner 2024 is Atena Eshtiaghi for original score of MY STOLEN PLANET by Farahnaz Sharifi. The award ceremony, incuding the screening of the film, is scheduled for May 5, 2024, 8 p.m. at HFF Munich. From the jury statement: "The film music avoids the conventions of illustrative film music and instead uses silence as a stylistic device for this equally radical and personal film. Atena Eshtiaghi gives strong expression to the messages of uncensored life by accompanying the images with minimalist patterns rather than pathetically exaggerating them. This creates a sense of distance and, at the same time, creates periods of time in which a great sadness is inscribed. Eshtiaghi's music does not coat the film in a pleasing rhythm, rather it emphasises the heterogeneity and creates a resonance space for what the film is about through its precise texture: Isolation, resistance, hope." GERMAN DOCUMENTARY FILM MUSIC AWARD 2024 NOMINEES ARE: HARRAGA – THOSE WHO BURN THEIR LIVES by Benjamin Rost, 86min, Composer: Alexander Vicar, P: MSZ // Production & Consulting, HOLLYWOODGATE by Ibrahim Nash’at, Composer: Volker Bertelmann, WS: Cinephil, IN WOLF COUNTRY \| IM LAND DER WÖLFE by Ralf Bücheler, 102min, Composer: Cico Beck, WS: RISE AND SHINE, P: if… Productions, D: mindjazz pictures, JOHATSU – INTO THIN AIR by Andreas Hartmann, Arata Mori, 86min, Copposer: Jana Irmert, D: RFF – Real Fiction Filmverleih, WS: CAT&Docs, P: Ossa Film \| Andreas Hartmann, MY STOLEN PLANET by Farahnaz Sharifi, Composer: Atena Eshtiaghi, P: JYOTI Film, Pak Film, WS: CAT&Docs, THE THIRD BROTHER \| DER DRITTE BRUDER by Kathrin Jahrreiss, 110min, Composer: Julia Klomfass, P: Ester.Reglin.Film, WATCHING YOU: THE WORLD OF PALANTIR AND ALEX KARP \| WATCHING YOU: DIE WELT VON PALANTIR UND ALEX KARP by Klaus Stern, Composer: Michael Kadelbach, WS: RISE AND SHINE, as well as the Swiss production E.1027 – EILEEN GRAY AND THE HOUSE BY THE SEA by Beatrice Minger, Christoph Schaub, Composer: Peter Scherer, P: Das Kollektiv für audiovisuelle Werke, soap factory, May 1–7, 2024 DOK.forum – The Industry Platform of DOK.fest München. Think tank for the documentary film industry and platform for projects in the development process. Browse all award winners DOK.forum 2024 here. In panels, workshops and other public events, the DOK.forum Perspectives invite you to develop visions and impulses for the future of documentary film and to explore relevant questions of media policy. As a market for co-creation and co-production, the DOK.forum Marketplace offers various formats for the further development and realisation of new documentary film projects. Over the past 10 years, the DOK.forum has established itself as a fixed meeting place and relevant networking opportunity for the German-speaking industry – with a growing range of offers for international filmmakers. Among the seven Master's Pitch projects are two German (co)productions: SILENT WAR by the directors and producers Dirk van den Berg, OutreMer Film, Berlin & Pascal Verroust K2 Productions, Paris. After Hiroshima and Nagasaki, over 2000 nuclear devices have detonated on Earth, labeled as "tests." This film unveils Prof. Robert Jacobs’ groundbreaking research of the Cold War's darkest secret: all nuclear powers ruthlessly experimented on their people, weaving a decades-long tale of deception and lies with countless victims, in a SILENT WAR. OUR SISTER ANGELA – BLACK POWER IN THE GDR by Katharina Warda and Jascha Hannover, producer André Schäfer, Florianfilm GmbH, In the 1970s, an enthusiastic solidarity movement for Black civil rights activist Angela Davis emerges in the GDR. She attracts tens of thousands of people during her visits to the country. But all this enthusiasm is deceptive. Co-director Katharina Warda tells this often-overlooked piece of Black East German history from her personal perspective. ...and the DOK.archive Award goes to OUR SISTER ANGELA – BLACK POWER IN THE GDR by Katharina Warda and Jascha Hannover, produced by Florianfilm GmbH. The award honours a documentary film project in development that uses archive material. Endowed with € 15,000 provision (or alternatively € 2,500.-). British Pathé is prize sponsor. The DOK.archive Award is a promotional award for compilation films in development. High-quality archive footage is often almost invaluable for documentary films – and expensive. With the award, British Pathé and DOK.forum want to promote projects that work with licensed material. This year the award goes to OUR SISTER ANGELA – BLACK POWER IN THE GDR by Katharina Warda and Jascha Hannover: In the 1970s, an enthusiastic solidarity movement supporting the Black US civil rights activist Angela Davis emerges in East Germany. Angela attracts hundreds of thousands of spectators during her visits to the country. But all this enthusiasm is deceptive... Co-director Katharina Warda tells this story from a personal perspective. From the jury's statement: "The use of archive material is of crucial importance for this project. ... The filmmakers provide an intelligent analysis of a historical event: One could dismiss Angela Davis' visit to the GDR as pure propaganda, but from today's perspective it is clearly more than that. ... The filmmakers reclaim the narrative of the material, and reinterprete and use it from the perspective of coming to terms with the history of people of colour in the former GDR..." DOK.talent Award, a unique pitch format for students. Sponsored by ndF Entertainment GmbH @ndf_film ...and the DOK.talent Award goes to POLITIK IST PERSÖNLICH (WT: BUILD A PARTY) by Indira Geisel The pitch competition DOK.talent Award offers students from the partner universities of DOK.fest München the opportunity to present their current projects to industry experts and receive valuable feedback. The most convincing project receives the award, which is donated by ndF Entertainment GmbH and endowed with € 2,500 in research funding. This year, the twelve-member jury honoured to the project POLITIK IST PERSÖNLICH by Indira Geisel (HFF München). From the jury's statement:" ... In a very close decision, the jury decided for a project in which the filmmaker portrays three generations of her own family – in which, as she says, 'campaigning is a family affair'. Let it be known: POLITIK IST PERSÖNLICH, a film that engages with ambivalence, allows for critical distance and, on a personal level, seeks its own fresh perspective, is the well deserved winner. We congratulate Indira Geisel and her team on winning the DOK.talent Award 2024." DOK.composition Award The best musical concept for a documentary film will be endowed with €2,500 sponsored by Sonoton Music. Out of the five selected documentareis, the two selected German productions are: • SCHWARZER FLUSS – RIO NEGRO by Anna-Sophia Richard, 90min, P: sehstern Filmproduktion, • NO PLACE LIKE HOME (WT) by Daniel Abma, Composer: Henning Fuchs, P: Bandenfilm, DOK.educations presents DREH'S UM with AG DOK Speed Dating. May 4, 2024, 10a.m. – 2p.m., Anita-Augspurg-BOS am Königsplatz, Brienner Str. 37, Munich. The founders of the Berlin collective Dreh's Um present their award-winning film education concept and their close collaboration with a social worker: Viet German teenagers and young adults deal with their migrant identity and family history through intensive documentary film workshops. Dreh's Um initiator Duc Ngo Ngoc: "On the one hand, it's about making films and, on the other, about empowering yourself with your own perspective, taking the camera into your own hands and figuratively turning it on yourself – away from the white, often stereotypical view of our community". The AG DOK Speed Dating enables exchange of experience and active networking within the specialist audience of social work stakeholders and funding institutions. The subsequent get-together as the starting signal for a sustainable development of comparable film projects that enable diverse access to the film to the film industry. For registration send an Email to kloeckner@dokfest-muenchen.de. AG DOK @ 39 DOK.fest Munich Media Libraries: Challenges and Opportunities for Film and Media Professionals. AG DOK event on May 1, 2024 – 2 p.m. at the HFF Munich, moderated by AG DOK board member Andreas Schroth, producer — MEDEA FILM FACTORY. Media libraries have become an important part of today's media landscape. They offer an enormous amount of content, but also bring challenges with them. In our discussion, we will look at audience trends and the tension between creativity and format restrictions. Panelists: • Arianne Gambino, Content Lead Play Suisse • Nicola Staender, Head of Digital Planning & Format Development, ZDF • Thilo Kasper, Team Lead Content Strategy & Development, ARD Mediathek • Christian Tipke, Producer / CEO Sendefaehig. PR May 14, 2024 Festival director Daniel Sponsel: "This edition felt more intense in its preparation and realisation than any before, on the one hand because of the tense financial situation in times of inflation, and on the other because of the many social and political controversies. The films at the festival reflected these in a constructive way. We were able to show the Munich audience the works of many filmmakers who reflect the political situation in Europe and the world with an individual, reflective view. And we were able to facilitate encounters with directors who provide insights that are otherwise inaccessible to us. For example, with the director of HOLLYWOODGATE, Ibrahim Nash'at, who was able to accompany the Taliban when they took over a US base in Afghanistan. To be able to present such filmmakers and their stories in Munich: That is the essence of DOK.fest München. We are delighted that our audience is loyal to the festival and look forward with great anticipation to our anniversary edition next year. as single page: • 39 DOK.fest Munich 2024 • • 38 DOK.fest Munich 2023 • • 37 DOK.fest Munich 2022 • • 36 DOK.fest Munich 2021 • • 35 DOK.fest Munich 2020 • • 34 DOK.fest Munich 2019 • • 33 DOK.fest Munich 2018 • 31 Sheffield DocFest will open on June 12 with the world premiere of Kevin Macdonald’s KLITSCHKO: MORE THAN A FIGHT. Annabel Grundy, Sheffield DocFest Managing Director, says: “Kevin Macdonald joined us in Sheffield in 2023 as Mentor for our Filmmaker Challenge, inspiring participants to take a creative and compassionate approach to their works. With KLITSCHKO: MORE THAN A FIGHT we see his commitment to artistry and authenticity in equal measure; we’re honoured to welcome him back to present this incredible portrait of hope, charisma and determination to make a difference.” KLITSCHKO: MORE THAN A FIGHT offers audiences unprecedented access to former heavyweight boxing world champion Vitali Klitschko and his brother Wladimir, who together dominated the sport for more than a decade. Now the longest serving Mayor of Kyiv, this feature-length documentary charts Vitali’s journey from the ring to political office, leading the defence of the capital when it was attacked by Russian forces in February 2022 to the present day. While Wladimir uses his celebrity status and popularity to help raise funds and military support for the defence of Ukraine, the heart of the story is the remarkable transformation of Vitali from sporting hero to political figurehead. From the face of the opposition in the 2014 Maidan Revolution to the mayor running on an anti-corruption card, Vitali tests his leadership capabilities as he’s put in charge of the safety of millions of Kyiv citizens, with the eyes of the world watching. KFF INDUSTRY: V4 Co-Pro Meetings During 64. KFF @ Krakow 29 May: 17.00 – 18:30 \| V4+ Ukraine Round Table The V4 Co-Pro Meetings – a co-production event for film professionals from the Visegrad countries will be held during the upcoming edition of the Krakow Film Festival. Its idea is to initiate contacts between film producers and filmmakers from the region in order to establish cooperation in a field of film production. Participants of the V4 Co-Pro Meeting will also meet with Ukrainian producers to discuss co-production opportunities. An important highlight of this year’s event will be a discussion on the possibility of launching a ‘V4 Film Fund’, a Visegrad co-production fund, which was a demand of the 2023 Visegrad producers’ meetings. The discussion will be attended by representatives of producer organisations and film institutions from Poland, the Czech Republic, Slovakia and Hungary. The meetings in a round-table formula will be accompanied with the individual consultations with invited experts from Tv stations, VOD platforms, production companies or sales agencies. ... and the OSCAR® goes to 20 DAYS IN MARIUPOL \| 20 TAGE IN MARIUPOL by Mstyslaw Tschernow, co-financed by SWR/ARD German Public Broadcasting Network, responsible SWReditors: Eric Friedler and Thore Vollert. World Sales by DOGWOOF. 20 DAYS IN MARIUPOL by Mstyslaw Tschernow Foto © 2022 SWR/ CONGRATULATION to Mstyslaw Tschernow, who sadly says in his acceptance speech among others: "This is the first Oscar in Ukrainian history. And I’m honored, but probably I'll be the first director on this stage who says I wish I had never made this film. I wish to be able to exchange this for Russia never attacking Ukraine, never occupying our cities...Russians are killing tens of thousands of my fellow Ukrainians. I wish for them to release all the hostages, all the soldiers who are protecting their lands, all the civilians who are now in their jails. But I cannot change the history. I cannot change the past … We can make sure history record is set straight and that the truth will prevail. … Cinema forms memories, and memories form history … The other nominees for the documentary feature category of the 96 Academy Award® are: • BOB WINE: THE PEOPLES PRESIDENT by Moses Bwayo, Christopher Sharp, John Battsek • THE ETERNAL MEMORY by Maite Alberdi • OLFAS TÖCHTER \| LES FILLES D'OLFA \| FOUR DAUGHTERS by Kaouther Ben Hania and Nadim Cheikhrouha • TO KILL A TIGER by Nisha Pahuja, Cornelia Principe, David Oppenheim 36 IDFA November 8–19, 2023, Pressconference with Orwa Nyrabia IDFA 2023 opens with the world premiere of A PICTURE TO REMEMBER by Olga Chernykh. The film presents a deeply personal and essay-style account of the ongoing war in Ukraine and its violent history, seen through the prism of three generations of women: Chernykh herself, her mother, and her grandmother. In a bid for connection and intimacy, the filmmaker uses old family films, recordings of conversations, and news reports to bridge the distance between her and her grandmother. The result is a kaleidoscopic and personal film that travels through time fluidly. A PICTURE TO REMEMBER has been selected for the Envision Competition and received IDFA Bertha Fund support in 2023. "This is a film by an independent filmmaker that is both personal and political. By building her film around three generations of women in her family, Chernykh carriers us to the daily experience of Ukrainians today. The director does not shy away from trying to build a cinematic world with fragile elements. The courage and originality of the film's approach opens up to a much larger world view. That's what place films like A Picture to Remember at the heart of IDFA," said IDFA's Artistic Director, Orwa Nyrabia. DOK Industry Talk at 66 DOK Leipzig presents ARTE initiative GENERATION UKRAINE In this year's edition, DOK Leipzig is presenting a DOK Industry Talk on Generation Ukraine, a new initiative by the ARTE Group aimed at supporting the Ukrainian filmmaking industry by co-producing 12 documentaries that explore Ukrainian reality in the throes of the ongoing war. The Talk, held on 10 October at 16:30 – 18:00 CEST, will present the ARTE initiative and showcase six of the projects with the participation of the film teams. The Talk will be moderated by documentary film producer and consultant Heidi Fleisher. The ARTE Group and its European partners launched the project Generation Ukraine in a concerted effort to bolster the realisation and distribution of the Ukrainian film projects that have been conceived since the beginning of the Russian invasion and are in dire straits documenting the lasting impacts of the war on their country, its collective memory, land, and its people. The kick-off workshop of the Generation Ukraine project took place in Strasbourg in January 2023. From Wednesday, October 11th, a three-day workshop on "Generation Ukraine" will commence at the MDR headquarters in Leipzig. Following the example of Generation Africa, which gave a platform for young African filmmakers across the continent to tell their stories and reach diverse audiences, ARTE is supporting 12 Ukrainian documentary projects in various stages of development, selected from some 30 high-quality submissions. The selected Ukrainian film projects are financed by the ARTE group (ARTE France, ARTE GEIE and ARTE Germany), through co-productions or pre-sales, and in collaboration with the broadcaster's European partners. Projects completed by autumn 2024 will be included in the ARTE Media Library. All films will be broadcast on ARTE at a later date. The Generation Ukraine project is one of many ARTE's recent initiatives championing daring and uncompromising voices from Ukraine. One of them is the web series "Ukraine: The War from Within" where Ukrainian journalists offer "an authentic view of the East from the East." The following projects are participating in ARTE's Generation Ukraine: "Displaced", director Olha Zhurba, production Darya Bassel (Moon Man / UKR), Anne Köhncke (Final cut for real / DK), ARTE France "Basement 341", director Roman Blazhan, production Roman Blazhan (Minimal Movies / UKR), Christilla Huillard-Kahn (Elda / FR), ARTE France "Intercepted", director Oksana Karpovych, production Giacomo Nudi (Films Cosmos / Canada), Darya Bassel (Moon Man / UKR), Pauline Tran Van Lieu (Hutong Prod. / FR), ARTE France "Cuba & Alaska", director Yegor Troyanovsky, production Olha Beskhmelnytsina (2Brave / UKR), Christian Popp (Tag Films / FR), ARTE France "Queens of Joy", director Olga Gibelinda, production Ivanna Khitsinska (Quatros Group & Malanka Studios / UKR), Louis Beaudemont (Les Steppes Productions / FR), ARTE GEIE "The Days I would Like to Forget", directors Alina Gorlova, Yelizaveta Smith, Maksym Nakonechnyi, Simon Mozgovyi, production Eugene Rachkovsky, Maksym Nakonechnyi, Karina Kostyna (Tabor Films / UKR), Ralph Wieser (Mischief Films / GER), SWR / ARTE "Another Man's Diary", directors Oleksandr Tkachenko, Dmytro Dokunov, production Illia Gladshtein (Phalanstery films / UKR), BR / ARTE "The Blessed Ones", director Andrii Lysetskyi, production Olha Beskhmelnytsina, Gennady Kofman, (MaGiKa-film / UKR), Uldis Cekulis (VFS Films / LAT), Erik Winker (CORSO Film / GER), MDR / ARTE "Nukemailing", directors Pavel Cherepin, Anton Bazelinsky, production Heroes Creative Studio, Kyiv, DOCDAYS Productions GmbH, Berlin, RBB / ARTE "A Bit of a Stranger", director Svetlana Lischynska (Albatros / UKR), production Anna Kapustina; Alex Tondowski (Tondowski Film / GER), ZDF / ARTE "Women Occupied", directors Tetiana Hanza, Zoia Volk, production Zoia Volk, Valentina Boye (Zova films / GER), Regina Maryanovska-Devidzon (Real Pictures, UKR), SWR / ARTE "Silent Food", director Dmytro Sukholytkyy-Sobchuk, production Karina Kostyna, Eugene Rachkovsky (Tabor / UKR), Tanja Georgieva-Waldhauer (Elemag Pictures / GER), MDR / ARTE 30 HOT DOCS Toronto with nine documentaries MADE IN UKRAINE: 20 DAYS IN MARIUPOL by Mstyslav Chernov, 94min 89 DAYS by Pavlo Dorohoi, 20min EURODONBAS by Kornii Hrytsiuk, 73min GUESTS FROM KHARKIV by Halyna Lavrynets, 20min IRON BUTTERFLIES by Roman Liubyi, 84min OUR ROBO FAMILY by Anastasiia Tykha, 19min UNDER THE WING OF A NIGHT by Lesia Diak, 20min WE WILL NOT FADE AWAY by Alisa Kovalenko, 100min WHEN SPRING CAME TO BUCHA by Mila Teshaieva, Marcus Lenz, 64min 73 Berlinale Special Gala with Documentary on Ukraine Sean Penn, Volodymyr Zelensky in SUPERPOWER SUPERPOWER by Sean Penn, Aaron Kaufman, USA 2022 This past year the weight of the real world has had a significant impact on people’s lives. Among the films premiering this year at the festival there is one in particular that witnesses the shock we all felt. More than a documentary, SUPERPOWER is the chronicle of a film project that reality forced to change in to something less controllable but more meaningful. In a festival that will take place one year after the Russian invasion in Ukraine, it is important to show the film that Sean Penn and Aaron Kaufman made under such difficult conditions. Like their colleagues who risked their lives in order to testify the cruelty of the war, they prove once more that art can inspire action worldwide. EASTERN FRONT \| SHIDNIY FRONT by Vitaly Mansky & Yevhen Titarenko, Latvia / Czech Republic / Ukraine / USA [Encounter] IT'S A DATE by Nadia Parfan, Ukraine [Short] IRON BUTTERFLIES by Roman Liubyi, Ukraine / Germany [Panorama] DO YOU LOVE ME? \| TY MENE LUBYSH? by Tonia Noyabrova, Ukraine / Sweden [Panorama] IN UKRAINE \| W UKRAINIE by by Piotr Pawlus, Tomasz Wolski, Poland, Germany [Forum] WE WILL NOT FADE AWAY \| MY NE ZGASNEMO by Alisa Kovalenko, Ukraine / France / Poland [Generation] WAKING UP IN SILENCE \| IM STILLEN ERWACHEN by Mila Zhluktenko, Germany / Ukraine, [Generation] and THE BLINDSIGHT by Ruslan Batytskyi, [Berlinale Co-Production Market] The EFM is supporting the industry with a package of special measures. find out more in the press release 73 BERLINAE of January 20, 2023. IRON BUTTERLIES by Roman Liubyi is premiering Januar 23 2023 at the Sundance Film Festival and 73 BERLINALE Panorama Dokumente 2023 In summer 2014, sunflower fields and coal mines in eastern Ukraine turned into a 12 square kilometer crime scene. A multi-layered investigation into the downing of flight MH17, in which a butterfly-shaped shrapnel was found in the pilot’s body, implicated the state responsible for a war crime that remains unpunished. Since 2013, the film director Roman Liubyi has been working with the #BABYLON’13: Cinema of Civil Society group of independent film producers who came together during the Revolution of Dignity. Since 2015 Roman has been working on the full-length documentary project WAR NOTE, based on videos from soldiers’ cell-phones. In cooperation with the Security Service of Ukraine, Roman Liubyi has created two films based on materials from the major war-crimes cases. THE HAMLET SYNDROME premiered in Amsterdam, NYC and Kyivi! An exciting weekend for THE HAMLET SYNDROME: incredible screenings and Q&A’s on IDFA, the next day flight to New York, and the same evening, our American premiere on DOC NYC. Sunday, our Ukrainian premiere in Kyiv. Bomb alerts and power outages before and after the screening, and no light on the streets, but the cinema shone the strength and determination of our protagonists. The screening finally took place, and even Rodion and Roman could attend! It’s heart-wrenching that the war has already lasted nine months, and trauma continues to sew its seeds into the everyday lives of ordinary Ukrainians. Source: FB/TheHamletSyndrome ...and upcoming screenings at 39 Kassel Documentary FF & Human Rights FF, Zurich . The twenty-sixth edition of Ji.hlava, October 25-30, 2022 will open with 8TH DAY OF THE WAR by Ukrainian director Oksana Moiseniuk. The film was made on the eighth day of the Russian aggression in Ukraine and is not about the war as such, but about its impact on the Ukrainian diaspora in the Czech Republic. 65 DOK Leipzig October 17–23, 2022 Svitlana Lishchynska received the Saxon Award for the Best Documentary Project by a Female Director at the opening ceremony of 65 DOK Leipzig. Saxon State Minister for Culture and Tourism Barbara Klepsch presented the Saxon Award for the Best Documentary Project by a Female Director, worth 5,000 euros, to Ukrainian filmmaker Svitlana Lishchynska for her project A BIT OF A STRANGER. It tells the story of Svitlana’s mother, daughter and granddaughter — three generations of a family from Mariupol who have lost their national identity due to the long-term imperial policy of Moscow and are currently facing the Russian war of aggression. © 2022 DOK Leipzig, Viktoria Conzelmann In the Competition for the 65 DOK Leipzig Audience Award, the Golden Dove including 3,000 Euros went to THREE WOMEN by Maxim Melnyk. In encounters with three independent women, Melnyk documents rural life in the Ukrainian village of Stuzhytsya near the EU border. "This film brings us images of joie de vivre and lightness. Images that we don’t often see coming from that country at the moment. It creates connections and unites people through the screen," according to the statement by the audience jury. The DEFA Sponsoring Prize, which includes 4,000 Euros granted by the DEFA Foundation, went to Maxim Melnyk for THREE WOMEN as well. Spotlight on: Docudays UA 2022 at 65 DOK LEIPZIG The DocuDays UA International Human Rights Documentary Film Festival could not be held in Kyiv this past March 2022 due to the Russian war of aggression against Ukraine. Therefore, in a show of solidarity with the Docudays UA team, DOK Leipzig is providing a venue for the 19th edition of that festival. This programme presents the four films selected for the DOCU/UKRAINE national competition along with the opening film BONEY PILES [image above and PDF with the loglines of all five films here] These works paint a nuanced portrait of the country, telling of property disputes in Kyiv and flea markets in Odesa, of first responders amid the pandemic in rural Transcarpathia, and also of the consequences of the war that has been going on in eastern Ukraine since 2014. BONEY PILES by Taras Tomenko, 80min INFINITY ACCORDING TO FLORIAN by Oleksly Radynski, 70min MOUNTAINS AND HEAVEN IN BETWEEN by Dmytro Hreshko, 70min PLAI. A MOUNTAIN PATH by Eva Dzhyshyashvill, 75min PRYVOZ by Eva Neymann, 72min Kundschafter Filmproduktion \| BALAPOLIS sp.zo.o. IDFA's FALL SPECIAL Wedensday evening September 28, 2022. With THE HAMLET SYNDROME by Elwira Niewiera, Piotr Rosolowski, winner of Roman Brodmann Prize as well as Grand Prix Semaine de la critique – 75 Locarno IFF, on Wednesday evening September 28, 2022 IDFA's Fall Special is taking place in Pathé Tuschinski in Amsterdam. IT's the Dutch premiere of the documentary. The screening will be followed by a Q&A with Elwira Niewiera. #lola22 DEUTSCHER FILMPREIS — German Film Award with Marina Stepanska and Alisa Kovalenko live from Ukraine Sandra Maischberger announced the award ceremony of BEST DOCUMENTARY #lola22 streaming two video from the Ukraine. Wladimir Klitschko very much regrets that the circumstances are so bad, that he cannot be in Berlin to discuss the importance of documentaries with the filmmakers on site. Marina Stepanska thanked for the donations from Germany, which were made on the basis of an initiative by AG DOK members, to which the German Film Academy, Producers' Association, German Academy for Television, Crew United and from Austria the interest group documentary dok. at, the Producers' Alliance The producers and the Academy of Austrian Film joined to support Ukrainian documentary filmmakers with protective vests and equipment in their work. Alisa Kovalenko, who many of us know from her documentary ALISA IN WARLAND premiering at IDFA 2015. ALISA IN WARLAND IDFA 2015 catalogue: Alisa is a 26-year-old student at the film academy in Kiev. Her life is pretty normal until the day that President Viktor Yanukovych refuses to sign the EU-Ukraine Association Agreement. Suddenly, everything changes: protests erupt in the capital, with the inhabitants demanding the president’s resignation. Alisa witnesses the demonstrations and embarks on a trip through Ukraine in an attempt to understand the war. Her journey takes her to the east of the country, where she comes across demonstrations again, this time of a pro-Russian character. Along the way, she faces shootings, explosions and the searing consequences of the war for the people of her country. Very much against her will, Alisa is then personally caught up in the war when she is arrested by separatists for spying. The risks she is taking also jeopardize her romantic relationship with a French journalist. This candid self-portrait shows us a sensitive, concerned woman in search of answers. The direct, often handheld camerawork gives us an impression of Ukraine in the wake of the protests and of the tensions that arose among the various population groups. WHAT'S AT STAKE IN UKRAINE a Filmmaker's Conversation —Industry Insights— The EFM Podcast published March 11, 2022 This podcast episode is a special edition dedicated to the current invasion of Ukraine. Tamara Tatishvili (Head of Training - MEDICI the Film Funding Journey) is moderating this episode and speaks with Julia Sinkevych (Producer, Ukraine), Tanja Georgieva-Waldhauer (Producer, Germany), and Keti Machavariani (Producer/ Director, Georgia). They talk about the fact that the war in Ukraine did not start on 24 February, but eight years ago with the annexation of Crimea. We hear four women and their fear on the one hand and their will to stand up for peace on the other. Film and cinema have enormous power; those have to be used and supported in the right way. Because the misuse for propaganda purposes is a real a danger. In this time more than ever the film industry needs to stand together. Filmmakers have the tools to reach a big audience. The industry should endorse Ukrainian film projects from the past to achieve awareness and gather financial resources to support the fight for freedom in Ukraine. Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. The podcast is available on all major podcast platforms, e.g. Spotify or Apple Podcasts UKRAINE FOCUS @ Sheffield DocFest, June 23—28 June, 2022 Sheffield DocFest in solidarity with Ukraine Password: Palianytsia launch a collaborative documentary programme with Docudays UA, which will launch the British Council and Ukrainian Institute's 'UK/Ukraine Season of Culture'. The focus will launch with the World Premiere of One Day in Ukraine, by media activist and filmmaking collective Babylon'13. This co-created film centres on a single day during the war in Ukraine, March 14 2022. The Ukraine focus includes work across the Film programme, Alternate Realities exhibition, Industry programme and Talks & Sessions with: 4 feature documentaries in the Official Selection • FRAGILE MEMORY by Igor Ivanko, Ukraine, Slovakia • ONE DAY IN UKRAINE by Volodymyr Tykhyy, Ukraine, Poland • OUTSIDE by Olha Zhurba, Ukraine, Netherlands, Denmark • OVERCOMING THE DARKNESS by Kinodopomoga, Ukraine 4 feature documentaries from Docudays UA Official Competition Docudays UA is the leading international human rights documentary film festival in Ukraine. Prevented from taking place in Kyiv in March this year, due to the war, Docuday’s presents the four Ukrainian films in its Official Competition selection at Sheffield DocFest: • INFINITY ACCORDING TO FLORIAN by Oleksiy Radynski • MOUNTAINS AN HEAVEN IN BETWEEN by Dmytro Hreshko • PLAI. A MOUNTAIN PATH by Eva Dzhyshyashvili • PRYVOZ byEva Neymann Docudays curated screening with talk that contextualises Russia’s current military aggression against Ukraine, looking at how Ukrainian documentary filmmakers have experienced and comprehended the years since the Revolution of Dignity (Maidan), follows the screening of two films: • PEACE & TRANQUILITY by Myro Klochko • BONEY PILES by Taras Tomenko VR, art and TikTok works in our Alternate Realities exhibition Alternate Realities exhibits and showcases innovative non-fiction and immersive documentary in all forms with a flagship exhibition at Sheffield’s Site Gallery and other works across the city. 5 projects in development selected for our MeetMarket • INTERCEPTED by Oksana Karpovych, Producers: Giacomo Nudi, Rocío Barba Fuentes, Ukraine/Canada • IVAN & MARTA A DAY BEFORE THE WAR by Sergey Bukovsky, Producer: Oksana Ivaniouk, Ukraine • SHUT THE FUCK UP! by Taisiia Kutuzova, Producers: Stephane Siohan, Olga Beskhmelnytsina, Ukraine/France • UP IN THE AIR by Oksana Syhareva, Producers: Oksana Syhareva, Nataliia Pogudina, Karla Stojakova, Ukraine/CzechRepublic 3 projects in Works-in-Progress in partnership with Ukrainian Institute • EXPEDITION 49 by Alisa Kovalenko, Producers: Stephane Siohan, Valery Kalmykov, Tomek Morawski, Ukraine/France/Poland • FRAGMENTS OF ICE by Maria Stoianova, Producers: Alina Gorlova, Maksym Nakonechnyi, Ukraine • IRON BUTTERFLIES by Roman Liubiy, Ukraine/Germany/France This comprehensive programme is an expression of solidarity with Ukraine. It provides a powerful encounter with contemporary Ukrainian life – including the horrific reality of this war. It creates a space in which Ukrainian filmmakers and artists can continue to have their work seen, develop new projects, and keep Ukrainian culture alive. MARIUPOLIS 2 by Mantas Kvedaravicius Sadly, the Lithuanian filmmaker Mantas Kvedaravicius, who directed MARIUPOLIS ©2016, was captured and murdered by the Russian army in Mariupol in early April 2022. His fiancée, Hanna Bilobrova, who was with him at the time, was able to bring back the footage filmed there and edited it with Mantas' editor Dounia Sichov. The film is entitled MARIUPOLIS 2 and premiered May 19 at 75 FESTIVAL DE CANNES 2022 . Mariupolis 2: footage saved from the ravages of the war in Ukraine written by Tarik Khaldi VIKTOR DOK.international, the main award of 37 DOK.fest Munich goes to the French production TRENCHES by Loup Bureau, who accompanied Ukrainian soldiers fighting Russia-backed separatists in the Donbass. He shows how the soldiers try to lead a reasonably normal everyday life between explosions and enemy attacks. The Berlin based company FILMS BOUTIQUE is in charge of World Sales of the awarded documentary. TRENCHES by French director Loup Bureau Photo © 2021 FILMS BOUTIQUE World Sales VIKTOR DOK.international jury: "For weeks, months, years they have been living in their trenches. Loup Bureau accompanied them there. This commitment alone is prize worthy. But TRENCHES is also a beautiful film: without any grandstanding, with a lot of respect for its protagonists and in a black and white that emphasizes the timelessness of war, Bureau documents life in the trenches, the daily shoveling and fastening, but also cooking, cutting hair, talking. The calmness that Bureau's pictures radiate is, of course, a deceptive one, which we – even as viewers – cannot forget for a second. At any time another attack can occur. And it takes place. The urgency of the film has increased immeasurably since its completion in 2021." PUSHING BOUNDARIES by Lesia Kordonets, 102min Foto: 2021 DSCHOINT VENTSCHR FILMPRODUKTION AG The Ukrainian director Lesia Kordonets receives the megaherz Student Award for PUSHING BOUNDARIES at the 37 DOK.fest Munich. The documentary follows five Ukrainian athletes preparing for the Paralympic Games in Rio de Janeiro when suddenly Putin's Russia annexes the Crimea, where the Ukrainian team's new training center is located. But the athletes don't want to give up their dream, continue their work out in other places under the most adverse conditions and, despite everything, try to qualify for the next Paralympic Games. Jury: "Lesia's athletes are everyday heroes who suddenly come up against sporting, political and existential limits and yet tirelessly give everything to achieve their goals. In the film, every story is told unobtrusively and at eye level. PUSHING BOUNDARIES, that means pushing boundaries, expanding boundaries. The sensitive editing pushes boundaries as well and shows us that there are no disabled people – only people whith handicap. We learn what it means when we play down wars as 'conflicts'. The documentary is also about addressing uncomfortable truths, which was important to us in our decision, but PUSHING BOUNDARIES is not only an important film in this respect." The film was also awarded with Prix Zonta 2021 at Nyon, Visions du Réel, Nyon, Best Directing Documentary –Zürcher Filmpreis 2021, as well as Brave Rebels Award 2022 at Budapest International Documentary Film Festival. The Roman Brodmann Prize was awarded for the first time April 28, at the Roman Brodmann Colloquium in Berlin, honoring an outstanding political-investigative documentary film, is endowed with €10,000, and goes to the Polish/German co–production The Hamlet Syndrome depicting the young Ukrainian generation scarred by war and political breakthroughs. THE HAMLET SYNDROME \| DAS HAMLET-SYNDROM by Elwira Niewiera, Piotr Rosolowski, 85min P: BALAPOLIS sp.zo.o., Kundschafter Filmprod, Neue Celluloid Fabrik In view of Russia’s brutal war of aggression on Ukraine, the 37th DOK.fest München is showing five films that deal with its background: four current films from Ukraine as well as the opening film NAWALNY about Russia’s most important opposition figure Alexei Nawalny, which is running in the international competition. Festival directors Daniel Sponsel and Adele Kohout: “The opening film comprehensively outlines that our expectation that stable democratic structures would be established in Russia after the collapse of the Soviet system did not come true. The idea of partnership oriented towards the economy and the market is also proving to be obsolete. The flourishing landscapes in the East are more or less reserved for the oligarchs, and the country under Putin remains trapped in the Soviet Union’s claims to world power. The brutal present follows its long shadow of the past, which we did not want to see for so long. The first casualties of any war are truth and humanity. The films from and about Ukraine in our programme impressively testify to how the weakest members of a society are affected.” Online Talk : Ukraine : Filming in resistance. THU 14.04 \| 16:00-17:30pm \| Online only visionsdureel.ch Since 24 February, the war in Ukraine has also been conducted through the images that report on it or distort its reality. Visions du Réel wishes to offer a platform to young Ukrainian filmmakers and producers who are currently standing alongside their compatriots under the Russian bombs, to reflect and debate with them on the possibility of resisting the ongoing onslaught with images that document it. ICFR launches "Emergency Fund for Filmmakers" in Wake of Ukraine War. The International Coalition for Filmmakers at Risk has set up a special "Emergency Fund for Filmmakers" for film practitioners directly in danger due to the ongoing war in Ukraine. The Coalition and the Fund have been canvassing for funding and donations as soon as war broke out. In the past days, significant financial contributions have been pledged by Germany's key national and regional film funding bodies (100K EUR), by La Scam, the Netherlands Film Fund, and by many individual donors. The German funds include Filmförderungsanstalt FFA, FilmFernsehFonds Bayern, Film- und Medienstiftung NRW, HessenFilm und Medien, Medienboard Berlin-Brandenburg, MFG - Medien- und Filmgesellschaft Baden-Württemberg, Mitteldeutsche Medienförderung, MOIN Filmförderung Hamburg Schleswig-Holstein, MV Filmförderung, nordmedia - Film- und Mediengesellschaft Niedersachsen/Bremen. see also PR by IDFA . The NGO Docudays and Docudays UA festival team has initiated a fund to support Ukrainian filmmakers who are bravely and daringly documenting the events of the war in Ukraine right now: recording war crimes, filming footage for the international media and for their future films which will later give the world a more in-depth perspective on the situation in our country. Darya Bassel, producer and festival representative is one of eight on the board with the German Filmmakers SUPPORT FILMMAKERS UKRAINE, as well as Tanja Georgieva-Waldhauer. Patrick Frater [VARIETY]: Ukraine Filmmakers Unite to Send Everything From Bulletproof Vests to Power Banks to Those Documenting War. GERMAN FILMMAKERS [Produzentenverband, AG DOK, Deutsche Filmakademie, Deutsche Akademie für Fernsehen, crew united] support Ukrain Filmmakers with video channels such as: • • #BABYLON'13 • • • KINODOPPMONA • • • Olha Zhurba & Slava Tsvetkov • MARIUPOLIS by Mantas Kvedaravicius © 2016 Everyday life is defined by bomb threats in Mariupol, a city in the Ukraine, situated to the east of the Crimea and once populated by Greeks. It is a visually powerful homage to a city in crisis, dedicated to its poets and shoemakers. April 3, 2022. While trying to leave Mariupol, the occupiers killed Mantas Kvedaravicius. THIS RAIN WILL NEVER STOP by Alina Gorlova ©2020Filmed in striking black-and-white, This Rain Will Never Stop observes the endless cycle of war and peace, in which we meet 20 year-old Andriy Suleyman. Fleeing the Syrian civil war, Andriy and his Kurdish family start a new life in a small town in Eastern Ukraine, only to be caught up in another military conflict. [CPH:DOX]* RODNYE - CLOSE RELATION by Vitaly Mansky ©2015 Russian citizen and Soviet-born Ukrainian native Vitaly Mansky crisscrosses Ukraine to explore Ukrainian society after the Maidan revolution as mirrored within his own large Ukrainian family. PIPELINE by Vitaly Mansky ©2013 Has not only connected but also inextricably merged 'this' Russia with 'that' Europe. COURAGE by Aliaksei Paluyan @2021 During the presidential elections in Belarus, three actors from an underground theatre in Minsk are caught up in the wake of mass protests. It draws them onto the open streets of Minsk to protest for freedom of speech and the long-awaited change of power. But the people's voice is brutally crushed by the regime's security apparatus. Members of the theatre group are arrested. COLOURS IN THE SNOW – BELARUSIAN WOMEN IN RESISTANCE by Juliane Tutein ©2021 Belarus in December 2020. It has become quiet on the streets of Minsk, where just a few months ago thousands of demonstrators were protesting against the outcome of the presidential elections. Lukashenko used all the force he could muster against the demonstrators, and many of the participants are now in prison. In public, only the red-white-red colours symbolizes still that the resistance against the autocratic regime nevertheless continues. ANYA AND SERYOZHA by Ivette Löcker ©2018 Anya and Seryozha, eighteen and nineteen years old, have been close friends since school. They live in Mariupol, an industrial city in southeastern Ukraine. SCHÖNBORN by Maxim Melnyk © 2020 Two villages with the same name: Schönborn. One located in Transcarpathia in Ukraine, the other one in Brandenburg in Germany. They are both struggling to find their identity, almost 30 years after the fall of communism in Germany and the founding of independent Ukraine. SUMMERWAR by Moritz Schulz © 2019 The war has been going on for five years now, and there are many Ukrainians who want to do something for their country. The right-wing Azov Regiment offers training for citizen militias, partly through summer camps for thousands of children. We follow two of the star candidates. BOY OF WAR by Cyprien Clement-Delmas, Igor Kosenko ©2018 "Why are you here? Are you mentally sick? Do you want to kill people?“ the Ukrainian military commander asks the 18-year-old recruit Artiom. THE LAST TAPE by Igor Kosenko, Cyprien Clement-Delmas ©2016 As Artiom prepares to fight for the Ukrainian army Anatoly his 88-year-old grandfather and war veteran records their diminishing time together and questions his choice. LEARNING TO MILK A COW by Juliana Saragosa ©2016 A 64min experimental documentary about my grandmother's personal experiences of being stolen from her family in Soviet Ukraine and taken to work for German farmers under National Socialism. POSTCARD FROM UKRAINE by Sieva Diamantakos ©2016 From the suburbs of Donetsk and the separatists camps in Lugansk, to the block posts in Mariupol and Crimea, passing by the still occupied Maidan Square in Kiev, Postcards From Ukraine sheds light on the country’s new generations – their values, their dreams – and the class tensions in the biggest crisis between East and West since the collapse of Soviet Union. LANGES ECHO \| LONG ECHO by Veronika Glasunowa, Lukasz Lakomy ©2017 LONG ECHO – does it refer to the explosion not far from the town? Or to the time when people searched for a new idea for their country? Or is it rather the long echo of Soviet mentality that led to this bloody conflict? The film portrays the town Dobropolye, in Eastern Ukraine – 70 km from the border with the breakaway republics – and some of its people against the backdrop of the war. KHAN'S FLESH by Georg Kussmann, Krystsina Savutsina ©2021 ...Like a Dziga Vertov on Lexomil, Krystsina Savutsina’s camera captures a series of gestures, micro non-events and simultaneous rituals, like so many daily choreographies to which the inhabitants of this Belarusian village, from every generation, devote or submit themselves... [Emmanuel Chicon, Visions du Réel] THE MYTH OF ODESSA by Inga Wolfram ©2017 Odessa is a city of tradition and recommencement. Even the political dispute between Ukraine and Russia isn’t as present as somewhere else. Odessa is a multicultural microcosm since 225 years. DONBAS DAYS by Philipp Schaeffer © 2021 A short portrait of a young man, who choses Ukraine as the destination for his year abroad so he can teach juggling to children who have been affected by war. Surrounded by trenches, he confesses that he feels more comfortable here than in Czech Republic because the people are so kind-hearted. With great sensitivity the film shows a search for meaning surrounded by gunfire. Are there still heroines in Putin’s Russia? FAITH HOPE LOVE by Katja Fedulova ©2017 She finds three young, beautiful women, each fighting for their own vision of what their country should be. Their struggle offers a complex picture of modern Russian – full of dramatic, desperate, absurd and funny moments. WEATHERMAKER by Stanislaw Mucha ©2021 The loneliest workplace in the world on a weather station on the edge of the Russian polar sea. MOSCOW – ART AND THE CITY by Inga Wolfram ©2020 We introduce Moscow artists, designers and dancers to shed light on this latest chapter in the city’s art history. Moscow’s cultural scene dazzles these days with its splendid diversity. POLISH SOLO – HOW DEMOCRACY IS DISMANTELED by Andrzej Klamt ©2021 The documentary analyses the new 'Polish Order' in its effects, with a special focus on Poland's conflict with the EU, the systematic dismantling of press freedom and women's rights in the country. ICE OF CHERNOBYL by Maryna Dymshyts ©2019 Ice of Chernobyl is the treatise on the thrill of the forbidden: entering the restricted zone of a damaged nuclear power plant. 33 years after the disaster.?5 days and nights illegally in the restricted area, in Pripyat and on the Duga-1 antenna.? CHERNOBYL THE INVISIBLE THIEF by Christoph Boekel ©2006 April 26th 1986. The day a nightmare scenario became horrific reality: the day reactor block 4 of the Chernobyl atomic power station exploded. The early summer heat, insufficient security measures and lack of knowledge and training exposed the emergency workers to extreme risk. One of them was the young artist Dmitrij Gutin. During the last days of his military service he was posted to the highly contaminated 30 km. zone around Chernobyl. He died just short of his 40th birthday, after many painful years of suffering the effects of radiation poisoning. recomended Ukrainian films: THE EARTH IS BLUE AS AN ORANGE by Iryna Tsilyk, 74min “War is when some people shoot. And other people shoot the people who shot first. When they start to shoot, mum wakes us up and we go to the corridor. And when they stop, we go back to sleep.” © 2020 [source 70 BERLINALE Generation 14plus, WS: CAT&Docs][CPH:DOX]* A HOUSE MADE OF SPLINTERS by Simon Lereng Wilmont, 87min, ©2022, Tears turn to soap bubbles and hugs turn to fights in this award-winning film about an orphanage in eastern Ukraine. Eminently observed, and with unforgettable moments of hope.WS: RISE AND SHINE [CPH:DOX]* NOVOROSSIYA by Luca Gennari, Enrico Parenti, 64min, ©2022, takes us into the grey zone of war in Donetsk, where we meet an American communist and foreign fighter in the bitter conflict, alongside a heavy metal band and two elderly women in their eighth year living in a Soviet bunker. Life in the borderlands continues despite the bombings, but the future is as uncertain as ever. P: elliot films, Susanna Trojano [CPH:DOX]* MAIDAN by Sergei Loznitsa, The 2014 Ukrainian uprising depicted as a powerful historical fresco by director Sergei Loznitsa, a maestro of the contemporary and historical chronicle. Ukraine/Netherlands © 2014, 130 min [CPH:DOX]* OUTSIDE by Olha Zhurba, As a 13-year-old boy, he became the poster boy of the Ukrainian revolution. Now Roma is back on the streets with nothing in his pocket but a lighter and a knife. Can he get his life together before it’s too late? Ukraine, Denmark/Netherlands ©2022, 79 min [CPH:DOX]* THE TREASURES OF CRIMES by Oeke Hoogendijk. A collection of historical artefacts from Ukraine is stranded in a museum in Amsterdam as Russia annexes Crimea. For to whom should they be returned? A deep dilemma turns courtroom drama. Netherlands © 2021, 82 min [CPH:DOX]* [CPH:DOX]: 'Before the full-scale Russian invasion, Ukraine was sadly underrepresented in Western media. We have selected a number of strong films offering a range of views on life in the independent state whose existence is now threatened by Putin and his army.' [#dokfest2022 _ 37 DOK.fest Munich] • A HOUSE MADE OF SPLINTERS by Simon Lereng Wilmont, 87min, DNK, SWE, FIN, UKR 2022, P: Cinephil, Final Cut for Real, • DONBAS DAYS by Philipp Schaeffer, 16min, UKR, DE 2021, streetsfilm. • NAWALNY by Daniel Roher, 98min, USA 2022, WS: Dogwoof • PUSHIING BOUNDARIES by Lesia Kordonets, CH 2021, 102min, P: Dschoint Ventschr • TRENCHES by Loup Bureau, FRA 2021, Loup Bureau, 85min, WS: Films Boutique AT THAT VERY MOMENT — EN EL MISMISIMO MOMENTO by Rita Pauls & Federico Luis Tachella won the IDFA Award for Best Short Documentary, produced by Manuel Abramovich & Juan Pablo Labonia, RUIDO. The award is accompanied by a €5,000 cash prize. "For its simplicity, spontaneity, and transparency in dealing with people, things, and small details, and for the depth of the questions raised in it that are profound despite their apparent simplicity, and for its smooth and intense cinematic work, especially photography and lyrical editing, the jury awards the IDFA Award for Best Short Documentary to AT THAT VERY MOMENT by directors Rita Pauls and Federico Luis Tachella," reported the jury. The jury members for the IDFA Competition for Short Documentary were Nadim Jarjoura, Brigid O’Shea. A special mention in the IDFA Competition for Youth Documentary went to the German documentary BOYZ by Sylvain Cruiziat. "For a film that immerses us in the universe of young boys becoming men. With a non-intrusive look, but a great access to his protagonists, the director takes us on a discovery journey into their daily lives. The film unveils their uncertainties regarding relationships, their tenderness, and the bonds of friendship. The Special Jury Mention goes to BOYZ directed by Sylvain Cruiziat." reported the jury. The jury members for the IDFA Competition for Youth Documentary were Maria Vittoria Pellecchia, Ileana Stanculescu, Pawel Ziemilski. BORDERLINE VISIBLE The Special Jury Award for Creative Technology (worth €2,500) went to BORDERLINE VISIBLE (Turkey, Greece, Switzerland, Belgium, Germany, USA) by Ant Hampton. The jury members for the IDFA DocLab Competition for Digital Storytelling were Zuraida Buter, Miri Chekhanovich, Jay Kim. Browse all awards and jury statements of 36 IDFA here. 36 IDFA November 8–19, 2023 with opening film A PICTURE TO REMEMBER by Olga Chernykh, an Ukrainian, French, German coproduction and showcasing HELKE SANDER: CLEANING HOUSE by Claudia Richarz among others. IDFA 2023 takes place from November 8 to 19 in more than 30 theaters and festival locations throughout Amsterdam. In those venues, IDFA will present 270 films and 32 new media projects from 137 countries. This 36th edition will welcome over 3000 professional delegates and guests who will be able to immerse themselves in a diverse program that includes films, interactive projects, an exhibition, performances, events and workshops. LineUp of German productions and co-productions AFRICA, I WILL FLEECE YOU by Jean-Marie Teno, ©1992 [Focus: 16 Worlds on 16]_ AL DJANAT, THE ORIGINAL PARADIESE by Aïcha Chloé Boro, 84min, [Best of Fests] AT THAT VERY MOMENT \| EN EL MISMISIMO MOMENTO by Rita Pauls, Federico Luis Tachella, 12min, P: RUIDO Buenos Aires – Juan Pablo Labonia & RUIDO Berlin – Manuel Abramovich [DAAD], [Short]_ BACKGROUND by Khaled Abdulwahed, 64 min, P: pong film, [Signed] BORDERLINE VISIBLE by Ant Hampton, 78min, P: Time Based Editions, [Digital Storytelling]_ BOYZ by Sylvain Cruiziat, 72min, P: HFF Munich, madfilms Cruiziat & Egert GbR, [Youth Documentary] CAPITAL by Basma al-Sharif, 17min, P: Basma al-Sharif, [Corresponding Cinemas] DAMNATIO MEMORIAE by Thunska Pansittivorakul, 100min, coP: Jürgen Brüning Filmproduktion, [Envision] DE FACTO by Selma Doborac, 130min, WS: sixpackfilm, [Paradocs] THE ECHO \| EL ECO by Tatiana Huezo, 102min, WS: The Match Factory, [Signed] EMBODIES CHORUS by Mohamad Moe Sabbah, Danielle Davie, 72min, P: HEARTWAKE films GmbH, Wild Fang Films, madame le tapis, [Luminous] HELKE SANDER: CLEANING HOUSE \| HELKE SANDER: AUFRÄUMEN by Claudia Richarz, 82min, P: Claudia Richarz Film, [Luminous] HOLLYWOODGATE by Ibrahim Nash'at, 90min, WS: Cinephil, [Best of Fests] HUNTING PARTY \| JAGDPARTIE by Ibrahim Shaddad, 42min © 1964 [Corresponding Cinemas]_ IN WOLF COUNTRY \| IM LAND DER WÖLFE by Ralf Bücheler, 102min, P: if... Productions Film, [Frontlight] LA SINGLA by Paloma Zapata, 95min, coP: inselfilm produktion, WS: Rise and Shine, [Best of Fests] MALQUERIDAS by Tana Gilbert, 75min, WS: Square Eyes Film, [Best of Fests] MRS. FANG by Wang Bing, 86min, WS: Asian Shadows Int. Sales Ltd, ©2017 [Retrospective] OMNI NOBU – THE NEW MAN by Carlos Yuri Ceuninck, 64min, P: Néon Rouge, AUTENTIKA FILMS, Kori Kaxoru Films, Black Balance Artistic Production, [Luminous] OUR LAND, OUR FREEDOM by Meena Nanji, Zippy Kimundu, 100min, coP: AUTENTIKA FILMS, [Frontlight] A PICTURE TO REMEMBER by Olga Chernykh, 72min, P: Real Pictures, LuFilms, Tama Film, [Envision] #RACEGIRL – THE COMEBACK OF SOPHIA FLÖRSCH \| #RACEGIRL – DAS COMEBACK DER SOPHIA FLÖRSCH by Sonia Otto, 95min, P: Gebrüder Beetz Film, [Frontlight] SULTANA'S DREAM by Isabel Herguera, 87min, WS: Square Eyes Film, [Best of Fests] TOGOLAND PROJECTIONS by , 96min, P: Les films de l’oeil Sauvage, maxim film, Universal Grace Production, WS: Andana Films, [Best of Fests] UKI by Shu Lea Cheang, 80min, P: Shu Lea Cheang, Jürgen Brüning Filmproduktion, D: GMfilms, [IDFA] WAKING UP IN SILENCE \| IM STILLEN ERWACHEN by Mila Zhluktenko, Daniel Asadi Faezi, 18min, WS: Square Eyes, [Best of Fests] WHERE ZEBUS SPEAK FRENCH \| SITABAOMBA by Nantenaina Lova, 103min, P: Endemika Films, NIKO FILM, Adala Films, Diam Production SARL, [Luminous] Competitions and other sections among others are: International Competition The best of the art. Singular films that are artistically confident, well-rounded, and universally relevant. An international jury of five jurors will award the best film as well as other films that champion the craft and innovation of filmmaking. Envision Competition With stylistic integrity and courage, these films traverse our current reality, offering visions of a documentary art form that can, might, and will be. An international jury of five jurors will award the best film as well as other films that champion the craft and innovation of filmmaking. IDFA DocLab Competition for Immersive Non-Fiction A testament to the power of exceptional non-fiction storytelling across media and technologies, the selected works for the IDFA DocLab Competition for Immersive Non-Fiction reveal the full spectrum of immersive art. An international jury of three jurors will award the best project in addition to handing out a special jury award. IDFA DocLab Competition for Digital Storytelling The selected projects in the IDFA DocLab Competition for Digital Storytelling illustrate all the different ways to create stories in new ways to innovate and re-imagine the potential of interactive storytelling, often moving between the digital and the physical. An international jury of three jurors will award the best project in addition to handing out a special jury award. IDFA Competition for Short Documentary The IDFA Competition for Short Documentary has titles that showcase a healthy boom for the short film form. A mosaic of styles and themes defines this selection, exploring everything a short documentary can be. An international jury of three jurors will award the best film. IDFA Competition for Youth Documentary The IDFA Competition for Youth Documentary offers world-class films that challenge the definition of youth documentary. Selected titles are presented for two distinct age groups: 9- to 13-year-olds, and 14-year-olds all the way to adulthood. Luminous The premiere-only section’s lineup includes a wide range of styles and formalist approaches, from observational to personal to experimental. Through vivid recollections and a wealth of archival footage, Helke Sander: Cleaning House by Claudia Richarz invites audiences to revisit the filmmaker and feminist's work and activism. Frontlight The premiere-only section take an artistic approach to exploring the urgent issues of our time. In Wolf Country by Ralf Bücheler documents the return of wolves to Germany, and the polarizing and political debates that ensue in the name of safety—but who are we setting out to protect? IDFA on Stage The IDFA on Stage selection presents a boundary-breaking program of live cinema events—bridging film, new media, and the performing arts. Highlights include Simple as ABC #7: The Voice of Fingers by Thomas Bellinck, the multimedia performance and documentary theater play examines fingerprint technology as an instrument of control and symbol for inequality. Starting from the tiny ridges of our fingertips, the performance inquires into how the administrative tool enables the free crossing of EU borders to some, and the exclusion of others. IDFA DocLab Spotlight Documentary art across disciplines, presenting emerging media works and research projects by masters and new talents. Paradocs Pushing the limits of the documentary form. A showcase of the year’s best experimental documentary art. Best of Fests Prize-winners, public favorites, and high-profile titles from the international festival circuit. Signed The latest films by the most interesting contemporary filmmakers whose filmographies we highly appreciate, and for whose work we wait with excitement. Top 10 Ten films selected by IDFA’s Guest of Honor, from influential masterpieces to hidden documentary gems. Retrospective A tribute to the festival’s yearly Guest of Honor with a celebration of their oeuvre. Focus A selection of new and canonical films curated around a thematic point of focus. Coreesponding Cinemas presents a series of films and conversations on the invisible connections between filmmakers – offering a glimpse into cinema’s endless relay of creative connections. MARKETS take place from Sunday November 12 until Wednesday November 15 onsite in Amsterdam, returning to a new and improved Felix Meritis floor plan. IDFA hosts a dynamic marketplace that caters to filmmakers, producers, and industry professionals throughout the full life cycle of documentary film and new media making at IDFA Forum (November 12-15, 2023) and Docs for Sale (November 10-15, 2023). Docs for Sale during IDFA: The full 2023 catalogue will be published on IDFA's website November 1 and can be accessed by Acquisition passholders by logging into your MyIDFA account. Once you are logged in, you can keep track of the titles you have watched in the ‘Professionals’ space. • Producers Connection + Rough Cut presentations – Sunday November 12 Afternoon • Forum and DocLab Forum Presentations – Monday-Tuesday November 13+14 Morning • All One-on-One Meetings for selected projects will take place Monday-Tuesday November 13+14 Afternoon + Wednesday November 15 morning. • Forum Lunches take place Monday-Tuesday November 13+14. Questions? Don’t hesitate to contact the industry team at idfaforum@idfa.nl or docsforsale@idfa.nl 64 projects are selected for 31st edition of IDFA Forum including LIGHTS (WT) by Mila Teshaieva, Marcus Lenz, 90min, Germany, Ukraine Beginning with the liberation of Bucha and following five characters as they navigate their life through conflicts, trauma, and hopes, the film tells a story of transformations of the nation shaped by war. Sequel to awardwinning WHEN SPRING CAME TO BUCHA ©2022. Docs for Sale IDFA takes place November 10-15, 2023, and facilitates the sales and distribution of high-end documentary films, providing bespoke services including matchmaking, consultancies, sales and distribution workshops, and strategic know-how for IDFA-selected and Docs for Sale-selected films. Meet here • Filmmakers looking to maximize their launch with sales and distribution opportunities • Sales agents looking to showcase their roster and scout new films • Buyers, distributors, and festival programmers looking for the best creative documentaries for their festival program or TV, cinema, or platform slot. Catalogue 2023—2024 A leading showcase of the most recent documentary films, series, and shorts seeking distribution and exhibition opportunities, including about two dozen German productions and c-productions. This year's Docs for Sale catalogue features some 330 films from more than 80 countries, with a clear trend towards films dealing with social and historical topics through personal lens, as well as stories about sidelined communities fighting the challenges of the globalized world. German productions and co-productions in the Docs for Sale 2023–2024 Catalogue 27 STOREYS by Bianca Gleissinger, 82min, P: Mischief Films, Egoli Tossell Film AG [Docs for Sale] AL DJANAT, THE ORIGINAL PARADIESE by Aïcha Chloé Boro, 84min, [Best of Fests] [Docs for Sale] ALL INCLUSIVE by Thorsten Ernst, 90min, WS: Rise and Shine, [Docs for Sale] EMBODIES CHORUS by Mohamad Moe Sabbah, Danielle Davie, 72min, P: HEARTWAKE films GmbH, Wild Fang Films, madame le tapis, [Luminous] [Doc For Sales] THE GATE by Jasmin Herold, Michael Beamish, 88min, WS: Deckert Distribution GmbH, [Docs for Sale] HELKE SANDER: CLEANING HOUSE \| HELKE SANDER: AUFRÄUMEN by Claudia Richarz, 82min, P: Claudia Richarz Film, [Luminous] [Docs for Sale] IGOR LEVIT – NO FEAR by Regina Schilling, 118min, WS: Filmdelights, [Docs for Sale] IN WOLF COUNTRY \| IM LAND DER WÖLFE by Ralf Bücheler, 102min, P: if... Productions Film, [Frontlight] [Docs for Sale] IRON BUTTERFLIES by Roman Liubyi, 84min, P: Trimafilm, Babylon '13, WS: Rise and Shine, [Docs for Sale] JACKIE THE WOLF by Tuki Jencquel, 93min, WS: Deckert Distribution, [Docs for Sale] LIFE AFTER LIBERTATION – HOLOCAUST SURVIVORS IN POST-WAR GERMANY by Hans Pfeifer, 52min, WS: Irem Özgökceler for Deutsche Welle, [Docs for Sale]_ LIFE, AS IT HAPPENS by Emre Korkmaz, 53min, Pergamon Pictures, [Docs for Sale]_ LONELY OAKS \| VERGISS MEYN NICHT by Fabiana Fragale, Kilian Kuhlendahl, Jens Mühlhoff, WS: NEW DOCS, [Docs for Sale] LONG DISTANCE SWIMMER – SARA MARDINI by Charly W. Feldman, 88min, P: DOCDAYS Productions, WS: NEW DOCS, [Docs for Sale] MALQUERIDAS by Tana Gilbert, 75min, WS: Square Eyes Film, [Best of Fests] [Docs for Sale] THE MOTHER OF ALL LIES \| KADIB ABYAD by Asmae El Moudir, 96min, P: Insightfilms, Fig Leaf Studio, WS: auTLOOK Filmsales, [Docs for Sale]_ NUCLEAR NOMADS by Kilian Armando Friedrich, Tizian Stromp Zargari, 70min, WS: Rise and Shine, [Docs for Sale] OUR LAND, OUR FREEDOM by Meena Nanji, Zippy Kimundu, 100min, coP: AUTENTIKA FILMS, [Frontlight] [Docs for Sale] A PICTURE TO REMEMBER by Olga Chernykh, 72min, P: Real Pictures, LuFilms, Tama Film, [Envision] [Docs for Sale] PLASTIC FANTASTIC by Isa Willinger, 101min, P: Trimafilm, WS: Rise and Shine, [Docs for Sale] RUSSIA vs LAWYERS by Masha Novikova, 90min, WS: NEW DOCS, [Docs for Sale] SULTANA'S DREAM by Isabel Herguera, 87min, WS: Square Eyes Film, [Best of Fests] [Docs for Sale] TANJA – UP IN ARMS by Marcel Mettelsiefen, 84min, WS: MAGNETFILM GmbH, [Docs for Sale] TOTAL TRUST by Jialing Zhang, 97min, WS: Cinephil, [Docs for Sale] TOGOLAND PROJECTIONS by Jürgen Ellinghaus, 96min, P: Les films de l’oeil Sauvage, maxim film, Universal Grace Production, WS: Andana Films, [Docs for Sale] UKRAINIAN STORYBOX – A WOMAN'S WAR by David Belton, 81min, P: LOOKSfilm, YaRD44, WS: LOOKS International, [Docs for Sale] VIENNA CALLING by Philipp Jedicke, 83min, P:Amour Fou, Fruitmarket Arts & Media, WS: Filmdelights, [Docs for Sale] VIKA! by Agnieszka Zwiefka, 74min, WS: Deckert Distribution, [Docs for Sale] WAR ON PROPAGANDA by Saskia Geisler, 89min, P: Berlin Producers, WS: Rise and Shine, [Docs for Sale] WHERE ZEBUS SPEAK FRENCH \| SITABAOMBA by Nantenaina Lova, 103min, P: Endemika Films, NIKO FILM, Adala Films, Diam Production SARL, WS: Eva Lova-Bély for Papang Films, [Luminous] [Docs for Sale] WORKING FOR THE ENEMY – FORCED LABOUR IN THE THIRD REICH \| UNTER DEUTSCHEN – ZWANGSARBEIT IM DRITTEN REICH by Matthias Schmidt, 3x52min, P: LOOKSfilm, WS: LOOKS International, [Docs for Sale] as single page • IDFA 2023 • IDFA 2022 • IDFA 2021 • IDFA 2020 • IDFA 2019 • IDFA 2018 • IDFA 2017 upcoming 37 IDFA November 13-24, 2024 at Amsterdam. SUBMISSIONS send films, performances, and interactive/immersive projects to be considered for the 37th edition of IDFA, taking place November 13 to 24, 2024. • Early deadline for films April 25 • Deadline for new media projects seeking presentation support April 25 • Deadline for performances April 25 • Second deadline for films May 30 • Deadline for new media projects July 2 • Final deadline for films July 11 …and the four time winner is Jonathan Schörnig with EINHUNDERTVIER! Altogether, 24 awards were presented at DOK Leipzig. At the 66th edition of the festival, 225 films and extended reality works from some 60 countries were screened at the venues around Leipzig. The festival's opening film, WHITE ANGEL – THE END OF MARINKA by Leipzig journalist Arndt Ginzel, can be seen in cinemas across Germany from October 19, 2023. …and the four time winner is Jonathan Schörnig with EINHUNDERTVIER here with protagosnist Clara Richter In the German Competition Documentary Film, the Golden Dove Feature-Length Film went to EINHUNDERTVIER by Jonathan Schörnig, a real-time documentation of a rescue at sea on the Mediterranean. "The film team and the crew of the rescue ship show us clearly what it means when we look the other way every day. But they also show that help is possible and needed," the jury emphasised. This 10,000-Euro award is sponsored by Doris Apell-Kölmel and Michael Kölmel. AND the Goethe-Institut Documentary Film Prize, which includes 2,000.– Euros, licensing and subtitling in eight languages, was also awarded to EINHUNDERTVIER by Jonathan Schörnig. EINHUNDERTVIER further received the 1,500.– Euro ver.di Prize for Solidarity, Humanity and Fairness, bringing the total to four awards, making this the film earning the most honours at DOK Leipzig 2023, because the Film Prize Leipziger Ring, which honours a documentary film about human rights, democracy or civic engagement, sponsored by the Stiftung Friedliche Revolution and includes 2,500.– Euros in prize money goes ex aequo to Jonathan Schörnig for EINHUNDERTVIER and Nantenaina Lova for WHERE ZEBUS SPEAK FRENCH as well. Nantenaina Lova observes in the village SITABAOMBA not far from the capital Antananarivo at Madagascar, how foreign interests find their way into the country through corrupt politics and how the people deal with the foreign interests: Laughing in the face of injustice is the motto. With Tema Ndrota, Gégé Rasamoely, Company Miangaly and Claudia Tagbo as narrator. The Golden Dove Short Film, in conjunction with 1,500.– Euros, was awarded to Franzis Kabisch for getty abortions, a desktop video essay that explores how media illustrate the topic of abortion. "Our award-winning film finds a convincing contemporary form to address an ancient and at the same time highly topical issue," said the jury comprised of Birgit Kohler, Claus Löser and Serpil Turhan. The DEFA Sponsoring Prize, which includes 4,000.– Euros and is granted by the DEFA Foundation, went to Julia Charakter for THE CHILDREN OF KORNTAL. The Gedanken-Aufschluss Award went to Nele Dehnenkamp for her first feature-length documentary film, FOR THE TIME BEING. This award was voted on by a jury comprised of prisoners at the Juvenile Detention Centre Regis-Breitingen. All awards and jury members at 66 DOK Leipzig browse here. Belarusian director Daria Yurkevich and her project GENESIS (Belarus, Germany) receiving the Saxon Award for the Best Documentary Project by a Female Director. DOK Industry Awards Winners 2023 announced, including German productions and co-productions, such as: At DOK Preview Germany, JOHATSU – INTO THIN AIR (WT) by Andreas Hartmann, Arata Mori, P: Ossa Film, Germany, Japan has been awarded with the D-Facto Motion Works-in-Progress Prize, which comes with the post-production grant of 10,000 euros, sponsored by D-Facto Motion GmbH. At the DOK Co-Pro Market, a total of three awards have been presented. Belarusian director Daria Yurkevich and her project GENESIS (Belarus, Germany) has received the Saxon Award for the Best Documentary Project by a Female Director. The prize is endowed with 5,000 euros, sponsored by the Saxon State Ministry for Science, Culture and Tourism. Production company is Jyoti Film GmbH. Winner of the ARD TopDocs__Competition is DER AUTOKRATEN CODE produced by Bremedia Produktion. The 66th edition of DOK Leipzig came to a close on Sunday, 15 October. The Golden and Silver Doves as well as the partnership awards were presented in two award ceremonies on Saturday. In total, the festival counted 45,500 attendees at its cinema screenings, panel discussions, industry events and the DOK Neuland XR exhibition. From 8 to 15 October, audiences had the opportunity to see 225 films and XR works from around 60 countries in venues around Leipzig. In addition, one film a day was available online for 24 hours throughout Germany in the DOK Stream. Festival director Christoph Terhechte looked back upon an eventful and intense festival week: "The cinemas were packed, and there were many excellent discussions about film in which the audience was very involved. Although the week was overshadowed by the recent massacres, expulsions and bombings in Israel and Palestine, Nagorno-Karabakh and Ukraine, many of our attendees used the festival as an opportunity to exchange views on those issues and current events." The DOK Industry events also met with great interest. At the second edition of the DOK Archive Market, more international archives and footage libraries introduced their collections than in the previous year. All in all, DOK Industry welcomed more than 1,700 accredited professionals. The 67th edition of DOK Leipzig will take place from 28 October to 3 November 2024. The 66th edition of the DOK Leipzig film festival is presenting some 225 films and extended reality works from around 60 countries. WHITE ANGEL – THE END OF MARINKA \| WHITE ANGEL – DAS ENDE VON MARINKA by Leipzig journalist Arndt Ginzel is premiering as opening film. As every year, the festival centre is located in the Museum der bildenden Künste Leipzig. © 2023 Journalistenbüro Ginzel Kraushaar Datt GbR The impressive close-up footage of the operations is from a GoPro camera worn by police officers who repeatedly drive around the town in a white van which the civilians call the White Angel, documenting the evacuation and rescue operations in the small town of Marinka in the Donetsk region from the spring to the autumn of 2022. Spring 2023, Arndt Ginzel and his team returned to Ukraine and spoke with the rescuers and survivors about their traumatic experiences – and about the demise of their home town, which no longer exists. LineUp German productions and co-productions [work in progress] BREAKER \| BRANDEN by Juliane Ebner, 16min, P: Juliane Ebner, D: Fabian&Fred, [International Competition Animation] CLOWNESSES by Jana Rothe, 22min, P: PINKMOVIES, [German Competition] THE CHILDREN OF KORNTAL \| DIE KINDER AUS KORNTAL by Julia Charakter, 90min, P: Bildersturm, [German Competition] THE DAUGHTER OF THE SHAOLIN MASTER \| DIE TOCHTER DES SHAOLIN-MEISTERS by Therese Koppe, 24min, P: telekult, [Kids DOK] EINHUNDERTVIER by Jonathan Schörnig, 93min, P: Jonathan Schörnig, [German Competition] FOR THE TIME BEING by Nele Dehnenkamp, 90min, [German Competition] THE GATE by Jasmin Herold, Michael David Beamish, 88min, WS: Deckert Distribution, [German Competition] getty abortions by Franzis Kabisch, 22min, P: Franzis Kabisch, [German Competition]_ GUDOW NORD by Sophia Schachtner, 20min, P: Sophia Schachtner, [German Competition] HOME SWEET HOME by Annika Mayer, 67min, D: Raina Films, P: Majmun Films, [German Competition] JOHNNY & ME by Katrin Rothe, 100min, P: HANFGARN & UFER Filmproduktion, WS:NEW DOCS, [International Competition Feature Animation] KATHY AND TERESA by Marie Zrenner, 14min, P: HFF Munich, [German competition] LAMINE'S FARM IN SENEGAL \| LAMINES FARM IN SENEGAL (out of the series Ich bin Ich) by Iris Stark, 7min, C: Iris Stark [Kids DOK]_ MAKE UP THE WORLD \| DIE AUSSTATTUNG DER WELT by Susanne Weirich, Bramkamp Robert, 99min, P: BramkampWeirich GbR, [German Competition] NELE IN THE CLOUDS \| NELE IN DEN WOLKEN by Bernadette Hauke, 25min, P: Pangolin Doxx Film, [Kids DOK] PROJEKT by Dane Komljen, 25min, P: Flaneur Films, [German competition] SHOWHOUSE \| SCHAUHAUS by Anna Lauenstein, Max Hilsamer, 30min, [German Competition] SICK GIRLS by Gitti Grüter, 79min, P: kurhaus production, [German competition] SULTANA'S DREAM by Isabel Herguera, 86min, P: Fabian&Fred, WS: Square Eyes Film, [International Competition Feature Animation] TOGOLAN PROJECTIONS \| TOGOLAND PROJEKTIONEN by Jürgen Ellinghaus, 96min, [German Competition] WAKING UP IN SILENCE by Mila Zhluktenko, Daniel Asadi Faez, 17min, WS: Square Eyes [Doc Alliance Award] WE CALL HER HANKA \| BEI UNS HEISST SIE HANKA \| PLA NAS GRONJE JEJ HANKA \| POLA NAS REKA WONA HANKA by Grit Lempke, 92min, IT WORKS! medien [German Competition] VIKA! by Agnieszka Zwiefka, 74min, WS: Deckert Distribution, [Audience Competition] WEEDING \| KASSIEREN by Amelie Vierbuchen, Lea Sprenger, Franca Pape, 9min, P: KHM–Academy of Media Arts Cologne, [German Competition] WHERE ZEBUS SPEAK FRENCH \| SITABAOMBA by Kantenaina Lova, 103min, [International Competition Feature] THE WIND IS TAKING THEM \| DER WIND NIMMT DIE MIT by Ann Carolin Renninger, 25min, P: joon film, [German Competition] WHO, IF NOT US? THE FIGHT FOR DEMOCRACY IN BELARUS \| WER WENN NICHT WIR? DER KAMPF FÜR DEMOKRATIE IN BELARUS by Juliane Tutein, 77min, P: CORSOfilm, [PANORAMA] WHITE ANGEL – THE END OF MARINKA \| WHITE ANGEL – DAS ENDE VON MARINKA by Arndt Ginzel, 103min, D: Weltkino Filmverleih, [OPENING] YUGO: THE NON-GAME by Petrit Hoxha [Digital Storytelling] YOU DESTROY. WE CREATE by Felix Gaedtke, Gayatri Parameswaren, 25min, P: NowHere Media, [Extended Reality] During the festival week, DOK Leipzig is showing one festival film fresh out of the cinema online as VoD in the DOK Stream. Each film is available for 24 hours throughout Germany. Only available at dok-leipzig.de, from 9 to 15 October. DOK Leipzig Retrospective focuses on resistance to communist regimes in the Eastern Bloc including German productions such as: [Kurt Biedenkopf besucht ein sowjetisches Panzerregiment] by Klaus Wilhelm, 8min, ©1991, Germany [Matinee Saxon State Archive] BEGEGNUNGEN by Alfred Dorn, 15min, ©1970 [Matinee Saxon State Archive] DREI JAHRZEHNTE SPÄTER by Volker Kastius, 15min, @1977, GDR [Matinee Saxon State Archive] HUNGARY IN FLAMES \| UNGARN IN FLAMMEN by Ferdinand Khittl, Stefan Erdélyi, 83min, © 1957, C: Bundesarchiv [Film and Protest] One Wednesday in June – 20 Years Ago: People’s Uprising, Workers’ Revolt or Secret Services Putsch? \| Ein Mittwoch im Juni – Vor 20 Jahren: Volksaufstand, Arbeiterrevolte oder Agentenputsch? by Lutz Lehmann, 60min ©1970, C: OneGate Media GmbH,[Retrospective] RÜCKGABE DER KUNSTSCHÄTZE AN DAS GRÜNE GEWÖLBE by anonym, ©1958, 5min [Matinee Saxon State Archive] SOVIET TROOPS IN PRAGUE AND BUDAPEST \| SOWJETISCHE TRUPPEN IN PRAG UND BUDAPEST (Panorama, 29.7.1968), 18min © 1968, C: OneGate Media GmbH [Retrospective] UPRISINGS IN THE SOVIET SPHERE OF INFLUENCE by Ralph Giordano, Hans-Ulrich Barth, 24min, ©1961, [Retrospektive] WEHE DEN BESIEGTEN by Andrea Ritterbusch, 87min, ©1990, GDR [DEFA Matinee\| 19 DOK Co-Pro Market Individual meetings between producers and the selected projects take place on 9–10 October 20223 in Leipzig with complementary online meetings on 16 October. Join as a producer without project - submission possible until September 7. The 19th edition of the DOK Co-Pro Market welcomes 35 documentary projects from 30 countries that will have the opportunity to find international financing and co-production partners. This year has seen an increase in the number of submissions, totalling 316 projects, including two ukrainian productions as well as seven German co-productions, such as: BE MY GUEST WORKER by Sanhah Lee \| South Korea, Germany \| autumn song production GENESIS by Daria Yurkevich \| Belarus, Germany \| JYOTI Film GHOST BOAT by Tanim Yousuf \| Bangladesh, Germany \| Bulldog Agenda GmbH, Mastul Productions HOW MANY NIGHTS HOW MANY DAYS by Alaa Dajani \| Egypt, Germany \| Seera films OVERTONES (WT) by Aygul Bakanova \| Kyrgyzstan, Germany \| Choku Film, if... Productions GmbH PRISON HONEY by Jonas Eisenschmidt, Constanze Wolpers \| Germany \| radpaar films ZOOTOPIA by Tristan Ferland Milewski \| Germany \| CORSO Film Find all 35 selected documentary projects listed here. A major focus of the DOK Co-Pro Market is to help create a network of unique professionals dedicated to the co-production of creative documentary works. We invite producers who are actively looking for new audio-visual works to co-produce and to expand their networks internationally to apply as a Producer without a Project for participation in the Co-Pro Market. [DOK Leipzig PR August 31, 2023] This year’s Industry Programme opens on October 9, 2023 with a panel on the current state of independent Belarusian documentary cinema and the challenges filmmakers face, with the participation of the recently launched Belarusian Independent Film Academy (BIFA). Among other highlights of the Industry Programme is Short n’ Sweet, Oktober 11,2023, the 7th edition of the short film pitching event. DOK Archive Market will take place on 12 October, featuring an exciting programme on archival research and production, including one-on-one consultations with archival researchers and producers. DOK Archive Market October 12, 2023, Festival Centre (MdbK) Basement DOK Industry continues to focus on archives and archive research presenting the second edition of DOK Archive Market. Accredited festival visitors are invited to meet with international archives at the DOK Archive Market, find out about their footage and stills collections and forge connections with the archive representatives. The accompanying panel programme presents exciting discussions offering insights into the nuts and bolts of archival research, production and rights clearances. In one-on-one speed consultations archive researchers and archive producers give concrete advice on researching and licensing footage for documentary projects. DOK Pr
18075	yago	1	8	https://www.ranker.com/list/movies-from-greece/reference%3Fpage%3D2	en	Famous Movies From Greece	https://imgix.ranker.com/list_img_v2/5758/165758/original/movies-from-greece-u2	https://imgix.ranker.com/list_img_v2/5758/165758/original/movies-from-greece-u2	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/brand/20/header/logo.png?fit=fill&fm=png&q=60&dpr=2&w=75&h=56?v=16", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/list_img_v2/5758/165758/original/movies-from-greece-u2?auto=format&q=50&fit=crop&fm=pjpg&dpr=2&crop=faces&h=418.848167539267&w=800", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://i.ytimg.com/vi/4EC7P5WdUko/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://i.ytimg.com/vi/2AzpHvLWFUM/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://i.ytimg.com/vi/-O1vLwvQ0ck/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://i.ytimg.com/vi/NQeaAsN7yo0/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://i.ytimg.com/vi/i4MRDke5Id4/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://i.ytimg.com/vi/8VF48LWXCjU/hqdefault.jpg?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=200", "https://v3api.ranker.com/api/px?lid=165758" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2009-11-24T00:00:00	List of popular movies from Greece, listed by popularity with movie trailers when available. All prominent movies shot in Greece are included. This list of ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/movies-from-greece/reference	List of popular movies from Greece, listed by popularity with movie trailers when available. All prominent movies shot in Greece are included. This list of famous films made in Greece includes additional information about the movies, such as who directed them and what genre they are. Any top rated movies made in Greece should appear on this list, with the most well-known ones at the top. The most popular cinema of Greece is included below, so if you see a movie that's missing then it probably isn't very well-known. List is made up of movies like Before Midnight and Z. This list answers the questions What movies were shot in Greece?"
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]	2002-03-22T14:31:18+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Corfu	Greek island in the Ionian Sea For other uses, see Corfu (disambiguation). "Corcyra" redirects here. For other uses, see Corcyra (disambiguation). Corfu ( kor-FEW, -⁠FOO, KOR-few, -⁠foo) or Kerkyra (Greek: Κέρκυρα, romanized: Kérkyra, pronounced [ˈcercira] ⓘ)[a] is a Greek island in the Ionian Sea, of the Ionian Islands,[1] and, including its small satellite islands, forms the margin of the nation's northwestern frontier with Albania.[2] The island is part of the Corfu regional unit, and is administered by three municipalities with the islands of Othonoi, Ereikoussa, and Mathraki.[3] The principal city of the island (pop. 32,095) is also named Corfu.[4] Corfu is home to the Ionian University. The island is bound up with the history of Greece from the beginnings of Greek mythology, and is marked by numerous battles and conquests. Ancient Korkyra took part in the Battle of Sybota which was a catalyst for the Peloponnesian War, and, according to Thucydides, the largest naval battle between Greek city states until that time. Thucydides also reports that Korkyra was one of the three great naval powers of fifth century BCE Greece, along with Athens and Corinth.[5] Ruins of ancient Greek temples and other archaeological sites of the ancient city of Korkyra are located in Palaiopolis. Medieval castles punctuating strategic locations across the island are a legacy of struggles in the Middle Ages against invasions by pirates and the Ottomans. Two of these castles enclose its capital, which is the only city in Greece to be surrounded in such a way. As a result, Corfu's capital has been officially declared a Kastropolis ("castle city") by the Greek government.[6] From medieval times and into the 17th century, the island, as part of the Republic of Venice since 1204, successfully repulsed the Ottomans during several sieges, was recognised as a bulwark of the European States against the Ottoman Empire and became one of the most fortified places in Europe.[7] The fortifications of the island were used by the Venetians to defend against Ottoman intrusion into the Adriatic. In November 1815 Corfu came under British rule following the Napoleonic Wars, and in 1864 was ceded to modern Greece by the British government along with the remaining islands of the United States of the Ionian Islands under the Treaty of London. Corfu is the origin of the Ionian Academy, the first university of the modern Greek state, and the Nobile Teatro di San Giacomo di Corfù, the first Greek theatre and opera house of modern Greece. The first governor of independent Greece after the revolution of 1821, founder of the modern Greek state, and distinguished European diplomat Ioannis Kapodistrias was born in Corfu. In 2007, the city's old town was added to the UNESCO World Heritage List, following a recommendation by ICOMOS.[8][9][10] The 1994 European Union summit was held in Corfu.[11] The island is a popular tourist destination.[12][13] Name [edit] The Greek name, Kerkyra or Korkyra, is related to two powerful water deities: Poseidon, god of the sea, and Asopos, an important Greek mainland river.[14] According to myth, Poseidon fell in love with the beautiful nymph Korkyra, daughter of Asopos and river nymph Metope, and abducted her.[14] Poseidon brought Korkyra to the hitherto unnamed island and, in marital bliss, offered her name to the place: Korkyra,[14] which gradually evolved to Kerkyra (Doric).[6] They had a child, Phaiax, after whom the inhabitants of the island were named Phaiakes (in Latin, Phaeaciani). Corfu is known as the island of the Phaeacians. The name Corfù is a Venetian and Italian version of the Byzantine Κορυφώ (Koryphō), meaning "city of the peaks". It derives from the Byzantine Greek Κορυφαί (Koryphai) (crests or peaks), denoting the two peaks of Palaio Frourio.[6] Geography [edit] The northeastern edge of Corfu lies off the coast of Sarandë, Albania, separated by straits varying in width from 3 to 23 km (2 to 14 miles). The southeast side of the island lies off the coast of Thesprotia, Greece. Its shape resembles a sickle (drepanē, δρεπάνι), to which it was compared by the ancients: the concave side, with the city and harbour of Corfu in the centre,[15] lies toward the Albanian coast. With the island's area estimated at 592.9 km2 (228.9 sq mi; 146,500 acres),[16] it runs approximately 64 km (40 mi) long, with greatest breadth at around 32 km (20 mi). Two high and well-defined ranges divide the island into three districts, of which the northern is mountainous, the central undulating, and the southern low-lying. The more important of the two ranges, that of Pantokrator (Παντοκράτωρ – the Almighty) stretches east and west from Cape Falacro to Cape Psaromita, and attains its greatest elevation in the summit of the same name.[15] The second range culminates in the mountain of Santi Jeca, or Santa Decca, as it is called by misinterpretation of the Greek designation Άγιοι Δέκα (Hagioi Deka), or the Ten Saints. The whole island, composed as it is of various limestone formations, presents great diversity of surface.[15] Beaches are found in Agios Gordis, the Korission Lagoon, Agios Georgios, Marathia, Kassiopi, Sidari, Palaiokastritsa and many others. Corfu is located near the Kefalonia geological fault formation; earthquakes have occurred. Corfu's coastline spans 217 km (135 mi) including capes; its highest point is Mount Pantokrator (906 m (2,972 ft)); and the second Stravoskiadi, at 849 m (2,785 ft). The full extent of capes and promontories take in Agia Aikaterini, Drastis to the north, Lefkimmi and Asprokavos to the southeast, and Megachoro to the south. Two islands are also to be found at a middle point of Gouvia and Corfu Bay, which extends across much of the eastern shore of the island; are known as Lazareto and Ptychia (or Vido). Diapontia Islands [edit] The Diapontia Islands (Greek: Διαπόντια νησιά) are located in the northwest of Corfu, (6 km away) and about 40 km (25 mi) from the Italian coast. The main islands are Othonoi, Ereikoussa and Mathraki. Lazaretto Island [edit] Lazaretto Island, formerly known as St. Dimitrios, is located 1.1 km (0.68 mi) off the coast northeast of the city Corfu. Lazaretto has an area of 7.1 ha (17.5 acres) and comes under the administration of the Greek National Tourist Organization. During Venetian rule in the early 16th century, a monastery was built on the islet and a leprosarium established later in the century, after which the island was named. In 1798, during the French occupation, the islet was occupied by the Russo-Turkish fleet, who ran it as a military hospital. During the period of British rule, in 1814, the leprosarium was once again opened after renovations, and following Enosis in 1864 the leprosarium again saw occasional use.[17] During World War II, the Axis Occupation of Greece established a Nazi concentration camp there for the prisoners of the Greek Resistance movement,[18] while remaining today are the two-storeyed building that served as the Headquarters of the Italian army, a small church, and the wall against which those condemned to death were shot.[17][18] Climate [edit] Corfu has a hot-summer Mediterranean climate (Köppen climate classification: Csa) featuring hot, dry summers and mild to cool, very rainy winters, which are much wetter than other Greek islands.[19] The highest temperature ever recorded is 42.8 °C (109.0 °F) on 24 July 2007 while the lowest is −6.0 °C (21.2 °F) on 17 January 2012. Biodiversity [edit] Flora [edit] Homer identifies six plants that adorn the garden of Alcinous: wild olive, pear, pomegranate, apple, fig and grape vine. Of these the apple and the pear are very inferior in Corfu; the others thrive, together with all the fruit trees known in Southern Europe, with addition of the kumquat, loquat and prickly pear and, in some spots, the banana. Olive trees dominate and their combination with cypress trees compose the typical Corfiot landscape. When undisturbed by cultivation,[15] the high maquis is the major natural vegetation type followed by deciduous oak forests and to a lesser extent, pine forests. In total more than 1800 plant species have been recorded.[23] Fauna [edit] Corfu is a continental island; its fauna is similar to that of the opposite mainland. Birds [edit] Avifauna is extensive, with around 300 bird species recorded since the 19th century. Species vary in size from the greater flamingo to the goldcrest.[24] Some species have become extinct, such as the rock partridge and the grey partridge, or no longer breed on the island, like the eastern imperial eagle, the white-tailed eagle, the Bonelli's eagle, the griffon vulture and the Egyptian vulture.[25][26] Mammals [edit] Around 40 species of mammals live on the island and in the sea around it. Fin whales, sperm whales, Cuvier's beaked whales, common bottlenose dolphins, short-beaked common dolphins, striped dolphins and Risso's dolphins are the regularly present cetaceans.[27] Monk seals appear from time to time without breeding there anymore. Eurasian otters still survive in the lagoons and streams of Corfu.[28][29][30] The golden jackal was very common till the 1960s, but after persecution it became extinct, with the last individuals observed in the first half of the 1990s.[31][32] Recent sightings indicate a recolonization effort from the nearby mainland.[29] Wild boars were exterminated after 2000, after farmers complained about crop damage, but at the moment they recolonized Corfu, swimming from the mainland.[29] Red foxes, beech martens, least weasels, European hares, northern white-breasted hedgehogs are quite widespread, as some of the smaller mammals like the European edible dormouse, the hazel dormouse, the house mouse, the yellow-necked mouse, the western broad-toothed field mouse, the wood mouse, the lesser white-toothed shrew, the etruscan shrew, as well as several species of bats.[29][33][34] Coypus, fallow deer, red deer, Indian crested porcupines, Siberian chipmunks and raccoons have been observed recently, but they are escapees and only the coypu and the raccoon have established viable populations.[35][29] Amphibians and reptiles [edit] Eight species of amphibians and 31 species of reptiles live or have been recorded on and around Corfu.[36] The Greek newt, the Macedonian crested newt, the common toad, the European green toad, the European tree frog, the agile frog, the Epirus water frog and the Greek marsh frog are the representatives of the Amphibia Class. Loggerhead sea turtles nest on the sandy beaches. On land, the Hermann's tortoise is widespread, while the marginated tortoise's status is unclear. In freshwater wetlands European pond terrapins and Balkan terrapins are common, but the last few years face the competition of the introduced pond slider. Lizard species include typical lizards and geckos like the starred agama, the Mediterranean house gecko, the moorish gecko, the Dalmatian algyroides, the common wall lizard, the Balkan wall lizard, the Balkan green lizard, the European green lizard and the snake-eyed skink as also the legless Greek slow worm and the European glass lizard. Of the snakes of Corfu, only the nose-horned viper is potentially dangerous. The harmless snake list includes the European worm snake, the javelin sand boa, the Dahl's whip snake, the Balkan whip snake, the Caspian whip snake, the four-lined snake, the Aesculapian snake, the leopard snake, the grass snake, the dice snake, the European cat snake, the eastern Montpellier snake. Butterflies [edit] There are 75 (plus) known species of Corfiot butterfly. Of particular interest are the southern swallowtail, southern festoon, Oberthür's grizzled skipper, Lulworth skipper, eastern orange tip, Krueper's small white, eastern baton blue and the tree grayling, many of which are of near threatened status. Before the turn of the century, not much had been published about the butterfly fauna of Corfu, and there were only a few short and obscure scientific articles. Recent interest grew when a Facebook discussion page (now called Corfu Butterfly Conservation) was created on 27th April 2014. Since that time, a group of responsible butterfly enthusiasts has grown (731 members at the time of writing) who share their passion for the butterflies and moths found on the island. It is through this work that more is being discovered about the distribution and abundance of butterflies across the island.[37] Corfu Butterfly Conservation [edit] Corfu Butterfly Conservation (CBC) was launched in April 2019. The group is composed of concerned residents, island visitors and scientists from throughout Europe.[38] Their goals are to produce robust scientific data that can be used to influence policy and protect habitat for the benefit of Corfu's butterflies and the wider natural environment, as well as to stimulate public interest in butterfly conservation. CBC launched its website (www.corfubutterflyconservation.org, funded by the Royal Entomological Society's Goodman Award) on the 1 January 2021 to coincide with the launch of the Corfu Butterfly Survey.[39] The website describes the 75 species of butterflies that have been confirmed by members of CBC from the island. It outlines the value of butterflies as indicators of the island's biodiversity status and encourages enthusiasts to record their sightings on this website, as participants of the survey.[37] On the 16 December 2021, CBC became a UK registered community interest company (No.13813164) and so its identity changed from being a project to that of an organisation.[37] History [edit] Early history [edit] The earliest reference to Corfu is the Mycenaean Greek word ko-ro-ku-ra-i-jo ("man from Kerkyra") written in Linear B syllabic script, c. 1300 BC.[40] According to Strabo, Corcyra (Κόρκυρα) was the Homeric island of Scheria (Σχερία),[41] and its earliest inhabitants were the Phaeacians (Φαίακες). The island has indeed been identified by some scholars with Scheria, the island of the Phaeacians described in Homer's Odyssey, though conclusive and irrefutable evidence for this theory have not been found. Apollonius of Rhodes depicts the island in Argonautica as a place visited by the Argonauts. Jason and Medea were married there in 'Medea's Cave'. Apollonius named the island Drepane, Greek for "sickle", since it was thought to hide the sickle that Cronus used to castrate his father Uranus, from whose blood the Phaeacians were descended. In an alternative account, Apollonius identifies the buried sickle as a scythe belonging to Demeter, yet the name Drepane probably originated in the sickle-shape of the island. According to a scholiast, commenting on the passage in Argonautica, the island was first of all called Macris after the nurse of Dionysus who fled there from Euboea.[42] Some scholars have asserted that Corfu is Taphos, the island of the Lelegian Taphians.[43] According to Strabo (VI, 269), the Liburnians were masters of the island Korkyra (Corfu) for a time, until the 8th century BCE. They reportedly were expelled from Korkyra by the Corinthians. At a date no doubt previous to the foundation of Syracuse, Corfu was peopled by settlers from Corinth, probably 730 BCE, but it appears to have previously received a stream of emigrants from Eretria. The commercially advantageous location of Corcyra on the way between Greece and Magna Grecia, and its fertile lowlands in the southern section of the island favoured its growth and, influenced perhaps by the presence of non-Corinthian settlers, its people, quite contrary to the usual practice of Corinthian colonies, maintained an independent and even hostile attitude towards the mother city.[15] This opposition came to a head in the early part of the 7th century BCE, when their fleets fought the first naval battle recorded in Greek history: 665 BCE according to Thucydides. These hostilities ended in the conquest of Corcyra by the Corinthian tyrant Periander (Περίανδρος) who induced his new subjects to join in the colonization of Apollonia and Anactorium. The island soon regained its independence and thenceforth devoted itself to a purely mercantile policy. During the Persian invasion of 480 BCE it manned the second largest Greek fleet (60 ships), but took no active part in the war. In 435 BCE it was again involved in a quarrel with Corinth over the control of Epidamnus, and sought assistance from Athens (see Battle of Sybota).[15] This new alliance was one of the chief immediate causes of the Peloponnesian War, in which Corcyra was of considerable use to the Athenians as a naval station, but did not render much assistance with its fleet. The island was nearly lost to Athens by two attempts of the oligarchic faction to effect a revolution; on each occasion the popular party ultimately won the day and took a most bloody revenge on its opponents (427 BCE and 425 BCE).[47][15] During the Sicilian campaigns of Athens Corcyra served as a supply base; after a third abortive rising of the oligarchs in 410 BCE it practically withdrew from the war. In 375 BCE it again joined the Athenian alliance; two years later it was besieged by a Spartan force, but in spite of the devastation of its flourishing countryside held out successfully until relieved. In the Hellenistic period Corcyra was exposed to attack from several sides.[15] In 303 BCE, after a vain siege by Cassander,[15] the island was occupied for a short time by the Lacedaemonian general Cleonymus of Sparta, then regained its independence and later it was attacked and conquered by Agathocles of Syracuse. He offered Corfu as dowry to his daughter Lanassa on her marriage to Pyrrhus, King of Epirus. The island then became a member of the Epirotic alliance. It was then perhaps that the settlement of Cassiope was founded to serve as a base for the King of Epirus' expeditions. The island remained in the Epirotic alliance until 255 BCE when it became independent after the death of Alexander, last King of Epirus. In 229 BCE, following the naval battle of Paxos, it was captured by the Illyrians, but was speedily delivered by a Roman fleet and remained a Roman naval station until at least 189 BCE. At this time, it was governed by a prefect (presumably nominated by the consuls), but in 148 BCE it was attached to the province of Macedonia.[48] In 31 BCE, it served Octavian (Augustus) as a base against Mark Antony.[15] Roman and medieval history [edit] Christianity arrived in Corfu early; two disciples of Saint Paul, Jason of Tarsus and Sosipatrus of Patras, taught the Gospel, and according to tradition the city of Corfu and much of the island converted to Christianity. Their relics were housed in the old cathedral (at the site of the current Old Fortress, before a dedicated church was built for them c. 100 AD. During Late Antiquity (late Roman/early Byzantine period), the island formed part of the province of Epirus Vetus in the praetorian prefecture of Illyricum. In 551, during the Gothic War, the Ostrogoths raided the island and destroyed the city of Corfu, then known as Chersoupolis (Χερσούπολις, "city on the promontory") because of its location between Garitsa Bay and Kanoni. Over the next centuries, the main settlement was moved north, to the location of the current Old Fortress, where the rocky hills offered natural protection against raids. From the twin peaks of the new site, the medieval city received its new name, Korypho (Κορυφώ, "city on the peak") or Korphoi (Κορφοί, "peaks"), whence the modern Western name of "Corfu". The previous site of the city, now known as Palaiopolis (Παλαιόπολις, "old city"), continued to be inhabited for several centuries, however. From at least the early 9th century, Corfu and the other Ionian Islands formed part of the theme of Cephallenia. This naval theme provided a defensive bulwark for Byzantium against western threats, but also played a major role in securing the sealanes to the Byzantine possessions in southern Italy. Indeed, traveller reports from throughout the middle Byzantine period (8th–12th centuries) make clear that Corfu was "an important staging post for travels between East and West". Indeed, the medieval name of Corfu first appears (Latinized Coryphus) in Liutprand of Cremona's account of his 968 embassy to the Byzantine court. Corfu enjoyed relative peace and safety during the Macedonian dynasty (867–1054), which allowed the construction of a monumental church to Saints Iason and Sosipatrus outside the city wall of Palaiopolis. Nevertheless, in 933, the city, led by its archbishop, Arsenios, withstood a Saracen attack; Arsenios was canonized and became the city's patron saint. The peace and prosperity of the Macedonian era ended with another Saracen attack in 1033, but more importantly with the emergence of a new threat: following the Norman conquest of Southern Italy, the ambitious Norman monarchs set their sights on expansion in the East. Three times on the space of a century Corfu was the first target and served as a staging area for the Norman invasions of Byzantium. The first Norman occupation from 1081 to 1084 was ended only after the Byzantine emperor Alexios I Komnenos secured the aid of the Republic of Venice, in exchange to wide-ranging commercial concessions to Venetian merchants. The admiral George of Antioch captured Corfu again in 1147, and it took a ten-month siege for Manuel I Komnenos to recover the island in 1149. In the third invasion in 1185, the island was again captured by William II of Sicily, but was soon regained by Isaac II Angelos. During the break-up of the Byzantine Empire the island was occupied by Genoese privateers (1197–1207), who in turn were expelled by the Venetians. In 1214 it passed to the Greek despots of Epirus,[15] who gave it to Manfred of Sicily as a dowry in 1259.[57] At his death in 1267 it passed to the House of Anjou. Thus, Corfu became a part of the Angevin Kingdom of Albania that was ruled by Charles of Anjou.[58] Under the latter, the island suffered considerably from the inroads of various adventurers.[15] The island was one of the first places in Europe in which Romani people settled. In about 1360, a fiefdom, called the Feudum Acinganorum was established, with mainly Romani serfs.[59][60] From 1386, Corfu was controlled by the Republic of Venice, which in 1401 acquired formal sovereignty and retained it until the French Occupation of 1797.[15] Corfu became central for the propagation of the activities of the Filiki Etaireia among the Greek Diaspora and philhellenic societies across Europe, through nobles like Ioannis Kapodistrias and Dionysios Romas. Venetian rule [edit] From medieval times and into the 17th century, the island was recognised as a bulwark of the European States against the Ottoman Empire and became one of the most fortified places in Europe.[7] The fortifications of the island were used by the Venetians to defend against Ottoman intrusion into the Adriatic. Corfu repulsed several Ottoman sieges, before passing under British rule following the Napoleonic Wars.[61][62][63][64][65][66][67] Kerkyra, the "Door of Venice" during the centuries when the whole Adriatic was the Gulf of Venice,[68] remained in Venetian hands from 1401 until 1797, though several times assailed by Ottoman naval and land forces[15] and subjected to four notable sieges in 1537, 1571, 1573 and 1716, in which the strength of the city defences asserted itself time after time. The effectiveness of the powerful Venetian fortifications as well as the strength of some old Byzantine castles in Angelokastro, Kassiopi Castle, Gardiki and elsewhere, were additional factors that enabled Corfu to remain free. Will Durant claimed that Corfu owed to the Republic of Venice the fact that it was one of the few parts of Greece never conquered by the Ottomans.[69] A series of attempts by the Ottomans to take the island began in 1431 when Ottoman troops under Ali Bey landed on the island. The Ottomans tried to take the city castle and raided the surrounding area, but were repulsed.[70] The Siege of Corfu (1537) was the first great siege by the Ottomans. It began on 29 August 1537, with 25,000 soldiers from the Ottoman fleet landing and pillaging the island and taking 20,000 hostages as slaves. Despite the destruction wrought on the countryside, the city castle held out in spite of repeated attempts over twelve days to take it, and the Turks left the island unsuccessfully because of poor logistics and an epidemic that decimated their ranks.[70] Thirty-four years later, in August 1571, Ottoman forces returned for yet another attempt to conquer the island. Having seized Parga and Mourtos from the Greek mainland side, they attacked the Paxi islands. Subsequently they landed on Corfu's southeast shore and established a large beachhead all the way from the southern tip of the island at Lefkimi to Ipsos in Corfu's eastern midsection. These areas were thoroughly pillaged as in past encounters. Nevertheless the city castle stood firm again, a testament to Corfiot-Venetian steadfastness as well as the Venetian castle-building engineering skills. Another castle, Angelokastro, situated on the northwest coast near Palaiokastritsa (Greek: Παλαιοκαστρίτσα meaning Old Castle place) and located on particularly steep and rocky terrain, also held out. The castle is a tourist attraction today.[70] These defeats in the east and the west of the island proved decisive, and the Ottomans abandoned their siege and departed. Two years later they repeated their attempt. Coming from Africa after a victorious campaign, they landed in Corfu and wreaked havoc on rural areas. Following a counterattack by the Venetian-Corfiot forces, the Ottoman troops were forced to leave the city sailing away.[70] The second great siege of Corfu took place in 1716, during the last Ottoman–Venetian War (1714–18). After the conquest of the Peloponnese in 1715, the Ottoman fleet appeared in Buthrotum opposite Corfu. On 8 July the Ottoman fleet, carrying 33,000 men, sailed to Corfu from Buthrotum and established a beachhead at Ipsos.[70] The same day, the Venetian fleet encountered the Ottoman fleet off the Corfu Channel and defeated it in the ensuing naval battle. On 19 July, after taking a few outlying forts, the Ottoman army reached the hills around the city of Corfu and laid siege to it. Despite repeated assaults and heavy fighting, the Ottomans were unable to breach the defences and were forced to raise the siege after 22 days. The 5,000 Venetians and foreign mercenaries, together with 3,000 Corfiotes, under the leadership of Count von der Schulenburg who commanded the defence of the island, were victorious once more.[6][70][71] The success was owed in no small part to the extensive fortifications, where Venetian castle engineering had proven itself once again against considerable odds. The repulse of the Ottomans was widely celebrated in Europe, Corfu being seen as a bastion of Western civilization against the Ottoman tide.[61][72] Today, however, this role is often relatively unknown or ignored, but was celebrated in Juditha triumphans by the Venetian composer Antonio Vivaldi. Venetian policies and legacy [edit] Corfu's urban architecture differs from that of other major Greek cities, because of Corfu's unique history. From 1386 to 1797, Corfu was ruled by Venetian nobility; much of the city reflects this era when the island belonged to the Republic of Venice, with multi-storeyed buildings on narrow lanes. The Old Town of Corfu has clear Venetian influence and is amongst the World Heritage Sites in Greece. It was in the Venetian period that the city saw the erection of the first opera house (Nobile Teatro di San Giacomo di Corfù) in Greece. Many Venetian-speaking families settled in Corfu during these centuries; they were called Corfiot Italians, and until the second half of the 20th century the Veneto da mar was spoken in Corfu. During this time, the local Greek language assimilated a large number of Italian and Venetian words, many of which are still common today. The internationally renowned Venetian-born British photographer Felice Beato (1832–1909) is thought to have spent much of his childhood in Corfu. Also many Italian Jews took refuge in Corfu during the Venetian centuries and spoke their own language (Italkian), a mixture of Hebrew-Italian in a Venetian or Apulian dialect with some Greek words. Venetians promoted the Catholic Church during their four centuries of rule in Corfu. Today the majority of Corfiots are Greek Orthodox, but the small Catholic minority (5%), living harmoniously with the Orthodox community, owes its faith to these origins. These contemporary Catholics are mostly families who came from Malta, but also from Italy, and today the Catholic community numbers about 4,000 (2⁄3 of Maltese descent), who live almost exclusively in the Venetian "Citadel" of Corfu City. Like other native Greek Catholics, they celebrate Easter using the same calendar as the Greek Orthodox church. The Cathedral of St. James and St. Christopher in Corfu City is the see of the Roman Catholic Archdiocese of Corfu, Zakynthos and Cephalonia. The island served also as a refuge for Greek scholars, and in 1732, it became the home of the first academy of modern Greece.[15] A Corfu cleric and scholar, Nikephoros Theotokis (1732–1800) became renowned in Greece as an educator, and in Russia (where he moved later in his life) as an Orthodox archbishop. The island's culture absorbed Venetian influence in a variety of ways; like other Ionian islands (see Cuisine of the Ionian islands), its local cuisine took in such elements and today's Corfiot cooking includes Venetian delicacies and recipes: "Pastitsada", deriving from the Venetian "Pastissada" (Italian: "Spezzatino") and the most popular dish in the island of Corfu, "Sofrito", "Strapatsada", "Savoro", "Bianco" and "Mandolato". Venetian Old Fortress, Map 1573 Venetian blazon with the Lion of Saint Mark, as frequently found on the New Fortress walls Panoramic view of Corfu (city) from the New Fortress Detail of the south wing of the entrance at Kassiopi Castle View of Kasiopi village from the castle 19th century [edit] By the 1797 Treaty of Campo Formio, Corfu was ceded to the French, who occupied it for two years as the département of Corcyre, until they were expelled by a joint Russian-Ottoman squadron under Admiral Ushakov. For a short time it became the capital of a self-governing federation of the Heptanesos ("Seven Islands"), under Ottoman suzerainty; in 1807 after the Treaty of Tilsit its faction-ridden government was again replaced by a French administration under governor François-Xavier Donzelot, and in 1809 it was besieged in vain by a British Royal Navy fleet, which had captured all the other Ionian islands.[15] Following the final defeat of Napoleon at the Battle of Waterloo, the Ionian Islands became a protectorate of the United Kingdom by the Treaty of Paris of 5 November 1815 as the United States of the Ionian Islands. Corfu became the seat of the British Lord High Commissioner of the Ionian Islands.[15] The period of British rule led to investment in new roads, an improved water supply system, and the expansion of the Ionian Academy into a university. During this period the Greek language became the official language.[citation needed] Following a plebiscite the Second National Assembly of the Greeks at Athens elected a new king, Prince Wilhelm (William) of Denmark, who took the name George I and brought with him the Ionian Islands as a coronation gift from Britain. On 29 March 1864, the United Kingdom, Greece, France and Russia signed the Treaty of London, pledging the transfer of sovereignty to Greece upon ratification. Thus, on 21 May, by proclamation of the Lord High Commissioner, the Ionian Islands were united with Greece.[70] British Lord High Commissioners during the protectorate [edit] This is a list of the British High Commissioners of the Ionian Islands; (as well as the transitional Greek Governor, appointed a year prior to Enosis (Union) with Greece in 1864).[73] Sir James Campbell 1814–1816 Sir Thomas Maitland (1759–1824) 1815–1823 Sir Frederick Adam (1781–1853) 1823–1832 Sir Alexander Woodford (1782–1870) 1832 George Nugent-Grenville, 2nd Baron Nugent (1788–1850) 1832–1835 Howard Douglas (1776–1861) 1835–1840 James Alexander Stewart-Mackenzie (1784–1843) 1840–1843 John Colborne, 1st Baron Seaton (1778–1863) 1843–1849 Sir Henry George Ward (1797–1860) 1849–1855 Sir John Young (1807–1876) 1855–1859 William Ewart Gladstone (1809–1898) 1859 Sir Henry Knight Storks (1811–1874) 1859–1863 Count Dimitrios Nikolaou Karousos, President of the Ionian Parliament (1799–1873) 1863–1864 In 1891, an anti-Semitic pogrom[74] took place to oppose Jewish participation in elections.[75] Later, blood libel caused riots,[76] it lasted three weeks and some 22 Jews died.[77] A part of the Jewish population preferred to leave the island, mainly for Thessaloniki, the Ottoman territories being more welcoming. It was following these events that Albert Cohen's family settled in Marseille.[78] First World War [edit] During the First World War, the island served as a refuge for the Serbian army that retreated there on Allied forces' ships from a homeland occupied by the Austrians, Germans and Bulgarians. During their stay, a large portion of Serbian soldiers died from exhaustion, food shortage, and various diseases. Most of their remains were buried at sea near the island of Vido, a small island at the mouth of Corfu port, and a monument of thanks to the Greek nation has been erected at Vido by the grateful Serbs; consequently, the waters around Vido Island are known by the Serbian people as the Blue Tomb (in Serbian, Плава Гробница, Plava Grobnica), after a poem written by Milutin Bojić following World War I.[79] Interwar period [edit] In 1923, after a diplomatic dispute between Italy and Greece, Italian forces bombarded and occupied Corfu. The League of Nations settled this Corfu incident in Italy's favour. Second World War [edit] Further information: Axis occupation of Greece Italian occupation and resistance [edit] During the Greco-Italian War, Corfu was occupied by the Italians in April 1941. They administered Corfu and the Ionian islands as a separate entity from Greece until September 1943, following Benito Mussolini's orders of fulfilling Italian Irredentism and making Corfu part of the Kingdom of Italy. During the Second World War the 10th Infantry Regiment of the Greek Army, composed mainly of Corfiot soldiers,[80] was assigned the task of defending Corfu. The regiment took part in Operation Latzides, which was a unsuccessful attempt to stem the forces of the Italians.[80] After Greece's surrender to the Axis, the island came under Italian control and occupation.[80] On the first Sunday of November 1941, high school students from all over Corfu took part in student protests against the occupying Italian army; these student protests of the island were among the first acts of overt popular Resistance in occupied Greece and a rare phenomenon even by wartime European standards.[80] Subsequently, a considerable number of Corfiots escaped to Epirus in mainland Greece and enlisted as partisans in ELAS and EDES, in order to join the resistance movement gathering in the mainland.[80] German bombing and occupation [edit] Upon the fall of Italian fascism in 1943, the Nazis moved to take control of the island. On 14 September 1943, Corfu was bombarded by the Luftwaffe. The Nazi bombing raids destroyed most of the city's buildings, including churches, homes, and whole city blocks, especially in the Jewish quarter Evraiki. Other losses included the city's market (αγορά) and the hotel Bella Venezia. The worst losses were the historic buildings of the Ionian Academy (Ιόνιος Ακαδημία), the Municipal Theatre (which in 1901 had replaced the Nobile Teatro di San Giacomo di Corfù), the Municipal Library, and the Ionian Parliament.[80] Following the Wehrmacht invasion, the Italians capitulated, and the island came under German occupation. Corfu's mayor at the time, Kollas, was a known collaborator and various anti-semitic laws were passed by the Nazi occupation government of the island.[81] In early June 1944, while the Allies bombed Corfu as a diversion from the Normandy landings, the Gestapo rounded up the Jews of the city, temporarily incarcerated them at the old fort (Palaio Frourio), and on 10 June sent them to Auschwitz II, where most of them were murdered by gas.[81][82] Approximately two hundred out of a total population of 1,900 escaped.[83] Many among the local population at the time provided shelter and refuge to those 200 Jews who managed to escape the Nazis.[84] In Evraiki (Εβραική, meaning Jewish quarter), there is currently a synagogue with about 65 members, who still speak their original Italkian language.[83] Liberation [edit] Corfu was liberated by British troops, specifically the 40th Royal Marine Commando, which landed in Corfu on 14 October 1944, as the Germans were evacuating Greece.[85] The Royal Navy swept the Corfu Channel for mines in 1944 and 1945, and found it to be free of mines.[86] A large minefield was laid there shortly afterwards by the newly communist Albania and gave rise to the Corfu Channel Incident.[86][87][88][89] This incident led to the Corfu Channel Case, where the United Kingdom opened a case against the People's Republic of Albania at the International Court of Justice.[90][91] Post–World War and modern Corfu [edit] After World War II and the Greek Civil War, the island was rebuilt under the general programme of reconstruction of the Greek Government (Ανοικοδόμησις) and many elements of its classical architecture remain. Its economy grew but a portion of its inhabitants left the island for other parts of the country; buildings erected during Italian occupation – such as schools or government buildings – were put back to civic use. In 1956 Maria Desylla Kapodistria, relative of first Governor (head of state) of Greece Ioannis Kapodistrias, was elected mayor of Corfu and became the first female mayor in Greece.[92] The Corfu General Hospital was also constructed;[93] electricity was introduced to the villages in the 1950s, the radio substation of Hellenic Radio in Corfu was inaugurated in March 1957,[94] and television was introduced in the 1960s, with internet connections in 1995.[95] The Ionian University was established in 1984. Architecture [edit] Venetian influence [edit] Corfu's urban architecture influence derives from Venice, reflecting the fact that from 1386 to 1797 the island was ruled by the Venetians. The architecture of the Old Town of Corfu along with its narrow streets, the kantounia, has clear Venetian influence and is amongst the World Heritage Sites in Greece. Other notable Venetian-era buildings include the Nobile Teatro di San Giacomo di Corfù, the first Greek opera house, and Liston, a multi-level commercial and residential building, with an arched colonnade at ground level, lined with cafes and restaurants on its east side, and restaurants and other stores on its west side. Liston's main thoroughfare is often the site of parades and other mass gatherings. Liston is on the edge of the Spianada (Esplanade), the vast main plaza and park which incorporates a cricket field, a pavilion, and Maitland's monument. Also notable are the Old and New forts, the recently restored Palace of Sts. Michael and George, formerly the residence of the British colonial governor and the seat of the Ionian Senate, and the summer Palace of Mon Repos, formerly the property of the Greek royal family and birthplace of the Prince Philip, Duke of Edinburgh. The Park of Mon Repos is built on part of the Palaiopolis of Kerkyra, where excavations were conducted by the Greek Archaeological Service in collaboration with academics and universities internationally. Examples of the finds can be found in the Museum of the Palace of Mon Repos and at the Archaeological Museum of Corfu.[96] The Achilleion [edit] Main article: Achilleion (Corfu) In 1889, Empress Elizabeth of Austria built a summer palace in the region of Gastouri (Γαστούρι) to the south of the city, naming it Achílleion (Αχίλλειον) after the Homeric hero Achilles. The structure is filled with paintings and statues of Achilles, both in the main hall and in the gardens, depicting scenes of the Trojan War. The palace, with the neoclassical Greek statues that surround it, is a monument to platonic romanticism as well as escapism. It served as a refuge for the grieving Empress following the tragic death of her only son Crown Prince, Rudolf. The Imperial gardens on the hill look over the surrounding green hills and valleys and the Ionian Sea. The centrepiece of the gardens is a marble statue on a high pedestal, of the mortally wounded Achilles (Greek: Αχιλλεύς Θνήσκων, Achilleús Thnēskōn, Achilles Dying) without hubris and wearing only a simple cloth and an ancient Greek hoplite helmet. This statue was carved by German sculptor Ernst Gustav Herter. The hero is presented devoid of rank or status, and seems notably human, though heroic, as he is forever trying to pull Paris's arrow from his heel. His classically depicted face is full of pain. He gazes skyward, as if to seek help from Olympus. According to Greek mythology, his mother Thetis was a goddess.[citation needed] In contrast, at the great staircase in the main hall is a giant painting of the triumphant Achilles full of pride. Dressed in full royal military regalia and erect on his racing chariot, he pulls the lifeless body of Hector of Troy in front of the stunned crowd watching helplessly from inside the walls of the Trojan citadel. In 1898, Empress Sissi was assassinated at the age of 60 by an Italian anarchist, Luigi Lucheni, in Geneva, Switzerland. After her death, the palace was sold to the German Kaiser Wilhelm II. Following the Kaiser's purchase of the Achilleion, he invited archaeologist Reinhard Kekulé von Stradonitz, a friend and advisor, to come to Corfu to advise him where to position the huge statue of Achilles which he commissioned. The famous salute to Achilles from the Kaiser, which had been inscribed at the statue's base, was also created by Kekulé. The inscription read:[97] To the Greatest Greek from the Greatest German The inscription was subsequently removed after World War II.[98] The Achilleion was eventually acquired by the Greek state and has now been converted into a museum. Kaiser's Bridge [edit] German Kaiser Wilhelm II was also fond of taking holidays in Corfu. Having purchased the Achilleion in 1907 after Sissi's death, he appointed Carl Ludwig Sprenger as the botanical architect of the Palace, and also built a bridge later named by the locals after him—the "Kaiser's bridge" (Greek: η γέφυρα του Κάιζερ transliterated as: i gefyra tou Kaizer)—to access the beach without traversing the road forming the island's main artery to the south. The bridge, arching over the road, spanned the distance between the lower gardens of Achilleion and the nearby beach; its remains are an important landmark on the highway. The bridge's central section was demolished by the Wehrmacht in 1944, during the German occupation of World War II, to allow for the passage of an enormous cannon, forming part of the Nazi defences in the southeastern coast of Corfu.[99][100] Urban landscape [edit] Old town [edit] Main article: Corfu (city) The Old Town of Corfu city is a UNESCO World Heritage Site. In several parts of the old city, buildings of the Venetian era are to be found. The old city's architectural character is strongly influenced by the Venetian style, coming as it did under Venetian rule for a long period; its small and ancient side streets, and the old buildings' trademark arches are particularly reminiscent of Venice. The city of Corfu stands on the broad part of a peninsula, whose termination in the Venetian citadel (Greek: Παλαιό Φρούριο) is cut off from it by an artificial fosse formed in a natural gully, with a seawater moat at the bottom,[15] that now serves as a marina and is called the Contrafossa. In the old town there are many narrow streets paved with cobblestones. These streets are known as kantoúnia (Greek: καντούνια), and the older amongst them sometimes follow the gentle irregularities of the ground; while many are too narrow for vehicular traffic. A promenade rises by the seashore towards the bay of Garitsa (Γαρίτσα), together with an esplanade between the city and the citadel known as Spianada with the Liston [it] arcade (Greek: Λιστόν) to its west side, where restaurants and bistros abound.[1] Ano and Kato Plateia and the music pavilion [edit] Main article: Spianada Near the old Venetian Citadel a large square called Spianada is also to be found, divided by a street in two parts: "Ano Plateia" (literally: "Upper square") and "Kato Plateia" (literally: "Lower square"), (Ανω Πλατεία and Κάτω Πλατεία in Greek). This is the biggest square in South-Eastern Europe and one of the largest in Europe,[101][102] and replete with green spaces and interesting structures, such as a Roman-style rotunda from the era of British administration, known as the Maitland monument, built to commemorate Sir Thomas Maitland. An ornate music pavilion is also present, where the local "Philharmonikes" (Philharmonic Orchestras) (Φιλαρμονικές), mount classical performances in the artistic and musical tradition for which the island is well known. "Kato Plateia" also serves as a venue where cricket matches are held from time to time. In Greece, cricket is unique to Corfu, as it was once a British protectorate. Palaia Anaktora and its gardens [edit] Just to the north of "Kato Plateia" lie the "Palaia Anaktora" (Παλαιά Ανάκτορα: literally "Old Palaces"): a large complex of buildings of Roman architectural style which formerly housed the Kings of Greece, and prior to that the British Governors of the island. It was then called the Palace of Saints Michael and George. The Order of St. Michael and St. George was founded here in 1818 with motto auspicium melioris aevi,[103][104] and is still awarded by the United Kingdom. Today the palace is open to the public and forms a complex of halls and buildings housing art exhibits, including a Museum of Asian Art, unique across Southern Europe in its scope and in the richness of its Chinese and Asian exhibits. The gardens of the Palaces, complete with old Venetian stone aquariums, exotic trees and flowers, overlook the bay through old Venetian fortifications and turrets, and the local sea baths (Μπάνια τ' Αλέκου) are at the foot of the fortifications surrounding the gardens. A café on the grounds includes its own art gallery, with exhibitions of both local and international artists, known locally as the Art Café. From the same spot, the viewer can observe ships passing through the narrow channel of the historic Vido island (Νησί Βίδου) to the north, on their way to Corfu harbour (Νέο Λιμάνι), with high speed retractable aerofoil ferries from Igoumenitsa also cutting across the panorama. A wrought-iron aerial staircase, closed to visitors, descends to the sea from the gardens; the Greek royal family used it as a shortcut to the baths. Rewriting history, locals now refer to the old Royal Gardens as the "Garden of the People" (Ο Κήπος του Λαού). Churches [edit] In the city, there are thirty-seven Greek churches, the most important of which are the city's cathedral, the church dedicated to Our Lady of the Cave (η Παναγία Σπηλιώτισσα (hē Panagia Spēliōtissa)); Saint Spyridon Church, wherein lies the preserved body of the patron saint of the island; and finally the suburban church of St Jason and St Sosipater (Αγιοι Ιάσων και Σωσίπατρος), reputedly the oldest in the island,[15] and named after the two saints probably the first to preach Christianity to the Corfiots. Pontikonisi [edit] The nearby island, known as Pontikonisi (Greek meaning "mouse island"), though small is very green with abundant trees, and at its highest natural elevation (excluding its trees or man-made structures, such as the monastery), stands at about 2 m (6 ft 6.74 in). Pontikonisi is home of the monastery of Pantokrator (Μοναστήρι του Παντοκράτορος); the white stone staircase of the monastery, viewed from afar, gives the impression of a (mouse) tail, which lent the island its name. Archaeology [edit] Palaiopolis [edit] In the city of Corfu, the ruins of the ancient city of Korkyra, also known as Palaiopolis, include ancient temples which were excavated at the location of the palace of Mon Repos, which was built on the ruins of the Palaiopolis. The temples are: Kardaki Temple, Temple of Artemis, and the Temple of Hera. Hera's temple is situated at the western limits of Mon Repos, close to Kardaki Temple and to the northwest.[105] It is approximately 700 m. to the southeast of the Temple of Artemis in Corfu.[105] Hera's Temple was built at the top of Analipsis Hill, and, because of its prominent location, it was highly visible to ships passing close to the waterfront of ancient Korkyra.[105] Kardaki Temple [edit] Main article: Kardaki Temple Kardaki Temple is an Archaic Doric temple in Corfu, Greece, built around 500 BC in the ancient city of Korkyra (or Corcyra), in what is known today as the location Kardaki in the hill of Analipsi in Corfu.[106] The temple features several architectural peculiarities that point to a Doric origin.[106][107] The temple at Kardaki is unusual because it has no frieze, following perhaps architectural tendencies of Sicilian temples.[108] It is considered to be the only Greek temple of Doric architecture that does not have a frieze.[106] The spacing of the temple columns has been described as "abnormally wide".[109] The temple also lacked both porch and adyton, and the lack of a triglyph and metope frieze may be indicative of Ionian influence.[110] The temple at Kardaki is considered an important and to a certain degree mysterious topic on the subject of early ancient Greek architecture. Its association with the worship of Apollo or Poseidon has not been established. Temple of Artemis [edit] Main article: Temple of Artemis, Corfu The Temple of Artemis is an Archaic Greek temple in Corfu, built in around 580 BCE in the ancient city of Korkyra (or Corcyra), in what is known today as the suburb of Garitsa. The temple was dedicated to Artemis. It is known as the first Doric temple exclusively built with stone.[111] It is also considered the first building to have incorporated all of the elements of the Doric architectural style.[112] Very few Greek temple reliefs from the Archaic period have survived, and the large fragments of the group from the pediment are the earliest significant survivals. The temple was a peripteral–styled building with a pseudodipteral configuration. Its perimeter was rectangular, with width of 23.46 m (77.0 ft) and length 49 m (161 ft) with an eastward orientation so that light could enter the interior of the temple at sunrise.[111] It was one of the largest temples of its time.[113] The metope of the temple was probably decorated, since remnants of reliefs featuring Achilles and Memnon were found in the ancient ruins.[111] The temple has been described as a milestone of Ancient Greek architecture and one of 150 masterpieces of Western architecture.[112] The Corfu temple architecture may have influenced the design of an archaic sanctuary structure found at St. Omobono in Italy, near Tiber in Ancient Rome, at the time of the Etruscans, which incorporates similar design elements.[114] If still in use by the 4th-century, the temple would have been closed during the persecution of pagans in the late Roman Empire, when the Christian Emperors issued edicts prohibiting non-Christian worship. Kaiser Wilhelm II, while vacationing at his summer palace of Achilleion in Corfu and while Europe was preparing for war, was involved in excavations at the site of the ancient temple. Temple of Hera [edit] The Temple of Hera or Heraion is an archaic temple in Corfu, built around 610 BCE in the ancient city of Korkyra (or Corcyra), in what is known today as Palaiopolis, and lies within the ground of the Mon Repos estate.[115][116][105] The sanctuary of Hera at Mon Repos is considered a major temple, and one of the earliest examples of archaic Greek architecture.[105] Large terracotta figures such as lions, gorgoneions, and Daidala maidens, created and painted in vivid colour by artisans, who were inspired by myth traditions across the Mediterranean, decorated the roof of the temple, making it one of the most intricately adorned temples of Archaic Greece and the most ambitious roof construction project of its time.[105] Built at the top of Analipsis Hill, Hera's sanctuary was highly visible to ships approaching the waterfront of the ancient city of Korkyra.[105] The Digital Archaic Heraion Project at Mon Repos is a project that has undertaken the task of digitising the architectural fragments found at the Corfu Heraion with the aim to reconstruct in 3D the Temple at Palaiopolis in virtual space.[117] Tomb of Menecrates [edit] Main article: Tomb of Menecrates The Tomb of Menecrates or Monument of Menecrates is an Archaic cenotaph in Corfu, built around 600 BCE in the ancient city of Korkyra (or Corcyra).[118][119] The tomb and the funerary sculpture of a lion were discovered in 1843 during demolition works by the British Army who were demolishing a Venetian fortress in the location of Garitsa hill in Corfu.[120] The tomb is dated to the 6th century BCE.[120] The lion is dated at the end of the 7th century BCE and it is one of the earliest funerary lions ever found.[120] The tomb and the lion were found in an area which was part of the necropolis of ancient Korkyra, which was discovered by the British army at the time.[120] According to an Ancient Greek inscription found on the grave, the tomb was a monument built by the ancient Korkyreans in honour of their proxenos (ambassador) Menecrates, son of Tlasios, from Oeiantheia. Menecrates was the ambassador of ancient Korkyra to Oeiantheia, modern day Galaxidi or Ozolian Locris,[121][122] and he was lost at sea. In the inscription it is also mentioned that the brother of Menecrates, Praximenes, had arrived from Oeiantheia to assist the people of Korkyra in building the monument to his brother.[123][118] Other archaeological sites [edit] In Cassiope, the only other city of ancient importance, its name is still preserved by the village of Kassiopi, and there are some rude remains of building on the site; but the temple of Zeus Cassius for which it was celebrated has totally disappeared. Castles [edit] The castles of Corfu, located at strategic points on the island helped defend the island from many invaders and they were instrumental in repulsing repeated Turkish invasions, making Corfu one of the few places in Greece never to be conquered by the Ottomans. Palaio Frourio [edit] Main article: Old Fortress, Corfu The old citadel (in Greek Palaio Frourio (Παλαιό Φρούριο) is an old Venetian fortress built on an artificial islet with fortifications surrounding its entire perimeter, although some sections, particularly on the east side, are slowly being eroded and falling into the sea. Nonetheless, the interior has been restored and is in use for cultural events, such as concerts (συναυλίες) and Sound and Light Productions (Ηχος και Φως), when historical events are recreated using sound and light special effects. These events take place amidst the ancient fortifications, with the Ionian Sea in the background. The central high point of the citadel rises like a giant natural obelisk complete with a military observation post at the top, with a giant cross at its apex; at the foot of the observatory lies St. George's church, in a classical style punctuated by six Doric columns,[124] as opposed to the Byzantine architectural style of the greater part of Greek Orthodox churches. Neo Frourio [edit] Main article: New Fortress, Corfu The new citadel or Neo Frourio (Νέο Φρούριο, "New Fortress") is a huge complex of fortifications built by the British during their rule of the island (1815–63)[125] dominating the northeastern part of the city. The huge walls of the fortress loom over the landscape as one travels from Neo Limani (Νέο Λιμάνι, "New Port") to the city, taking the road that passes through the fishmarket (ψαραγορά). The new citadel was until recently a restricted area due to the presence of a naval garrison, but old restrictions have been lifted and it is now open to the public, with tours possible through the maze of medieval corridors and fortifications. The winged Lion of St Mark, the symbol of Venice, can be seen at regular intervals adorning the fortifications. Angelokastro [edit] Main article: Angelokastro (Corfu) Angelokastro (Greek: Αγγελόκαστρο (Castle of Angelos or Castle of the Angel); Venetian: Castel Sant'Angelo) is a Byzantine castle on the island of Corfu,[126][127] Greece. It is located at the top of the highest peak of the island's shoreline in the northwest coast near Palaiokastritsa and built on particularly precipitous and rocky terrain. It stands 1,000 ft (305 m) on a steep cliff above the sea and surveys the City of Corfu and the mountains of mainland Greece to the southeast and a wide area of Corfu toward the northeast and northwest.[126][128] Angelokastro is one of the most important fortified complexes of Corfu. It was an acropolis which surveyed the region all the way to the southern Adriatic and presented a formidable strategic vantage point to the occupant of the castle. Angelokastro formed a defensive triangle with the castles of Gardiki and Kassiopi, which covered Corfu's defences to the south, northwest and northeast. The castle never fell, despite frequent sieges and attempts at conquering it through the centuries, and played a decisive role in defending the island against pirate incursions and during three sieges of Corfu by the Ottomans, significantly contributing to their defeat. During invasions it helped shelter the local peasant population. The villagers also fought against the invaders playing an active role in the defence of the castle. Angelokastro, located at the western frontier of the Empire, was instrumental in repulsing the Ottomans during the first great siege of Corfu in 1537, in the siege of 1571 and the second great siege of Corfu in 1716 causing the Ottomans to fail at penetrating the defences of Corfu in the North. Consequently the Turks were never able to create a beachhead and to occupy the island.[129] Gardiki Castle [edit] Main article: Gardiki Castle, Corfu Gardiki Castle (Greek: Κάστρο Γαρδικίου) is a 13th-century Byzantine castle on the southwestern coast of Corfu and the only surviving medieval fortress on the southern part of the island.[130] It was built by a ruler of the Despotate of Epirus,[131] and was one of three castles which defended the island before the Venetian era (1401–1797). The location of Gardiki at the narrow southwest flank of Corfu provided protection to the fields and the southern lowlands of Corfu and in combination with Kassiopi Castle on the northeastern coast of the island and Byzantine Angelokastro protecting the northwestern shore of Corfu, formed a triangular line of defence which protected Corfu during the pre-Venetian era.[131][132][133] Kassiopi Castle [edit] Main article: Kassiopi Castle Kassiopi Castle (Greek: Κάστρο Κασσιώπης) is a castle on the northeastern coast of Corfu overseeing the fishing village of Kassiopi.[134] It was one of three Byzantine-period castles that defended the island before the Venetian era (1386–1797). The castles formed a defensive triangle, with Gardiki guarding the island's south, Kassiopi the northeast and Angelokastro the northwest.[132][133] Its position at the northeastern coast of Corfu overseeing the Corfu Channel that separates the island from the mainland gave the castle an important vantage point and an elevated strategic significance.[134] Kassiopi Castle is considered one of the most imposing architectural remains in the Ionian Islands,[135] along with Angelokastro, Gardiki Castle and the two Venetian Fortresses of Corfu City, the Citadel and the New Fort.[135] Since the castle was abandoned for a long time, its structure is in a state of ruin. The eastern side of the fort has disappeared and only a few traces of it remain. There are indications that castle stones have been used as building material for houses in the area. Access to the fortress is mainly from the southeast through a narrow walkway which includes passage from homes and backyards, since the castle is at the centre of the densely built area of the small village of Kassiopi.[136][137] Municipalities [edit] The three present municipalities of Corfu and Diapontia Islands were formed in the 2019 local government reform from the former municipality Corfu.[3][138] Central Corfu and Diapontia Islands North Corfu South Corfu Education [edit] Ionian Academy [edit] Main article: Ionian Academy The Ionian Academy was an institution that maintained the tradition of Greek education while the rest of Greece was still under Ottoman rule. The academy was established by the French during their administration of the island as the département of Corcyre,[139][140] and became a university during the British administration,[140] through the actions of Frederick North, 5th Earl of Guilford in 1824.[141] It is also considered the precursor of the Ionian University. It had Philological, Law, and Medical Schools. Ionian University [edit] Main article: Ionian University The Ionian University was established in 1984, in recognition, by the administration of Andreas Papandreou, of Corfu's contribution to Education in Greece, as the seat of the first Greek university in modern times,[142] the Ionian Academy. The university opened its doors to students in 1985 and today comprises three Schools and six Departments offering undergraduate and post-graduate degree programmes and summer schools.[143][144] Student activism [edit] In the modern era, beginning with its massive student protests during World War II against fascist occupation, and continuing in the fight against the dictatorship of Georgios Papadopoulos (1967–1974), students in Corfu have played a vanguard role in protesting for freedom and democracy in Greece, against both internal and external oppression. For Corfiotes a recent example of such heroism is that of geology student Kostas Georgakis, who set himself ablaze in Genoa, Italy on 19 September 1970, in a protest against the Greek military junta of 1967-1974. Culture [edit] Corfu has a long musical, theatrical, and operatic tradition. The operas performed in Corfu were at par with their European counterparts. The phrase "applaudito in Corfu" (applauded in Corfu) was a measure of high accolade for an opera performed on the island. The Nobile Teatro di San Giacomo di Corfù was the first theatre and opera house of modern Greece and the place where the first Greek opera, Spyridon Xyndas' The Parliamentary Candidate (based on an exclusively Greek libretto) was performed. Museums and libraries [edit] The most notable of Corfu's museums and libraries are located in the city; these include:[145] The Archaeological Museum, inaugurated in 1967, was constructed to house the exhibit of the huge Gorgon pediment of the Artemis temple in the ancient city of Korkyra, excavated at Palaiopolis in the early 20th century. The pediment has been described by The New York Times as the "finest example of archaic temple sculpture extant".[146] Kaiser Wilhelm II had developed a "lifelong obsession" with the Gorgon sculpture, dating from seminars on Greek Archaeology the Kaiser attended while at the University of Bonn. The seminars were given by archaeologist Reinhard Kekulé von Stradonitz, who later became the Kaiser's advisor.[97] In 1994, two more halls were added to the museum, where new discoveries from the excavations of the ancient city and the Garitsa cemetery are exhibited. The Museum of Asian art of Corfu is located at the Palace of St. Michael and St. George (mainly Chinese and Japanese Arts); its unique collection is housed in 15 rooms, taking in over 12,000 artifacts, including a Greco-Buddhist art collection that shows the influence of Alexander the Great on Buddhist culture as far as Pakistan (see Greco-Buddhism). The Banknote Museum, located in Aghios Spyridon square, features a complete collection of Greek banknotes from independence to the adoption of the euro in 2002. The Byzantine Museum of Antivouniotissa, a church converted into a museum featuring rare Byzantine art. Kapodistrias Museum. Ioannis Kapodistrias' summer home in Koukourisa in his birthplace of Corfu has been converted to a museum commemorating his life and accomplishments and has been named in his honour.[147] Donated by Maria Desylla Kapodistria, grand niece of Ioannis Kapodistrias, former mayor of Corfu and first female mayor of Greece. The Music Museum of the Philharmonic Society of Corfu is located in the building of the Philharmonic Society and features scores, instruments, paintings and documents related to the music history of Corfu and the 19th-century Ionian Islands. The Public Library of Corfu is located at the old English Barracks, in Palaio Frourio. The Reading Society of Corfu has an extensive library of old Corfu manuscripts and rare books. The Serbian Museum of Corfu (Serbian: Српска кућа, Serbian House) houses rare exhibits about the Serbian soldiers' tragic fate during the First World War. The remnants of the Serbian Army of about 150,000 soldiers together with their government in exile, found refuge and shelter in Corfu, following the collapse of the Serbian Front as a result of the Austro-Hungarian attack of 6 October 1915. Exhibits include photographs from the three years stay of the Serbians in Corfu, together with other exhibits such as uniforms, arms and ammunition of the Serbian army, Serbian regimental flags, religious artifacts, surgical tools and other decorations of the Kingdom of Serbia. Solomos Museum and the Corfiot Studies Society. Patron Saint Spyridon [edit] Saint Spyridon the Thaumaturgist (Miracle-worker, Θαυματουργός) is the patron saint (πολιούχος) of the city and the island. St. Spyridon is revered for the miracle of expelling the plague (πανώλη) from the island, among many other miracles attributed to him. It is believed by the faithful that on its way from the island the plague scratched one of the fortification stones of the old citadel to indicate its fury at being expelled; to St. Spyridon is also attributed the role of saving the island at the second great siege of Corfu in 1716.[148][149] The legend says that the sight of St. Spyridon approaching Ottoman forces bearing a flaming torch in one hand and a cross in the other caused panic.[70][150][151] The legend also states that the Saint caused a tempest which was partly responsible for repulsing the Ottomans.[152] This victory over the Ottomans, therefore, was attributed not only to the leadership of Count Schulenburg who commanded the stubborn defence of the island against Ottoman forces, but also to the miraculous intervention of St. Spyridon. Venice honoured von der Schulenburg and the Corfiots for successfully defending the island. Recognizing St. Spyridon's role in the defence of the island Venice legislated the establishment of the litany (λιτανεία) of St Spyridon on 11 August as a commemoration of the miraculous event, inaugurating a tradition that continues to this day.[70] In 1716 Antonio Vivaldi, on commission by the republic of Venice, composed the oratorio Juditha triumphans to commemorate this great event. Juditha triumphans was first performed in November 1716 in Venice by the orchestra and choir of the Ospedale della Pietà and is described as Vivaldi's first great oratorio.[153] Hence Spyridon is a popular first name for Greek males born on the island and/or to islanders. Music [edit] Musical history [edit] While much of present-day Greece was under Ottoman rule, the Ionian Islands enjoyed a Golden Age in music and opera. Corfu was the capital city of a Venetian protectorate and it benefited from a unique musical and theatrical heritage. Then in the 19th century, as a British Protectorate, Corfu developed a musical heritage of its own and which constitutes the nucleus of modern Greek musical history. Until the early 18th century, musical life took place in city and village squares, with performances of straight or musical comedies – known as Momaries or Bobaries. From 1720, Corfu became the possessor of the first theatre in post-1452 Greece. It was the Teatro San Giacomo (now the City Hall) named after the nearby Roman Catholic cathedral (completed in 1691).[154] The island was also the center of the Ionian School of music, the musical production of a group of Heptanesian composers, whose heyday was from the early 19th century till approximately the 1950s. It was the first school of classical music in Greece and it was a heavy influence for the later Greek music scene, after the independence. The three Philharmonics [edit] Corfu's Philharmonic Societies provide free instruction in music, and continue to attract young recruits. There are nineteen such marching wind bands throughout the island. Corfu city is home to the three most prestigious bands – in order of seniority: the Philharmonic Society of Corfu use dark blue uniforms with dark red accents, and blue and red helmet plumes. It is usually called the Old Philharmonic or simply the Paliá ("Old"). Founded 12 September 1840. the Mantzaros Philharmonic Society use blue uniforms with blue and white helmet plumes. It is commonly called the Néa ("New"). Founded 25 October 1890. the Capodistria Philharmonic Union use bright red and black uniforms and plumes. It is commonly called the Cónte Capodístria or simply the Cónte ("Count"). It is the juniormost of the three (founded 18 April 1980). All three maintain two major bands each, the main marching bands that can field up to 200 musicians on grand occasions, and the 60-strong student bandinas meant for lighter fare and on-the-job training. The bands give regular summer weekend promenade concerts at the Spianada Green "pálko", and have a prominent part in the yearly Holy Week ceremonies. Ionian University music department [edit] Since the early 1990s a music department has been established at the Ionian University. Aside from its academic activities, concerts in Corfu and abroad, and musicological research in the field of Neo-Hellenic Music, the Department organizes an international music academy every summer, which gathers together both international students and professors specialising in brass, strings, singing, jazz and musicology. Theatres and operatic tradition [edit] Teatro di San Giacomo [edit] Under Venetian rule, the Corfiotes developed a fervent appreciation of Italian opera, which was the real source of the extraordinary (given conditions in the mainland of Greece) musical development of the island during this era.[155] The opera house of Corfu during the 18th and 19th centuries was the Nobile Teatro di San Giacomo, named after the neighbouring Catholic cathedral; it was later converted into the City Hall.[155] It was both the first theatre and first opera house of Greece in modern times and the place where the first Greek opera (based on an exclusively Greek libretto), Spyridon Xyndas' The Parliamentary Candidate was performed.[155] A long series of local composers, such as Nikolaos Mantzaros, Spyridon Xyndas, Antonio Liberali, Domenico Padovani, the Zakynthian Pavlos Carrer, the Lambelet family, Spyridon Samaras, and others, all developed careers intertwined with the theatre.[155] San Giacomo's place was taken by the Municipal Theatre in 1902, which maintained the operatic tradition vividly until its destruction during German air raid in 1943.[155] The first opera to be performed in the San Giacomo was in 1733 ("Gerone, tiranno di Siracusa"),[155] and for almost two hundred years, between 1771 and 1943, nearly every major opera from the Italian tradition, as well as many others from Greek and French composers, were performed on the stage of the San Giacomo; this tradition continues to be reflected in Corfiote operatic history, a fixture in famous opera singers' itineraries.[156] Municipal Theatre of Corfu [edit] Main article: Municipal Theatre of Corfu The Municipal Theatre of Corfu (Greek: Δημοτικό Θέατρο Κέρκυρας) was the main theatre and opera house in Corfu.[157] Opened in 1902, the theatre was the successor of Nobile Teatro di San Giacomo di Corfù which became the Corfu city hall. It was destroyed during a Luftwaffe aerial bombardment in 1943.[157] During its 41-year history, it was one of the premier theatres and opera houses in Greece, and as the first theatre in Southeastern Europe,[157] it contributed to the arts and to the history of the Balkans and of Europe.[158][157][159] The archives of the theatre, including the historical San Giacomo archives, all valuables and art were destroyed in the Luftwaffe bombing with the sole exception of the stage curtain, which was not in the premises the night of the bombing and thus escaped harm; among the losses are believed to have been numerous manuscripts of the work of Spyridon Xyndas, composer of the first opera in Greek.[157] Festivities [edit] Easter [edit] On Good Friday, from the early afternoon onward, the bands of the three Philharmonic Societies, separated into squads, accompany the Epitaph processions of the city churches. Late in the afternoon, the squads come together to form one band in order to accompany the Epitaph procession of the cathedral, while the funeral marches that the bands play differ depending on the band; the Old Philharmonic play Albinoni's Adagio, the Mantzaros play Verdi's Marcia Funebre from Don Carlo, and the Capodistria play Chopin's Funeral March and Mariani's Sventura.[160] On Holy Saturday morning, the three city bands again take part in the Epitaph processions of St. Spyridon Cathedral in procession with the Saint's relics.[160] At this point the bands play different funeral marches, with the Mantzaros playing Miccheli's Calde Lacrime, the Palia playing Marcia Funebre from Faccio's Amleto, and the Capodistria playing the Funeral March from Beethoven's Eroica. This custom dates from the 19th century, when colonial administrators banned the participation of the British garrison band in the traditional Holy Friday funeral cortege. The defiant Corfiotes held the litany the following morning, and paraded the relics of St. Spyridon too, so that the administrators would not dare intervene. The litany is followed , at exactly 11:00 AM, the celebration of the "Early Resurrection"; balconies in the old city are decked in bright red cloth, and Corfiotes throw down large clay pots (the bótides, μπότηδες) full of water to smash on the street pavement, especially in wider areas of Liston [it] and in an organised fashion.[160] This is enacted in anticipation of the Resurrection of Jesus, which is to be celebrated that same night,[160] and to commemorate King David's phrase: "Thou shalt dash them in pieces like a potter's vessel" (Psalm 2:9). Once the bótides commotion is over, the three bands parade the clay-strewn streets playing the famous "Graikoí" festive march.[161] The march, which functions as the anthem of the island, was composed during the period of Venetian rule, and its lyrics include: "Greeks, never fear, we are all enslaved: you to the Turks, we to the Venetians, but one day we shall all be free".[citation needed] Ta Karnavalia [edit] Another venerable Corfu tradition is known as the Carnival or Ta Karnavalia. Venetian in origin, festivities include a parade featuring the main attraction of Karnavalos, a rather grotesque figure with a large head and smiling face, leading a diverse procession of colourful floats.[162] Corfiots, young and old, dress up in colourful costumes and follow the parade, spilling out into the area's narrow streets (kantounia) and spreading the festivities across the city,[162] dancing and socialising. At night, dance and costume parties are traditional.[162] Cultural depictions [edit] In myth [edit] It is in Corfu that Heracles, just before embarking on his ten labours, slept with the naiad Melite; their son was Hyllus (not to be confused with Hyllus, the leader of the Heraclids, also a son of Heracles).[163] Corfu marks the Argonauts' refuge from the avenging Colchic fleet, after their seizure of the Golden Fleece.[70] In the mythical sea adventure of Homer's Odyssey, Kerkyra is the island of the Phaeacians, (Phaiakes) wherein Odysseus (Ulysses) meets Nausica, the daughter of King Alkinoos. The bay of Palaiokastritsa is considered to be the place where Odysseus disembarked.[164] In literature [edit] British naturalist Gerald Durrell wrote three books about his 1935–1940 childhood on Corfu: My Family and Other Animals; Birds, Beasts and Relatives; and The Garden of the Gods. His brother, literary author Lawrence Durrell, also wrote a volume about Corfu: Prospero's Cell: A Guide to the Landscape and Manners of the Island of Corcyra (Corfu). Mary Stewart's novel This Rough Magic is set in Corfu. Prospero's island in Shakespeare's final play, The Tempest, is often said to have been based on Corfu. Letitia Landon twice wrote of Corfu as an island paradise, the first poetical illustration appeared in Fisher's Drawing Room Scrap Book, 1835, to a picture by Thomas Allom[165] and the second in that for 1838, to a picture by Charles Bentley.[166](Corfu and Manduchio form Mount Olivet). A third poetical illustration of hers Strada Reale.—Corfu., to an engraving of a painting by Samuel Prout was published in the Scrap Book for 1837.[167] Humbert Humbert's first love, Annabel Leigh, is said to have died of typhus in Corfu in a scene of Vladimir Nabokov's Lolita. Albert Cohen wrote three books which are partially or entirely set in Corfu. They are: Mangeclous, Les Valeureux, and Belle du Seigneur. Cohen himself was born on the island. Voltaire references two monks from Corfu in Chapter XXVIII of Candide In film [edit] Corfu was one of the main locations featured in the 1970 film The Executioner starring George Peppard and Joan Collins.[168] Corfu was one of the settings of The Burglars, a 1971 film starring Jean-Paul Belmondo and Omar Sharif. The Countess of Corfu (Greek: Η Κόμησσα Της Κέρκυρας), a 1972 film starring Rena Vlahopoulou and Alekos Alexandrakis, was filmed in Corfu. Much of the 1978 Billy Wilder film Fedora is set in Corfu and filmed on location. Some scenes of the 1978 film The Greek Tycoon starring Anthony Quinn and Jacqueline Bisset were filmed in Corfu.[169][170] The film is a fictionalized account of the life of the Greek shipping magnate, Aristotle Onassis. The 1980 French comedy Jupiter's Thigh starring Annie Girardot and Philippe Noiret includes some scenes in Corfu Town.[171] The 1981 James Bond movie For Your Eyes Only has a number of scenes filmed in Corfu. The most memorable scene of the film to be bound with the island is of the underwater ancient Greek temple, with a huge turtle swimming in front of the camera; a casino scene was also filmed at the Achilleion.[172] Other scenes filmed here include those tracing 'Melina' and James' walk through the city's streets, and Melina being greeted by Bond at Pontikonisi island. A major action element was filmed on the largest sandy beach on the island, Issos Beach in Agios Georgios South, involving a beach buggy chase along the dunes. The film's scene depicting a Greek wedding was filmed at the Bouas-Danilia traditional village (Μπούας Δανίλια παραδοσιακό χωριό).[172] Action scenes were also filmed at Neo Frourio.[173] The 1984 Greek film "Η Τιμή της Αγάπης" (The Price of Love), directed by Tonia Marketaki is a tragic love story taking place in Corfu. It is based on the novel Honour and Money by Konstantinos Theotokis.[174] Corfu is also the setting of a 1987 BBC TV series version, and a 2005 BBC movie version, of My Family and Other Animals, Gerald Durrell's book about his childhood in Corfu in the late 1930s The Gaze of the Gorgon (1992): a poem-film for BBC television by British poet Tony Harrison. The film examines the politics of conflict in the 20th century using the Gorgon as a metaphor. The imaginary narration of the film is done through the mouth of German-Jewish poet Heinrich Heine. The film describes the connection between the Corfu Gorgon at the Artemis Temple of Corfu and Kaiser Wilhelm II.[175][176] Harrison concludes his 1992 film-poem by making a proposal that in the 1994 European Union summit in Corfu, Heine's statue be returned to Corfu on time to preside over the new Europe so that EU can keep its eyes open and not turn to stone from the Gorgon's gaze.[176][177][178] ITV aired a TV series named The Durrells in Corfu in April 2016 and ultimately lasting four seasons, concluding in May 2019. It was a biographical series detailing Gerald Durrell's childhood on Corfu. In popular culture [edit] Corfu is one of the locations in the legend of Simon and Milo, where Simon falls in love temporarily. It is the setting of the 1998 song "Mediterranean Lady" by Prozzak. The island is alluded to several times in David Foster Wallace's 1987 novel, The Broom of the System. Drake mentions Corfu in a song. It is also mentioned in Brian Jacques' adventure novel, Voyage of Slaves. Tourism [edit] Corfiotes have a long history of hospitality to foreign residents and visitors, typified in the 20th century by Gerald Durrell's childhood reminiscence My Family and Other Animals. The north east coast has largely been developed by a few British holiday companies, with large expensive holiday villas.[179] Package holiday resorts exist on the north, east and southwest coasts. Since 2021 there is an extra service added for visitors of the island called The Corfu Island Pass©. This official discount pass of Corfu gives everyone visiting Corfu a discount on sightseeing tours, rentals and cruises. At the other end of the island, the southern resort of Kavos also provides tourist facilities. St George South to the west boasts the largest sandy beach on the island coupled with a selection of all-inclusive package hotels and traditional corfiot villas and flats. The Korission lake nature reserve also provides a stopover for European birds migrating south. Up until the early 20th century, it was mainly visited by the European royals and elites, including Emperor Wilhelm II of Germany and Empress Elisabeth of Austria; today it is also widely visited by middle class families (primarily from the UK, Scandinavia and Germany). With the advent of the jet airliner bringing these groups relatively affordable 'package holidays', Corfu was one of the primary destinations for this new form of mass tourism. [180] It is still popular with the ultra-wealthy however, and in the island's northeast the homeowners include members of the Rothschild family and Russian oligarchs.[181][182] Transport [edit] The island is linked by two highways: GR-24 in the northwest and GR-25 in the south. Greek National Road 24, Cen., NW, Corfu – Palaiokastritsa Greek National Road 25, Cen., S, SE, Corfu – Lefkimi Corfu has ferry services both by traditional ferries to Gaios in the island of Paxoi and as far as Patras and both traditional ferries and advanced retractable airfoil, hydrodynamic-flow, high-speed ferries called "Flying Dolphins" to Igoumenitsa and Sarandë in neighbouring Albania. The small port of Lefkimmi is also to be found at the southernmost tip of the island on Cape Kavos, offering a ferry service to the mainland. The Ioannis Kapodistrias International Airport, named after Ioannis Kapodistrias, a Corfiot and European diplomat, and the first governor of the independent Greek state, is located around three kilometres south of Kerkyra, just half a kilometre north of Pontikonisi. The approach and landing, in a northeasterly direction, afford passengers aerial views of Pontikonisi and Vlaheraina Monastery, also taking in the hills of Kanoni, as the runway employed for landing lies a few hundred metres from these local landmarks. The airport offers domestic flights from Olympic Airlines (OA 600, 602 and 606), and Aegean Airlines (A3 402, 404 and 406). Seaplanes, Air Sea Lines, a Greek seaplane operator, offers scheduled flights from Corfu to Paxoi, Lefkada, Ithaki, Kefalonia, Ioannina, Patras and Brindisi in Italy. The buses to the main places on the island run about six times a day between the city and Glyfada, Sidari, Paleokastritsa, Roda and Acharavi, Lefkimmi, Lefkimmi and Piri. Other coaches drive up to twice a day to Athens and Thessaloniki. City buses run through the city to the Airport, Achilleion, Gouvia, Afra, Pelekas and some other places of interest. The Diapontia Islands are accessible by boat with regular services from Corfu port and Agios Stefanos Avliotes and by ferry from Corfu city port. Economy [edit] Corfu is mostly planted with olive groves and vineyards and has been producing olive oil and wine since antiquity. The main wine grape varietals found in Corfu are the indigenous white Kakotrýgēs and red Petrokóritho, the Cefalonian white Robóla, the Aegean Moscháto (white muscat), the Achaean Mavrodáphnē and others.[183] Modern times have seen the introduction of specialist cultivation supported by the mild climate, like the kumquat and bergamot oranges, which are extensively used in making spoon sweets and liqueurs. Corfu also produces local animal products, such as Corfiote graviéra (a variant of gruyere) and "Corfu" cheese (a variant of Grana); "Corfu butter" (Boútyro Kerkýras), an intensely flavored cooking and baking butter made of ewe's milk; and the noúmboulo salami made of pork and lard and flavored with orange peel, oregano, thyme and other aromatic herbs, which are also burned for smoking. Local culinary specialties include sofrito (a veal rump roast of Venetian origin), pastitsáda (bucatini pasta served with diced veal cooked in a tomato sauce), bourdétto (cod cooked in a peppery sauce), mándoles (caramelized almonds), pastéli (honey bars made with sesame, almonds or pistachios), mandoláto (a "pastéli" made of crushed almonds, sugar, honey and vanilla), and tzitzibíra, the local ginger beer, a remnant of the British era. There are three breweries in Corfu and one bed layers factory. The island has again become an important port of call and has a considerable trade in olive oil.[15] In earlier times there was a great export of citron, which was cultivated here, including for ritual use in the Jewish community during the Sukkot holiday. International relations [edit] Twin towns – sister cities [edit] Partner cities [edit] Notable people [edit] Ancient [edit] Nausicaa daughter of King Alcinous Arsenius (10th century), saint Peithias, leader during the Peleponnesian War Philiscus, tragic poet, born in Corfu Ptolichus (5th century BCE), sculptor Saint Philomena (AD 291–304), virgin and martyr Modern [edit] Gallery [edit] Cape Drastis at the northwest tip of Corfu island Chalikiopoulou Lagoon (or Lake Chalikiopoulou), south of Corfu town Old tower, Corfu town Panorama of the Old Town of Corfu Venetian quarter, Corfu town Odós Ipeirou in Corfu old town Historic building in Evgeniou Voulgareos street View of St. George's Temple at the Old Fortress Gardens of Achilleion Statues at the Achilleion terrace Villa Rossa, landmark of Corfu city Pelekas village Kaiser's Bridge in Corfu c. 1918 Workers on Corfu. The image shows the Old Fortress. First World War See also [edit] Aspioti-ELKA Cuisine of the Ionian islands Heptanese School (painting) Hercules (vehicles) Korčula Music of the Heptanese Temple of Hera, Mon Repos Explanatory notes [edit] Citations [edit] General and cited sources [edit] Cruickshank, Dan (2000). Architecture: 150 Masterpieces of Western Architecture. New York, NY: Watson-Guptill Publications. ISBN 978-0-8230-0289-4. Darling, Janina K. (2004). Architecture of Greece. Westport, CT: Greenwood Publishing Group. ISBN 978-0-313-32152-8. Gates, Charles (2003). Ancient Cities: The Archaeology of Urban Life in the Ancient Near East and Egypt, Greece and Rome. New York, NY: Routledge. ISBN 978-0-415-01895-1. Leontsini, Maria (2014). "The Ionian Islands During the Byzantine Period: An Overview of their History and Monuments". In Hirst, Anthony; Sammon, Patrick (eds.). The Ionian Islands: Aspects of their History and Culture. Cambridge Scholars Publishing. pp. 26–63. ISBN 978-1-4438-6278-3. Raaflaub, Kurt A.; van Wees, Hans (2009). A Companion to Archaic Greece. Malden, MA and Oxford, UK: Blackwell Publishing Limited (John Wiley and Sons). ISBN 978-0-631-23045-8. Soustal, Peter; Koder, Johannes (1981). Tabula Imperii Byzantini, Band 3: Nikopolis und Kephallēnia (in German). Vienna: Verlag der Österreichischen Akademie der Wissenschaften. ISBN 978-3-7001-0399-8. Wilkes, John J. (1996) [1992], The Illyrians, The peoples of Europe, Blackwell Books, ISBN 0631146717, OCLC 438825468 Šašel Kos, Marjeta (2005). Appian and Illyricum. Narodni muzej Slovenije. ISBN 961616936X. Barnett, Charles (2016). "Promišljanja o identitetu, etnicitetu i "helenizaciji" predrimske Liburnije" [Rethinking Identity, Ethnicity, and "Hellenization" in pre-Roman Liburnia]. Miscellanea Hadriatica et Mediterranea (in Croatian and English). 3: 63–98. doi:10.15291/misc.1367. Further reading [edit] "Corfu", A Hand-book for Travellers in the Ionian Islands, Greece, Turkey, Asia Minor, and Constantinople, London: J. Murray, 1840, OCLC 397597, OL 6952607M "Corfu", Handbook for Travellers in Greece (7th ed.), London: John Murray, 1900, OL 24368063M "Corfu", Greece (4th ed.), Leipzig: Karl Baedeker, 1909, OL 24347510M Gardner, Ernest Arthur; Caspari, Maximilian Otto Bismarck (1911). "Corfu" . Encyclopædia Britannica. Vol. 7 (11th ed.). pp. 145–146. Siebert, Diana: Aller Herren Außenposten. Korfu von 1797 bis 1944. Köln, 2016 ISBN 978-3-00-052502-5
18075	yago	0	10	https://www.moviefone.com/celebrity/tonia-marketaki/20334589/filmography/	en	Tonia Marketaki Movies	https://cdn.moviefone.co…-socialshare.png	https://cdn.moviefone.co…-socialshare.png	[ "https://cdn.moviefone.com/legacy/assets/x.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/image-assets/175848/jnZbc6F6NMNlhcestx4tStaxX0q.jpg?d=360x540&q=60", "https://cdn.moviefone.com/image-assets/278241/6HyEVkXzlVSPSPGPsqRAOOrZOG5.jpg?d=360x540&q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/x.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035391&cv=3.6.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	Browse Tonia Marketaki movies, appearances, and specials.	en	https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico	Moviefone	https://www.moviefone.com/celebrity/tonia-marketaki/20334589/filmography/	‘Alien: Romulus’ plays the hits, both for better and for worse. It’s entertaining and well-done,... The creepy, truly weird ‘Cuckoo’ dets under your skin. The unsettling ‘Cuckoo’ keeps you off-balance... A breezy caper comedy, ‘The Instigators’ is just entertaining enough. ‘The Instigators’ won’t... ‘Bel-Air’s third season struggles to balance the stories of its big cast. The series, which... ‘Bad Monkey’ mixes crime with colorful characters. The new show from ‘Ted Lasso’ co-creator...
18075	yago	2	2	https://www.amazon.com/Crystal-Nights-Other-Stories-Greg/dp/1596062401	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/druexhzz/Captcha_ppkckuwatg.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=EXJHAEW7QK3H9J6M8GBG&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
18075	yago	3	13	https://www.europeana.eu/en/item/2051939/data_euscreenXL_EUS_3FA75E96984B8521A45BAD5A9A4E48F8	en	GIORGOS MICHAELIDIS 1965	https://api.europeana.eu/thumbnail/v3/400/94ad1eb23b589a979e2d51cee8583e48	https://api.europeana.eu/thumbnail/v3/400/94ad1eb23b589a979e2d51cee8583e48	[ "https://www.europeana.eu/_nuxt/img/logo.3ebdec7.svg" ]	[]	[]	[ "" ]	null	[]	null	Documentary series included interviews with well-known Greek artists about significant periods of their life or their work. The director and writer GIORGOS MICHAELIDIS, in the programme “THE STORY OF MY TIMES” describes the founding of the first regional theatre in GREECE in the year 1965, named “THEATRE OF NEA IONIA”.	en	/_nuxt/cf61259352b5abdaf73759aae8e8a819.ico		https://www.europeana.eu/en/item/2051939/data_euscreenXL_EUS_3FA75E96984B8521A45BAD5A9A4E48F8	Documentary series included interviews with well-known Greek artists about significant periods of their life or their work. The director and writer GIORGOS MICHAELIDIS, in the programme “THE STORY OF MY TIMES” describes the founding of the first regional theatre in GREECE in the year 1965, named “THEATRE OF NEA IONIA”.
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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 ____________________________________
18075	yago	0	46	https://www.flickr.com/photos/tags/Mimi%2520Parker/	en	Mimi%20Parker photos on Flickr	https://combo.staticflickr.com/pw/favicon.ico	https://combo.staticflickr.com/pw/favicon.ico	[]	[]	[]	[ "" ]	null	[ "Flickr" ]	2024-08-21T03:14:11.125000+00:00	Flickr photos, groups, and tags related to the "Mimi%20Parker" Flickr tag.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/tags/Mimi%20Parker/
18075	yago	0	50	https://dokumen.pub/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.html	en	New Approaches to Cinematic Space [1 ed.] 1138604445, 9781138604445	https://dokumen.pub/img/…781138604445.jpg	https://dokumen.pub/img/…781138604445.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/cinematic-thinking-philosophical-approaches-to-the-new-cinema-9781503626973.jpg", "https://dokumen.pub/img/200x200/screening-twilight-critical-approaches-to-a-cinematic-phenomenon-9780755694679-9781780766669.jpg", "https://dokumen.pub/img/200x200/thick-space-approaches-to-metropolitanism-1-aufl-9783839420430.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-security-and-development-9789812306142.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-synthetic-organic-chemistry-9783036590202.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-latin-american-history-9781477300855.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-scientific-realism-9783110664737-9783110662467.jpg", "https://dokumen.pub/img/200x200/old-space-vs-new-space.jpg", "https://dokumen.pub/img/200x200/modeling-and-optimization-in-space-engineering-new-concepts-and-approaches-3031248112-9783031248115.jpg", "https://dokumen.pub/img/200x200/cinematic-appeals-the-experience-of-new-movie-technologies-9780231535786.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	New Approaches to Cinematic Space aims to discuss the process of creation of cinematic spaces through moving images and...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.html	Table of contents : Contents List of Figures and Maps Acknowledgements Introduction: Screen is the Place • Filipa Rosário and Iván Villarmea Álvarez Part 1: Urban Spaces 1.1 Memoryscapes: Mapping Urban Space through Amateur Film Archives • Paolo Simoni 1.2 Social Space, Architecture and the Crisis: Neo-noir Aesthetics in Contemporary Greek Cinema • Anna Poupou Part 2: Architectural Spaces 2.1 The Architectural Space Generated by Staircases in Alfred Hitchcock’s Films • María Novela de Aragón 2.2 Stranger than Paradise – Realities of Cinema, Architectural Imageries, Circa 1956 • Francisco Ferreira Part 3: Genre Spaces 3.1 Empire of Catalandia: Science Fiction as the Cinematic Space of the Anthropocene • Maurizia Natali 3.2 The Urban and the Domestic: Spaces of American Film Noir • Sérgio Dias Branco 3.3 Film Noir and the Folding of America: A Reading of Out of the Past (1947) and Impact (1949) • Jeffrey Childs Part 4: Spectral Spaces 4.1 Blinking Spaces in Contemporary Psychogeographical Documentaries • Iván Villarmea Álvarez 4.2 On the ‘Ghosts’ of Piramida: Ruins, Memory and Music • José Duarte 4.3 Remembering a Fabricated City: Visiting Terezín in Daniel Blaufuks’s As if... • Sandra Camacho Part 5: Heterotopic Spaces 5.1 On Location: Kiarostami’s Landscapes and Cinematic Value • Maria Irene Aparício 5.2 Mapping Heterotopias in Colombian Documentary Film • Maria Luna 5.3 Cinematographic Missions to the Portuguese Territory (1917–1918) • Paulo Cunha Part 6: Phenomenology of Space 6.1 The Viewer’s Embodiment into Cinematic Space: Notes on a ‘Space-Image’ Cinema • Antoine Gaudin 6.2 Towards the Spatial Affectivities of Colour: The Blue Bedroom in Yasujirō Ozu’s An Autumn Afternoon • Sander Hölsgens 6.3 Cinema, Allospaces and the Unfilmable • Bruno Surace 6.4 Framing Doors, Opening Up Spaces: Cristi Puiu and His Cruel Phenomenology of Space • Zsolt Gyenge List of Contributors Index Citation preview
18075	yago	3	29	https://groussos.net/2022/11/01/peter-strickland-one-of-the-most-fascinating-radical-and-idiosyncratic-filmmakers-of-the-last-fifteen-years-outlines-an-uncanny-experimental-and-highly-demanding-personal-path/	en	Peter Strickland: One of the most fascinating, radical and idiosyncratic filmmakers of the last fifteen years outlines an uncanny, experimental and highly demanding personal path	https://groussos.net/wp-…trickland-01.jpg	https://groussos.net/wp-…trickland-01.jpg	[ "https://groussos.net/wp-content/uploads/2022/11/peter-strickland-01.jpg?w=1000", "https://2.gravatar.com/avatar/22cdbcda8d5aa80d573125c509c2b0fd2112a75e5785afdc3a58216489379e4d?s=64&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/3veoHBezbro?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent", "https://www.youtube.com/embed/SKOPh5ZEciQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent", "https://www.youtube.com/embed/P-xIMBnclyA?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent", "https://www.youtube.com/embed/BMhK-zlIvVM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent", "https://www.youtube.com/embed/EsLgA3Zceq4?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent", "https://www.youtube.com/embed/ZI0h-oxsFds?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=el&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2022-11-01T00:00:00	The 63rd Thessaloniki International Film Festival is welcoming one of the most fascinating, radical and idiosyncratic filmmakers of the last fifteen years, hosting a full-scale homage to his work. British (with Greek roots) director Peter Strickland, who will be honouring this year’s Festival with his presence, has built a passionate fan base, eager to follow…	el	https://s1.wp.com/i/favicon.ico	George Roussos	https://groussos.net/2022/11/01/peter-strickland-one-of-the-most-fascinating-radical-and-idiosyncratic-filmmakers-of-the-last-fifteen-years-outlines-an-uncanny-experimental-and-highly-demanding-personal-path/	The 63rd Thessaloniki International Film Festival is welcoming one of the most fascinating, radical and idiosyncratic filmmakers of the last fifteen years, hosting a full-scale homage to his work. British (with Greek roots) director Peter Strickland, who will be honouring this year’s Festival with his presence, has built a passionate fan base, eager to follow him in all his bizarre, unconventional and adventurous endeavours. From queer chamber dramas and stylized horror grandeur, all the way to dark realism and his sui generis humour flirting with avant-garde, Peter Strickland outlines an uncanny, experimental and highly demanding personal path. His fervent passion for sound and music is all over his work – so no surprise there that Björk entrusted him with directing Björk: Biophilia Live – as is his love for the craftsmanship process of filmmaking. Peter Strickland’s world is composed of fragments of terror and mystery, as he roams around the darkest corridors of the human mind, interweaving dream and reality. Within the framework of the 63rd TIFF’s tribute to Peter Strickland, five feature films and six short films will be screened. In the list of the tribute’s films stands out his most recent creation, Flux Gourmet, starring Greek much-revered actor Makis Papadimitriou and Arian Labed, among many others. Feature Films: Katalin Varga / Romania-UK, 2009, 84’ Banished by her husband and her village, Katalin Varga is left with no other choice than to set out on a quest to find her son’s real father, Orbán. Taking Orbán with her under false pretence, Katalin travels through the Carpathians where she decides to reopen a sinister chapter from her past and take revenge. The hunt leads her to a place, she prayed eleven years before, that she would never set foot in again. Berberian Sound Studio / UK, 2012, 88’ The year is 1976 and Berberian Sound Studio is one of the cheapest, sleaziest post-production studios in Italy. Only the most sordid horror films have their sound processed and sharpened in this studio. Gilderoy, a naive and introverted sound engineer from England is hired to orchestrate the sound mix for the latest film by horror maestro, Santini. Thrown from the innocent world of local documentaries into a foreign environment fuelled by exploitation, Gilderoy soon finds himself caught up in a forbidding world of bitter actresses, capricious technicians and confounding bureaucracy. The longer Gilderoy spends mixing screams and the bloodcurdling sounds of hacked vegetables, the more homesick he becomes for his garden shed studio in his hometown of Dorking. His mother’s letters alternate between banal gossip and an ominous hysteria, which gradually mirrors the black magic of Santini’s film. As both time and realities shift, Gilderoy finds himself lost in an otherworldly spiral of sonic and personal mayhem, and has to confront his own demons in order to stay afloat in an environment ruled by exploitation both on and off screen. The Duke of Burgundy / UK, 2014, 106’ Evelyn, an amateur lepidopterist in her early thirties, cycles to the house of an orthoptist called Cynthia where she undertakes various household chores. Cynthia is around fifteen years older than Evelyn. Her cold and unscrupulous conduct belies her elegance, yet Evelyn tolerates the ill-treatment. In between various excursions to study butterflies and moths, Evelyn returns to the house where Cynthia subjects her to increasingly humiliating treatment. The tasks Evelyn has to perform become increasingly intimate, bordering on degrading, but she never protests. Cynthia and Evelyn love each other. Day after day, the couple act out a simple ritual that ends in Evelyn’s punishment, but Cynthia yearns for a more conventional relationship. Evelyn’s obsession quickly becomes an addiction that pushes their relationship to the breaking point. In Fabric / UK, 2018, 118’ A haunting ghost story set against the backdrop of a busy winter sales period in a department store that follows the life of a cursed dress as it passes from person to person, with devastating consequences. Flux Gourmet / UK-USA-Hungary, 2022, 109’ A haunting ghost story set against the backdrop of a busy winter sales period in a department store that follows the life of a cursed dress as it passes from person to person, with devastating consequences. Short Films: A Metaphysical Education / Hungary, 2004, 4’ A champion runner finds himself torn between winning a race and compulsively amassing any object he finds on his way. The film came about from a workshop run by Balázs Lóth in Budapest called Celluloid Műhely. Each participant was given complete freedom to make anything as long as the production didn’t exceed one roll of 16mm film, which was donated by the workshop. Berberian Sound Studio / Hungary, 2005, 1’ Two foley artists make sound effects for a cheap B-movie. A teaser (or perhaps appetiser) for Peter Strickland’s masterpiece, manages to contain his intoxicating, immersive universe in one single minute. Cobblers’ Lot / Hungary, 2017, 12’ Very loosely based on a traditional Hungarian fairy tale, Peter Strickland’s contribution to the omnibus film The Field Guide to Evil, this is an abstract retelling of a folktale about two shoemaker brothers battling for the hand of a beautiful princess. Told in a silent movie style, with beautiful and ornate cards that spell out the story, Strickland’s singular vision is at its peak here. With characteristic grotesqueries coupled with a healthy sense of humour, this story perfectly closed out a weird and scary set of stories to haunt your dreams. GUO4 / Hungary-UK, 2019, 3’ A confrontation between two swimmers in a locker room ends in tears in this highly imaginative morality tale. Presented as a beautiful combination of homoerotic photography and noise music, the Strickland comments relentlessly on the impudence of “manspreading” in public spaces. Cold Meridian / Hungary-UK, 2020, 7’ Autonomous Sensory meridian response (ASMR), which has grown to become a YouTube sensation, can be defined as the tingling sensation on our scalp, cervix, and upper spine, followed by a feeling of slight euphoria and relaxation. In this entrancing short film, a series of repeated ASMR rituals immerse us in a hallucinatory and hovering world. Within this dreamlike and voyeuristic maelstrom, all certainties seem to take the form of distorted fantasies. Blank Narcissus (Passion of the Swamp) / UK, 2022, 12’ An ageing porno director (played by Michael Brandon from Dario Argento’s Four Flies on Grey Velvet) makes a commentary in 2022 for the DVD of an underground 16mm film he made in 1972 and was recently rediscovered. As the beautiful stud in the film undergoes a series of erotic reveries, the director laments his doomed love affair with his protagonist. The 63rd Thessaloniki International Film Festival will be held from Thursday 3 to Sunday 13 November 2022, both in physical spaces and online. Within the framework of the 63rd TIFF, 199 full-length and 68 short films will be screened in the time-honoured home ground of the Festival, theatres Olympion, Pavlos Zannas, the theatres situated in the Port of Thessaloniki, Frida Liappa, Tonia Marketaki, John Cassavetes, Stavros Tornes, as well in the movie theatre Makedonikon. In addition, the audience will have the chance to watch 93 films online, through the digital platform of the Festival, online.filmfestival.gr. Multifaceted and stunning Charlotte Gainsbourg will attend the Festival, on the occasion of the screening of her film, Passengers of the Night by Mikhaël Hers, within the framework of the Open Horizons section of the 63rd TIFF. Moreover, lifelong friend of both the Festival and the city of Thessaloniki, Fatih Akin, will land in Thessaloniki to greet the audience in the screening of his latest film, Rhinegold.
18075	yago	0	0	https://en.wikipedia.org/wiki/Crystal_Nights	en	Crystal Nights	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Greece_film_clapperboard.svg/30px-Greece_film_clapperboard.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-08-16T08:48:18+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Crystal_Nights	1992 film Crystal NightsDirected byTonia MarketakiWritten byTonia Marketaki Malvina KaraliStarringFrançois DelaiveCinematographyStavros HassapisEdited byYanna Spyropoulou Release date Running time 138 minutesCountryGreeceLanguageGreek 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] Cast [edit] François Delaive as Albert Michele Valley as Isabella Tania Tripi as Anna Katerina Baka Spiros Bibilas Yorgos Charalabidis Kelly Ioakeimidou Kelly Karmiri Faidon Kastris Dimitris Katsimanis Alexandros Koliopoulos Frosso Litra Giorgos Mihailidis Ovidiu Iuliu Moldovan Tassos Palatzidis Manos Vakousis Melina Vamvaka Manos Pantelidis as The Snitch (uncredited) References [edit]
18075	yago	3	91	https://ebin.pub/the-cinematic-language-of-theo-angelopoulos-9781800731974.html	en	The Cinematic Language of Theo Angelopoulos 9781800731974	https://ebin.pub/img/the…781800731974.jpg	https://ebin.pub/img/the…781800731974.jpg	[ "https://ebin.pub/ebinpub/assets/img/ebinpub_logo.png", "https://ebin.pub/img/200x200/theo-angelopoulos-8888995099-9788888995090.jpg", "https://ebin.pub/img/200x200/the-cinema-of-theo-angelopoulos-9780748697960.jpg", "https://ebin.pub/img/200x200/theo-angelopoulos-filmmaker-and-philosopher-9781350245358-9781350245365-9781350245396-9781350245372.jpg", "https://ebin.pub/img/200x200/diario-di-uneternita-io-e-theo-angelopoulos-8893445905-9788893445900.jpg", "https://ebin.pub/img/200x200/the-films-of-theo-angelopoulos-a-cinema-of-contemplation-with-a-new-afterword-by-the-authornbsped-9781400884421.jpg", "https://ebin.pub/img/200x200/theo.jpg", "https://ebin.pub/img/200x200/the-cinematic-life-of-the-gene-9780822390947.jpg", "https://ebin.pub/img/200x200/theo-logic-theological-logical-theory-truth-of-god-theo-logic-2-hardcovernbsped-0898707196-9780898707199.jpg", "https://ebin.pub/img/200x200/theo-drama-theological-dramatic-theory-the-action-theo-drama-4-hardcovernbsped-0898704715-9780898704716.jpg", "https://ebin.pub/img/200x200/theo-drama-theological-dramatic-theory-the-last-act-theo-drama-5-hardcovernbsped-0898706890-9780898706895.jpg", "https://ebin.pub/img/200x200/the-cinematic-language-of-theo-angelopoulos-9781800731974.jpg", "https://ebin.pub/ebinpub/assets/img/ebinpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	Beginning with his first film Reconstruction, released in 1970, Theo Angelopoulos’s notoriously complex cinematic langua...	en	https://ebin.pub/ebinpub…e-icon-57x57.png	ebin.pub	https://ebin.pub/the-cinematic-language-of-theo-angelopoulos-9781800731974.html	Citation preview The Cinematic Language of Theo Angelopoulos The Cinematic Language of Theo Angelopoulos Vrasidas Karalis berghahn NEW YORK • OXFORD www.berghahnbooks.com First published in 2021 by Berghahn Books www.berghahnbooks.com © 2021 Vrasidas Karalis All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data Names: Karalis, Vrasidas, author. Title: The cinematic language of Theo Angelopoulos / Vrasidas Karalis. Description: New York : Berghahn, 2021. \| Includes bibliographical references and filmography. Identifiers: LCCN 2021020410 \| ISBN 9781800731967 (hardback) \| ISBN 9781800731974 (ebook) Subjects: LCSH: Angelopoulos, Theodoros, 1935-2012—Criticism and interpretation. \| Motion picture producers and directors—Greece— Biography. \| Motion pictures—Greece—History—20th century. \| Auteur theory (Motion pictures) Classification: LCC PN1998.3.A53 K37 2021 \| DDC 791.4302/33092— dcundefined LC record available at https://lccn.loc.gov/2021020410 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-80073-196-7 hardback ISBN 978-1-80073-197-4 ebook To my sister Aimilia Karalis, whose love for Theo’s films and dedication to his social vision were my continuous inspirations during the prolonged period of this book’s gestation. Contents Acknowledgements Note on the Transliteration Introduction. Prolegomena to Theo Angelopoulos’ Life and Filmmaking viii ix 1 Chapter 1. Life and Works 18 Chapter 2. The Life of Films 56 Chapter 3. The Construction of Theo Angelopoulos’ Cinematic Language 120 Conclusion. Final Words 155 Photo Essay. Transformations of the Gaze in Theo Angelopoulos’ Films 163 Filmography 177 References 193 Index 200 Acknowledgements This monograph was first conceived in 2014 a er a brief email exchange I had with the editorial manager at Berghahn Books, Mark Stanton, about the necessity for a new monograph on the Greek filmmaker Theo Angelopoulos. It was meant to be an accessible and readable introduction to his life and work, updating Andrew Horton’s book and introducing global cinephiles to the full scope of Angelopoulos’ cinematic project. Mark was succeeded by generous and enthusiastic editors, who insisted on completing this book. I have to thank Chris Chappell, Soyolmaa Lkhagvadorj, Mykelin Higham and finally, and especially, Amanda Horn, whose persistence and dedication made this monograph possible despite a series of obstacles, including health problems and the restrictions of the pandemic. My deepest gratitude to my colleague Achilleas Dellis from Athens, who, during the prolonged period of lockdown, found and sent me rare material on the reception and the interpretation of Angelopoulos’ films. Also, deep thanks to my colleague Be y Kaklamanidou from the University of Thessaloniki for her graceful encouragement and help. Finally, my gratitude to Yannis Dramitinos for his assistance with the photographic snapshots. I would also like to thank Phoebe Economopoulou and Eleni Angelopoulou, for the permission to use a number of stills and photographs from Theo’s films: their enthusiasm has been invaluable. My thanks to Kiriaki Orphanos, David Po er and Sophia Sakellis for looking a er the textual editing at diﬀerent stages of its progress. Vrasidas Karalis The University of Sydney January 2021 Note on the Transliteration There will always be problems with the transliteration of Greek names. Sometimes direct equivalence is possible although phonetic transcription is employed (Giorgos or Yorgos: Giorgos Arvanitis, but Yorgos Lanthimos. Giannis or Yannis?). As a general rule, I followed the form found at the IMDb website. All translations from Greek are (mostly) by me. Introduction Prolegomena to Theo Angelopoulos’ Life and Filmmaking Exploring the Oeuvre This monograph aims to present the Greek filmmaker Theo Angelopoulos as a global auteur by contextualising his life and work, delineating central elements of his cinematic language and analysing crucial motifs of the political, aesthetic and mythopoetic visual imagery embodied in his movies. It a empts a synoptic but thorough interpretation of his films and their poetics, pointing out continuities and discontinuities between them while interrogating the wider questions embedded in their narrative and visual structure. Overall, the book is about Angelopoulos the me eur en scène, the screenwriter and the image-maker, rather than the political thinker, le -wing ideologue or ambassador for a national culture. Despite the usual framing of his work as representing the epitome of political modernism in the European periphery, and of Angelopoulos as the symbol of a ‘national or local cinema’, I argue for the global and transnational significance of his oeuvre by unframing it from its ‘marginal’ or ‘peripheral’ character. My intention is to explore the cinematographic poetics of Angelopoulos’ visual idiom, his cinécriture, in the sense that Robert Bresson understood the term, as ‘writing with images in movement and with sounds’ (Bresson 1986 [1975]: 7). I will also discuss the various problematics Angelopoulos incorporated in his images, or indeed brought out with his images, with the intention of providing an alternative to the hegemonic regimes of occlusion that popular culture, and its cultural 2 The Cinematic Language of Theo Angelopoulos privileging by postmodernism, imposed on cinematic production a er the mid-eighties. The book engages with Angelopoulos’ works in three main chapters, each one with a diﬀerent perspective and methodology. Each chapter presupposes and leads to the other, aiming to investigate the full scope of Angelopoulos’ creative output and critically address his overall achievement. Each chapter aspires to foreground what is determined by immediate historical context and what transcends it while discussing Angelopoulos’ conscious a empt to articulate a global language for cinematic representation by synthesising various genres, filmic discourses and heterogenous styles. Ultimately, of course, we are trying to be er understand the work and the life of Theo Angelopoulos, since, as Jean Cocteau would have stated, ‘a film, whatever it might be, is always its director’s portrait’ (Cocteau 1972: 77). Indeed, within the political and aesthetic form of his movies, a complex, contradictory and somehow tormented portrait of an ambitious artist emerges, one that asks for cautious and systematic analysis. Chapter 1 gives a summary of Angelopoulos’ life, situating him within the historical and social realities that formed his world from his early years until his sudden death in 2012. However, I am not presenting his films and life as commentaries on the upheavals of his native country. On the contrary, I examine them as the symbolic extensions in time of their social contexts and their implied subtexts. Nevertheless, I will draw on various contributing factors, including the biographical, that led to the formation of Angelopoulos’ cinematic language starting with his decision to become a filmmaker. To that end, I have consulted a variety of sources about his life, including interviews in Greek journals and newspapers and, especially a er 1990, on television. I have also si ed through various and, occasionally, contradictory statements, which were o en coloured by personal feuds, bi er frustrations and professional bias. Yet I have avoided any Freudian interpretation, since psychoanalytic biographism does not fully account for the many invisible texts we find emerging from Angelopoulos’ films and that cannot be explained by reductionist references to personal or contextual particulars. Within this loose biographical sketch, I have a empted to incorporate details about the production and reception of Angelopoulos’ films in a coherent narrative that could function as the hermeneutical background for certain aspects of his work in general. (A comprehensive account can be found in my previous book, A History of Greek Cinema (2012), and a more detailed analysis of his visual problematics in Realism in Post-War Greek Cinema (2016) with specific reference to his ‘ocular poetics’.) Perhaps, in another study, a more biographical and probably Freudian or even Laca- Prolegomena to Theo Angelopoulos’ Life and Filmmaking 3 nian analysis of Angelopoulos’ films is needed in order to explore the psychological ‘mirrorings’ encoded in the structure of his cinematic language; the recurring themes of returning fathers, incestuous psychodynamics and maternal absence. Some of these aspects will be raised briefly while discussing Angelopoulos’ filmic texts during critical moments in his professional life and the external circumstances governing the reorientation of the film industry in Greece, such as, for example, the Restoration of the Republic, a er July 1974. Chapter 2, which is the longest, provides a systematic and chronological presentation of Angelopoulos’ works on their own terms and independently from the wider over-texts of their time. There are many detailed presentations of his films and their storylines: in Andrew Horton’s brilliant monograph (which unfortunately ends at 1998) or Acquarello’s1 lengthy article, for example, both of which I recommend. Furthermore, Artificial Eye has released a three-volume collector’s edition of Angelopoulos’ films without, however, any commentary or an accompanying booklet but that nevertheless gives the opportunity to study his films in their entirety. Since this monograph is wri en for an international audience, I have avoided including unnecessary references, reviews or articles in Greek. I make an exception for the essays by Vassilis Rafailidis (1934–2000), who followed the development of Angelopoulos’ work from the beginning as a friend, co-worker and intellectual comrade in arms until his death. Chapter 3 focuses on how Angelopoulos constructed his cinematic language by combining, inventing, or reinventing diﬀerent components from various genres in classical and experimental filmmaking. The central theme of this chapter is the constant transmutation of Angelopoulos’ visual vocabulary; a radical transmutation that reflected wider cultural revisions in the social dimensions of film production as well as in his personal ideological perspective and philosophical hermeneutics of cinematic representation. It also briefly addresses the various elements his filmic visuality is comprised of, like acting, sexuality, religion and ideology. Finally, it argues that in his perplexing evolution as a filmmaker, he aspired to explore and elaborate a new dimension in the field of cinematic visuality, which I would term as the cinematic sublime. Consciously or unconsciously, Angelopoulos was working towards the construction of the sublime as an aesthetic dimension within the moving images of cinema, and this is what his best films are about. My belief is that he did succeed in creating the sublime in his best films, although we find fragments and isolated elements of its presence in most of them. His cinematic sublime was the outcome of his constant struggle to expand the expressive potential of cinema so that as a filmmaker he could give the ‘audience the credit of being intelligent, to help them understand their 4 The Cinematic Language of Theo Angelopoulos own existence, to give them hope in a be er future, to teach them how to dream again’ (Fainaru 2001: 149). Following Angelopoulos’ Journeys Angelopoulos made thirteen films and a small number of shorts and documentaries. He started with a materialistic, Marxist understanding about the function of cinema in contemporary societies, which was dominant in the sixties through the work of the French structuralist Marxists Louis Althusser and Nicos Poulantzas. Coming out of the militant Marxist period of the Cahiers du Cinema between 1966 and 1969, he firmly believed in the revolutionary or liberational potential of cinema – through the principles of historical and dialectical materialism – as the only true public art in modern capitalist societies, characterised by the exploitation of the working class, the alienation of their social existence and the reification of their individual consciousnesses. This approach runs deep throughout Angelopoulos’ whole career. Even when he grew disappointed with the Le , as late as 2010 he still believed: ‘I remain le -wing emotionally, although I don’t know what to be Le -wing means anymore.’2 Furthermore, Angelopoulos’ early work was in a constant, implicitly agonistic, dialogue with Bertolt Brecht’s epic theatre, particularly in its anti-Aristotelian de-dramatisation, its relative independence from all conventions of realism, its unemotional picturing of the world, and in being able to shi the position of the spectator from empathy to detachment outside action, amongst other things (Brecht 1964: 35). However, his Brechtian period ended rather abruptly with his fourth film, never to be revisited except as self-quotation and self-parody. In the end, Aristotle returned triumphant, and his understanding of tragedy as ‘catharsis’ (Aristotle 1995: 46) through pity and fear (di’ eleou kai fovou) can be found at the heart of Angelopoulos’ most distinct contributions to filmmaking, avoiding all forms of referential or indeed mimetic fallacy that has framed the hermeneutics of Aristotle’s Poetics for centuries. Aristotle’s influence dialectically surpasses, in the Hegelian sense of au eben, all Brechtian elements in Angelopoulos’ work a er 1977 and o en even seems to resynthesise Brechtian performative stylisation through clsssical mythopoetic narratives. The changes in Angelopoulos’ cinematic language manifested a growing pessimism about the Le , pessimism, or melancholia, he gradually transferred, politically and psychologically, to the anti-realism of grand utopian quests while at the same time struggling to ‘visualise’ their specific formal poetics. Despite such disenchantment, Angelopoulos main- Prolegomena to Theo Angelopoulos’ Life and Filmmaking 5 tained his fascination with the enduring political impact of cinema in the age of neoliberal, post-ideological and post-metaphysical consumer capitalism, when images became disposable commodities and the working class, which in the past he thought of as the central social force for revolutionary action, appeared to have all but lost its ‘revolutionary’ potential for political liberation and social emancipation. His disillusion with the organised parties of the Le , and his repudiation of them as bureaucratic managerialism, led Angelopoulos to explore but never quite endorse a certain aesthetic autonomy of art bespeaking the diachronic, if not perennial, ‘essence’ of cultural imaginary. The last chapter functions as a counterpoint to those that have preceded it. It aspires to unframe Angelopoulos from the heavy politicisation of his films and the constant a empts by critics to see them as visual notes, or indeed footnotes, on the political tragedies of contemporary Greece. For this purpose, it explores his films as a sustained autobiographical visual narrative, or a cinematic roman-fleuve in the form of mythobiography,3 by foregrounding the personal and sometimes personalist themes present in the works that are based on Angelopoulos’ own experiences, relationships and encounters (pragmatic details of which are given in the first chapter). On the other hand, Angelopoulos himself stated: ‘All my films are autobiographical. There is an internal and an external autobiography. Even in the Reconstruction one could find autobiographical elements.’4 Despite the dominant tropes in the interpretation of Angelopoulos’ work as a political director who was aﬄicted by mal-du-siècle melancholia a er the collapse of socialism in 1989–91, this study also explores certain existentialist themes embedded in his images, which address questions of freedom, personal identity, ethical choice, memory and subjectivity, together with a peculiar nostalgia for a lost absolute, sometimes full of religiosity but totally devoid of religion. Ultimately, a pa ern of evolution emerges that brings Angelopoulos’ intellectual and spiritual quest close to a reverse form, as it were, of Soren Kierkegaard’s stages of development; especially in the last two decades of his life, when the temptation of an aestheticised history became dominant in his thinking, confronting the nihilistic implosion of meaning pervading Europe a er 1989. A prevailing misconception about Angelopoulos’ work is that viewers need to know about Greek political history in order to understand it. Talking about The Travelling Players, David Thomson noted that ‘we know a er half an hour, that, as non-native watchers, we are always to be cut oﬀ from the roots of this extraordinary ritual [which became] a film’ (Thomson 2008: 910). This is not the case; no sensitive or responsive viewer can feel cut oﬀ from Angelopoulos’ films because of their historical subject ma er. Each film not only reconstructs history but also constructs its own 6 The Cinematic Language of Theo Angelopoulos history and both forms the expectations of its audience and is informed by them. Therefore, there is no need to read books on Greek politics before watching Angelopoulos. The film is itself the historical event, a spatiotemporal osmosis of collective and individual experiences through its images, a synergy between the formal intentions of the its director and the projections of its spectators, transforming it into a social encounter. With the belief that cinematic images provide both the text and context for their experience, this monograph minimises superfluous information about local politics regarding production, conflicts with other directors over funding, or personal squabbles with journalists and reviewers. The otherwise respected Greek film critic Dimitris Danikas, for example, loved poking malicious fun at all Angelopoulos’ films and has stirred considerable controversy about their reception. Such debates went on for long and were acrimonious, without ever elucidating or accounting for the visual dynamics of Angelopoulos’ overall achievement. The central point of my analysis is that there is no single ‘Angelopoulos’ cinematic language but rather four stages constituting the visual articulation of his work. The first is the period of political films, structured around Brechtian theatricality and a persistent tendency to demystify political power. The second is the period of delving into existentialist dilemmas through the discovery of introspective conscience in the individual psyche (a new parameter in his poetic vocabulary). In the third, Angelopoulos either assumes the mask of the cultural icon exploring collective myths across borderless regions or identifies with the archetypal poet of nationhood in times of crisis. Finally, in the fourth Angelopoulos oscillates between scepticism and nihilism; from the ideological enthusiasm that promised a new social and political life to the pulverisation of existence in modern cities inhabited by virtual realities, spectral presences and groundless ontologies. However, the ultimate question about visual temporality remains unanswered, as his last film, The Other Sea, in which he would have formulated a coherent presentation of the predicament of displaced refugees, as embodying the ontology of homelessness and deterritorialization, was le unrealised because of his violent death. Overall, Angelopoulos’ cinema is characterised by complex fluidity, an urgent quest for innovation, and the persistent search for what we might call visual historicity. The filmmaker was for him both historian and history, sometimes with the initial le er capitalised (which indeed might be problematic for his early historical materialism). His cinematic images were both res gestae and historia rerum gestarum, being themselves historical events that challenged and provoked viewers and invited them to think critically about the past and act radically in their present. Prolegomena to Theo Angelopoulos’ Life and Filmmaking 7 They were also images encapsulating a philosophy, a way of thinking, a specific form of life; this philosophy of image-breaking and imagemaking is at the heart of Angelopoulos’ visual project throughout his work. Images as collective histories are central to his iconographic legacy, constructing representations that do not simply epitomise the historical experience of the Greeks but also elucidate many frustrated or aborted projects of European modernity. My ultimate suggestion is that all these elements frame and point to a cinematic visualisation of the sublime, to the degree that cinema has been able to encapsulate and construct a specific, non-literary perception of sublimity as primarily a mental event, as a noumenon in the Kantian sense of the word. As Immanuel Kant would have stated: ‘a noumenon is not for our understanding a special [kind of] object, namely, an intelligible object; . . . For we cannot in the least represent to ourselves the possibility of an understanding which should know its object, not discursively through categories, but intuitively in a non-sensible intuition’ (Kant 1999: 273). Such intuited objects, which Kant aptly called ‘intellectual intuition’ (‘nicht sinnliche Anschauung’) (Kant 1999: 267), are expressed through concrete visual forms without being completely determined by them, presenting metonymically the emerging non-correspondence between the specific form and its meaning: the viewer intuits the surplus meaning that comes out of each image without being able to define its specific location. Aimilia Karali relates a story about Angelopoulos looking for locations for his film Alexander the Great/O Megalexandros (1980): he wanted to find a mountainous village with its buildings arranged in semi-circular order and a central square in the middle. They were looking for quite some time for such a village, but they couldn’t find it. But Angelopoulos insisted: ‘since I thought of it, it exists,’ he said to his associates. At a certain moment, one of them saw a documentary on television about the village Deskati, in Grevena. That was the village that Angelopoulos had thought. The sublime in Angelopoulos is a mental event, a visionary transfiguration of the real, which he, simultaneously as the me eur en scène and the auteur, felt compelled to extract from his visual unconscious and bring out into the light of material existence. Angelopoulos’ sublime can be drawn out of what Hegel called ‘the flight beyond the determinateness of appearance that constitutes the general character of the sublime’ (Hegel 1975: 303), which accounts for the asymmetries between images and significations that proliferate in his most mature and accomplished films. The visual form of the sublime and its mental intuitive content are, despite their connection, at the same time in an entropic relationship: they materialise each other, but what is le out collides with its own realisation. 8 The Cinematic Language of Theo Angelopoulos As Andre Bazin, a theorist whom Angelopoulos did not really appreciate much, suggested: ‘What is imaginary on the screen must have the spatial density of something real’ (Bazin 2005: 48). Such existence of the real, but not of the realistic, in his poetic imaginary, as expressed through his emblematic long take, provoked ambiguous emotions in his viewers and critics. Indeed, in Landscape in the Mist (1988), the broken finger of the colossal hand seen pointing at the viewer and yet lost on the closed horizon of modern architectural brutalism is probably one of the most sublime images conceived to illustrate the lost unity of a reality that may never have existed in post-war Europe, unless, perhaps, as a dream or an alibi. But it is precisely the thinkability of being in the realm of the beyond while experiencing reality through the confines of material necessity that makes Angelopoulos’ cinematic sublime so significant and so elusive. Furthermore, it is the imminent presence of the numinous within the material object that renders this specific image sublime in the Kantian sense. Such asymmetry between the real and the ideal expresses precisely the tragic character of sublimity that led Angelopoulos, unexpectedly and from the back door, to the empathic mimesis and catharsis of his renewed Aristotelianism. In stark contrast to the gigantic statue of Jesus Christ in Federico Fellini’s La Dolce Vita (1960) or Lenin’s statue in Wolfgang Becker’s Good Bye, Lenin! (2003), Angelopoulos’ broken hand is both numinous and ominous, framing the sublime through its absence but also foregrounding it by the enormity of the emptiness around its vestiges. Overall, Angelopoulos’ cinematic language was a systematic and persistent a empt to achieve the cinematic sublime: the sublime as immersion and emergence, the catalysts for ecstatic and oneiric experiences through filmic images. Preliminary Notes on the Auteur and His World I must point out that Angelopoulos is a diﬃcult director to watch; I could claim that he is consciously and deliberately a director’s director, an auteur’s auteur, and not a filmmaker courting large audiences. As with many post-war directors, like Robert Bresson, Satyajit Ray, Yussef Chahine, Miklós Jancsó and Glauber Rocha, and more recently Abbas Kiarostami, Milcho Manchevski, Apichatpong Weerasethakul and Nuri Bilge Ceylan, he never made films intended for amusement, escapism or entertainment. With a consciously contrarian a itude, he made films to cinematically explore the formless or more appropriately the ‘unfilmed’ – sometimes even the unfilmable – existential dynamics that he observed or intuited in the historical experience and the individual mind of his viewers. Prolegomena to Theo Angelopoulos’ Life and Filmmaking 9 As I argue here, Angelopoulos was both filmmaker and mythmaker, producing collective and personal ‘biomythographies’, emulating to a surprising degree, given the small market of Greek filmmaking, some of the greatest names in world cinema. Through his scripts, he was a veritable auteur, synthesising mise en scène, screenwriting and visual se ings in a uniquely personal (and impersonal) style. Furthermore, he placed his individual stamp on all the elements of his movies: music, colour patterns, acting style, location choice, camera movement and editing. So, the purpose of this study is to facilitate a sensitive yet critical and judicious understanding of the scope of Angelopoulos’ achievement with his films’ distinct styles, diverse perspectives and multiple imaginings. Being ‘diﬃcult’ to watch, Angelopoulos’ films have been scorned and rejected by many prominent film critics for their ‘pretentious’, ‘funereal’ or ‘self-indulgent’ style. Such facile reactions say more about the spectators (and the critics) than about the films. The reception of movies depends on many external factors that are not always about the unmediated or implicit relationship between audience, movie-production and filmmaker. It also changes according to new contextual realities, cultural reorientations and aesthetic revisions (or advertising promotions) from decade to decade, even from year to year. Indeed, forgo en, neglected or lost films are rediscovered, reinterpreted and gradually restored to the canon, where they sometimes achieve commercial prominence; like the neglected films of the late Orson Welles, for example, or the underrated melodramas of Douglas Sirk. The truth, however, is that Angelopoulos as a name or a brand never became part of the ‘film industry’, and his films could never have become sellable products for exports (as is the recent case with Yorgos Lanthimos). They existed within the ‘film culture’ as expressions of experimental marginality and creative inventiveness but were only peripheral in the realm of film as industry and production, although their contribution to establishing international co-production strategies should not be underestimated. The commercial success of a film might be purely circumstantial and not connected to any intrinsic qualities, especially in the current era of dizzying eclecticism and ‘imaginal politics’, in which, as observed by Chiara Bo ici: ‘images are no longer what mediate our doing politics but that which risks doing politics in our stead’ (Bo ici 2014: 178). Today, cinema is mostly dominated by digital eﬀects and computer-generated imagery, which totally erase narrative, plot, characterisation and, most importantly, any sense of a creative mythopoeic imaginary. In a sense, cinema has been transformed into post-cinema or non-cinema, which indicates a profound and radical problematisation of its nature and function as new media of virtual representation become more widespread. 10 The Cinematic Language of Theo Angelopoulos How can an average viewer whose visual experience is saturated by digital eﬀects, celebrity icons and escapist extravaganzas watch an Angelopoulos film today? Perhaps the post-cinematic condition is a victory of technology over representation, in which, as Marshall McLuhan aptly summarised, ‘the medium is the message’. And if the current state of aﬀairs has proven anything, it is that there is nothing else beyond the medium. We pay more a ention to the ingenuity of the special eﬀects than the imagination of the director as the creator of films, the acting styles of their performers, or even the story of the collaborative synergies between the two. In a way, here we return to Francois Truﬀaut’s statement: ‘There are no good or bad films; only good or bad directors.’ In this study, I strongly defend the idea of the auteur director, the person whose singular vision of reality indicates a critical interpretation of the act and the art of filming, and in a telling gesture towards a particular way of reinterpreting the auteur approach, I draw on Andrew Sarris’ suggestion that we must put ‘. . . a greater emphasis on the tantalising mystery of style than on the romantic agony of the artists’ (Sarris 1996 [1968]: 272). The dynamic equivalence between the vision of filmmakers and the power of their style is essential for the understanding of the complexity or even the very structure of their films. This has nothing to do with directors as celebrities but instead with directors as culture-makers who construct mythopoetic narratives through which collectivities can recognise themselves or find traces of their own realities in the field of visuality – something that may contribute to their commercial success but of course does not depend on it. Their mythopoeia is essential for understanding the structural form of their films and the pa erns of cinematic ‘visual thinking’, since, as Rudolf Arnheim argued, eventually in an era dominated by images ‘. . . visual perception [becomes] a cognitive activity’ (Arnheim 1969: v). Ultimately, in the hypermodern temporality of today, commodified images define what is visible and what remains unvisualised. Yet instead of seeing images only as funereal monuments, or as monumentalising ‘gods that failed’, Angelopoulos also saw them as spaces of emancipation and topoi of existential rupture, leading to ‘an upsurge of individual autonomy and a lessening of people’s subjection to collective frameworks’ (Lipovetsky 2005: 76). However, even perceptive film critics are o en mistaken when it comes to Angelopoulos, such as when Geoﬀ Dyer accused Ulysses’ Gaze (1995) of being ‘another nail in the coﬃn of European art cinema’ (Dyer 2010: 12). Indeed, the link between directors and their audience (or film critics) has been totally severed by today’s blockbusters, screened in shopping malls and cinema multiplexes. Implicitly, the association between commercial Prolegomena to Theo Angelopoulos’ Life and Filmmaking 11 success and the quality of films remains strong even when the opposite is most obviously the case. The experience of going to the cinema and watching films of the recent past has been profoundly and perhaps permanently changed by the internet, new technologies and the privatised world of hypermodernity. In this study, we will address some of the radical ways of looking that Angelopoulos elaborated in his films in order to counteract the abnormal stimulation of the senses that commercial cinema employs to manipulate spectators and commodify the psychological impact of the cinematic experience. While, as Angelopoulos stated, ‘cinema is a disease’ (Fainaru 2001: 35), it can also be its own cure, and he addressed both diagnoses in his films, elaborating a unique philosophy of visuality that has been thus far underestimated. Angelopoulos was one of the first directors to oppose the new visual regimes of hyper-stimulation that characterise movies made since the late seventies. Undoubtedly, he is a transitional figure in a period marked by experimentation (the sixties and seventies) and then by the retreat from radicalism through the gradual re-emergence of the studio system and the commercial competition between cinema and television. The retreat from radical experimentalism coincided with the avoidance of what was called ‘slow or dead time’ or ‘long take’ and the replacement of its condensed temporality with fast jump-cuts, continuous action and digitised montage. Film culture, which co-evolved with the film industry, suddenly found itself trapped in the new managerialism of the studios, with films made by commi ees and targeting specific focus groups, and eﬀectively dispensing with the critical function of cinema and the personal vision of its auteurs. Many commercially successful movies, like Jaws, Star Wars, the Indiana Jones sagas or the Alien series, were being made at the same time Angelopoulos was producing his films. What made these films successful was the fact that they resembled extended fast-moving videos or television programmes through their condensation of visual time into ninety minutes of relentless action, sharp dialogue and constant camera movement. Angelopoulos, like many filmmakers from Europe, South America and Asia, responded with the discovery of energetic slowness as visual experience, which is one of his most important contributions to contemporary filmmaking. Not, of course, that we did not have ‘slow’ filmmakers before him: Michelangelo Antonioni, Glauber Rocha, Andrei Tarkovsky and even Stanley Kubrick are the direct antecedents of Angelopoulos’ style. Following on from the early Antonioni, for Angelopoulos slowness was a restorative method for visually embodying the complexities of the human psyche in an era of existential and political implosion. These complexities were unspoken and indeed unfilmed, but their visual vestiges in 12 The Cinematic Language of Theo Angelopoulos his images allowed viewers to enter the dark territory of their own unconscious and unvisualised personal shadows. He called that ‘dark territory’ melancholia, which, in the late eighties, became the dominant mood of Angelopoulos’ films, expressing his ambivalence towards the cunning of history and its broken promises of emancipation, especially a er the collapse of the so-called socialist countries. Yet still upholding Hegel’s suggestion that ‘ultimately History fulfils its ulterior rational designs in an indirect and sly manner’ (Tucker 1956: 269), Angelopoulos nurtured the hope that the cinematic screen could still liberate a modern audience from its oppression, reaﬃrming rationality and ecstasy as existential realities at the same time. Such fusion of Enlightenment’s emancipation project and romanticism’s integrative perspective was for him the final frontier in order to combat ‘the powerful dynamic of individualization and pluralization within our societies’ (Lipovetsky 2005: 29). Cinematically, the slow movement indicated that the camera did not simply record or reflect; it mainly revealed and foregrounded unvisualised realities. Thus, Angelopoulos’ visual rhythm was in fact a method of uncovering ‘formal invariants’ under conflicting and antinomic layers of human interactions. In a personal note sent to Yve e Biro, Angelopoulos stated: A film’s rhythm is an inner rhythm, therefore a personal sense of time. In my films the rhythm resembles time dilation but in actual fact it is not. The ratio of filmic time to real time is 1:1, the fact that it appears like a time dilation of the sort that in music terms, we would call ritenuto or lento allows the viewers, if they let themselves, to savour or breathe time. (Biro 2008: 166) Angelopoulos used the term time dilation to describe his a empt to translate the inner temporality of his viewers into a structural element of cinematic visuality. As on many other occasions, he used the metaphor of diﬀerent movements in music: lento is mostly the tempo of his images, which might either expand into monumental cosmic symphonies or be transformed into intimate chamber music, or indeed into solo sonatas for piano or wind instruments. He persistently focused his eﬀorts on making slowness, which was for him ‘the real sense of time’, an organic element of cinematic experience. This meant that slowness was not simply an artificial delaying of action but the actual visualisation of a world’s inner temporality, one which is felt by viewers when they reflect on their own act of seeing and the sense of being. In a distinctly personal way, Angelopoulos equated unvisualised time with the oneiric structure of the unconscious. Susanne K. Langer observed that ‘cinema is “like dream’” in the mode of its presentation: it creates a virtual present, ‘an order of direct apparition. This is the mode of Prolegomena to Theo Angelopoulos’ Life and Filmmaking 13 dream’ (Langer 1953: 412). Angelopoulos wanted his spectators to enter a dream-like or even daydreaming mode by depicting the equivalence between the sense of slowness in their mind and its active presence in their social world. The energetic slowness of Angelopoulos’ films aspired to transform all cinematic experience into an oneiric state of being, as in the works of Fellini, Tarkovsky, Chahine and Terrence Davies. Robert Eberwein suggests that the narrowing of the gap between viewer and director in cinema happens because films ‘replicate activities associated with oneiric experience’ (Eberwein 1984: 82). In that respect, Angelopoulos builds on and carries further the oneiric slowness of Tarkovsky’s Solaris (1972) and Stalker (1979), Federico Fellini’s Amarcord (1973), Ingmar Bergman’s Wild Strawberries (1957) and Antonioni’s L’ Eclisse (1962) and The Passenger (1975). He also builds on the chaotic temporal simultaneity of the unconscious mind in films by experimental directors like Stan Brakhage, Maya Deren and, especially, the early Alain Resnais. Oneiric yet energetic slowness is indeed the most significant formal invariant of Angelopoulos’ films, encapsulating his own philosophical and anthropological understanding of cinema. On the other hand, from his first film Angelopoulos understood that his cinema had to be diﬀerent from everyone else’s in his country. In an early discussion with the film critic Vasilis Rafailidis, to whom we will return frequently in this book, Angelopoulos stressed that he followed the ‘Brazilians of the cinema novo, [who made films] as if they had forgo en European cinema, looking for an expression almost national’. So, in other words, he was also looking ‘thematically, to make films that constituted testimonies about space’ (Rafailidis 2003 [1969]: 153). In order to achieve this, Angelopoulos wanted to totally discard any form of ‘picturesque’ image: that is, clichéd images and any other derivative representations. In his conversation with Rafailidis about his first film, Angelopoulos stated: ‘I have bypassed the danger of picturesqueness. The whole story is seen with so much abstraction, which makes it impossible to fall into picturesqueness’ (Rafailidis 2003 [1969]: 143). To the fast-moving, narratively exciting and thematically melodramatic films of the dominant cinematic genres, Angelopoulos developed an antithetical, almost oppositional style that was to completely re-envision and reorganise the cinematic language of his native tradition, and at the same time oﬀer a diﬀerential alternative to the hegemonic visual idioms of world cinema. Michel Ciment, who explicitly includes Angelopoulos in his list, contextualised such an approach in his well-known address about ‘slow cinema’, claiming that: ‘Facing this lack of patience and themselves made impatient by the bombardment of sound and image to which they 14 The Cinematic Language of Theo Angelopoulos are submi ed as TV or cinema spectators, a number of directors have reacted by a cinema of slowness, of contemplation, as if they wanted to live again the sensuous experience of a moment revealed in its authenticity.’5 The discovery of duration as the visual rhythm of cinema is probably one of Angelopoulos’ most interesting contributions to the temporal foregrounding of filmic images in the human mind. Visual duration was for Angelopoulos the translation into cinematic images ‘of pure temporality, of the lived consciousness, which is continuous and indivisible and can be only known through intuition’ (Bergson 2001: 75). His cinematic language aspired to visually ‘think in duration’ and create a cathectic sympathy between the viewer and the screen, thus intensifying their emotional responsiveness. In that respect, it is through cinema that Greece became his ‘imaginary homeland’, a place of the imagination and in the imagination. His material was primarily ‘Greek’, but its framing, visualisation and conceptualisation was transnational and universal, therefore purely cinematic. At the same time, we can infer from his work that Angelopoulos never felt he belonged to any periphery, or that he needed in any way to address himself to a hegemonic centre, whether in Europe or Hollywood. His cinematic ontology was founded on a universalising vision of polycentric visualities. In a strange way, Angelopoulos never reflected on his position agonistically or, even more, antagonistically to the presumed centres of cinematic culture. Even in his use of international film celebrities, like Marcelo Mastroianni, Jeanne Moreau, Harvey Keitel, Bruno Ganz, Willem Dafoe, Michel Piccoli, Irène Jacob and others, he seems to deliberately demythologise their cinematic personas by debunking their glamour and mystique yet elaborating forms of their cinematic anti-types. Angelopoulos tried in his movies to synthesise modes of representation and forms of presentation in which various problematics and experiences converged and diverged. He never had any dilemmas about belonging, or about the Greek position between East and West, the Balkans and the Mediterranean, or generally at the centre or the periphery of Europe. His main concern was with being as visually expressed, in an a empt to make cinematic images ‘the house of Being’ – a role that originally Martin Heidegger had a ributed to language (Heidegger 1998: 239). His camera was part of the continuum of life and history, not an external or detached observer and recorder. Being in Time and Being with Others as events born out of and through cinema were at the heart of Angelopoulos’ project. Furthermore, his cinematic eye was the catalyst for more interpersonal ways of seeing and being in society. In a way, his camera is at its best when it resides in the eye of the beholder, when it absorbs spectators in ways that do not annul their freedom but instead intensify their respon- Prolegomena to Theo Angelopoulos’ Life and Filmmaking 15 siveness to the exigencies of history, the impasses of their existence and the dilemmas of their creative imaginary – these were the focal points of his comprehensive visual project. Summing Up The present monograph reconceptualises the study of Angelopoulos’ films through the perspective of transnational cine-aesthetics, investigating the complex ways his films are linked with major post-war and postcommunist European cinematic exchanges, ethical anxieties and political projects. It argues that his early films deal not simply with Greek history but more significantly with political power as existential reality, with its mechanisms of oppression and domination and the various ways it was exercised by post-Enlightenment, pseudo-modernist elites in the European periphery. The films of his second period deal mainly with loss, absence and trauma through the representation of displaced individuals and their existential homelessness and broken interiority, indicating the crisis of authority and legitimacy that Angelopoulos observed taking place in European cultures. During his third period, which followed the collapse of ‘existing socialism’ and the end of the last utopian project of revolutionary enlightenment, Angelopoulos transgressed state borders and explored the proximity of otherness; although, strangely enough, in order to do so he had to invest himself with the mantle of the prophet, or the representative ‘poet’, of the nation and its language. In his final period, which coincides with the new millennium, his camera explored the rise of European nihilism together with the hegemony of a capitalist globalisation that homogenised cultural expressions and imposed strategies of surveillance and control, stripping the individual naked from their mystery and enigma, and, indeed, stripping them of their very freedom. His last film is a long, rather pessimistic elegy on the death of a whole world image, as the quest for ‘lost movies’ in which the gaze was innocent and young is replaced by death, suicide and the ‘dust of time’. If studied carefully and sensitively, Angelopoulos’ films have the potential to change cinematic thinking. Indeed, some of them were catalysts for wider and permanent reconsiderations of dominant practices. The fact that his films radically challenged visual thinking indicates that they also constitute historical events, ruptures in the horizon of conformist politics in a period of mediocracy, can still potentially challenge the dominant contemporary regimes of cinematic visuality. How Angelopoulos employed cinema and imagined the cinematic is essentially the ultimate 16 The Cinematic Language of Theo Angelopoulos question that emerges from his films. Despite the fact that he never elaborated a detailed or systematic theory about cinema, we can extract from his work itself a firm belief of the purposeful intentionality of visual images; through this, we can also examine his ideas not only on how to make cinematic images but about their telos within the historical world of their viewers. In a way, this study explores what Robert Sinnerbrink called Angelopoulos’ ‘cinematic ethics’, since, as he states when concluding his study: ‘Angelopoulos’ films, both early and late, serve as ethically and politically significant memorials to the (o en tragic) intersection of cinema and history over the previous century’ (Sinnerbrink 2015: 96). Ultimately, this study situates Angelopoulos within the macro-narratives that have dominated European cinematic production since the seventies. It argues that, whilst belonging to Greek society and expressing the specific elements of the Greek historical experience, Angelopoulos gradually transcended the barriers of his native culture and produced an oeuvre that was truly transnational, multidimensional and cosmopolitan. Dina Iordanova placed Angelopoulos’ films in their appropriate context and directorial perspective when she wrote: Angelopoulos’ Balkan films are also historical collages, raising issues of displacement and lost homelands, and trying to go beyond the geopolitical intricacies that dominate the approaches of other film-makers. His trademark atmosphere of lonely wandering through the mist prevails in all his films which deal with issues of universally distorted harmony, irrecoverable identities and fin-de-siecle sadness. He is the only one daring enough to claim that problems of universal identity lurk from within the peculiar Balkan universe. (Iordanova 2001: 107) Angelopoulos’ cinema is Greek, Balkan, Mediterranean, European and global; it belongs to what Kriss Rave o-Biagioli called ‘Mythopoetic Cinema’ (Rave o-Biagioli 2017: 64–123), although not solely focused on the ruins of European identity (in itself a Eurocentric perception) but on something wider and much more foundational: the uneasiness that permeates culture, as Sigmund Freud would have called it. His films are precisely about how such uneasiness impacts individuals and societies and seriously impairs their need to dream and the desire to be otherwise. Because of its profound anthropological concerns, Angelopoulos’ mythopoetic cinema belongs to, or indeed comes out of, the wider project of establishing a global culture of cinephilia, tentatively articulated by Thomas Elsaesser as that which ‘reverberates with nostalgia and dedication, with longings and discrimination and evokes, . . . more than a passion for going to the movies, and only a li le less, than an entire a itude towards life’ (Elsaesser 2005: 27). Cinephilia is a movement in which every local visual tradition contributes forms, pa erns and iconologies, constituting the grand mosaic Prolegomena to Theo Angelopoulos’ Life and Filmmaking 17 of world cinema that we see being formed today: diverse, contradictory and palimpsestic. Angelopoulos’ contribution to the emerging global cinephilia constitutes an important chapter in its historical process, and the present study wants to elucidate certain aspects of his achievement. Furthermore, drawing again from Thomas Elsaesser, we can understand the complex intersection between local power structures and international institutional alliances that made Angelopoulos a global auteur, as he achieved ‘. . . a paradoxical kind of autonomy and agency that that has the potential to reinvent the cinema, not as an art form, nor as a life form, but as a form of philosophy . . .’ (Elsaesser 2017: 39). Indeed, Angelopoulos is a global auteur because he created and imagined an intricate, complex and challenging philosophy of visuality, one that needs more a ention and further exploration. Notes 1. For more on Acquarello, see h p://sensesofcinema.com/2003/great-directors/ angelopoulos/ (Retrieved 1 December 2020). 2. See a selection of Angelopoulos’ commentary on his films: h p://www.cine philia.gr/index.php/prosopa/hellas/606-agelopoulos-6 (Retrieved 1 December 2020). 3. I borrow the term from Audre Lorde’s book, Zami: A New Spelling of my Name (1982), which is a blend of memoir, history and myth. 4. On Eternity and a Day (1998): h p://www.cinephilia.gr/index.php/prosopa/ hellas/606-agelopoulos-6 (Retrieved 1 December 2020). 5. Michel Ciment, ‘The State of Cinema’, delivered at the 46th San Francisco International Film Festival (2003). See Unspoken Cinema: Contemporary Contemplative Cinema, 10 March 2006, h ps://unspokencinema.blogspot.com/2006/10/ state-of-cinema-m-ciment.html (Retrieved 1 December 2020). Chapter 1 Life and Works Elements of Biography Theodoros Angelopoulos was born 27 April, 1935, into a middle-class family of modest means. His father was a shopkeeper, and his mother stayed at home looking a er their children, Theodoros, Nikos, Paraskevoula and Anna. One of the most traumatic events in his life was the death of his sister Anna in an accident when she was eleven years old. Theodoros studied at the local schools and entered the Law Faculty of Athens University in 1953, but he never sat for the final exams. As a young man, he read voraciously, mainly Fyodor Dostoevsky, Leo Tolstoy, Anton Chekhov, Stendhal, Jean-Paul Sartre, Albert Camus and Greek writers – particularly poets, like C.P. Cavafy, Yannis Ritsos and especially the modernist poet George Seferis (Nobel Prize winner 1963). Early in his life, Angelopoulos fell in love with the cinema. He watched all the Hollywood films that screened at the growing number of movie theatres in Athens during the post-war reconstruction. He was especially enthused by the films of John Huston, Howard Hawks, Abraham Polonsky, Raoul Walsh and Michael Curtiz, whose Angels with Dirty Faces (1938) had a permanent impact on his cinematic imagination. A er completing his military service in 1961, Angelopoulos moved to Paris where he initially enrolled at the Sorbonne for studies in French literature and cinema. He also a ended lectures on ethnology by Claude Lévi-Strauss, and those on film history by the Marxist historian of cinema Georges Sadoul and the phenomenologist Jean Mitry – the influence of these thinkers can be easily detected in Angelopoulos’ own understanding of the social function and aesthetic epistemology of cinematic images. Between 1962 and 1963, he studied at the famous L’Institut des Hautes Études Cinématographiques (IDHEC), the Institute for Advanced Cin- Life and Works 19 ematographic Studies, which, under the leadership of Marcel L’Herbier, was the centre to which many aspiring directors from all over the world came to study (amongst them Glauber Rocha, Volker Schlöndorﬀ, Andrzej Żuławski, Nelson Pereira dos Santos and the Greek expatriates Costa-Gavras and Tonia Marketaki). In a legendary dispute, Angelopoulos fell out with one of the professors of filmmaking and terminated his studies there. However, he enrolled in special classes at the Muse de L’ Homme, where he studied under Jean Rouch, who was in charge of the Comité du Film Ethnographique. Rouch was one of the initiators of cinéma-vérité in France, following Alexander Astruc’s camera-stylo. Furthermore, with his famous and controversial film Moi, un Noir (Me, A Black, 1958), he used jump-cuts, non-professional actors and long continuous shots, all of which were to become dominant filmic practices a er the rise of Nouvelle Vague and the release of Jean-Luc Godard’s À bout de souﬄe (1960). Rouch’s Chronicle of a Summer (Chronique d’un été, 1960) can be seen as a background reference to Angelopoulos’ first short film The Broadcast (1968). Angelopoulos worked in Paris during the early heroic years of the French New Wave and watched most of the films by Jacques Rive e, Claude Chabrol and François Truﬀaut, the directors who expressed that ‘certain tendency of the French Cinema’, which was labelled as the auteur tradition. During this period, he made the short film Black and White for his exams, ‘the story of someone who is being chased all over Paris’ (Fainaru 2001: 129), but it was rejected by his film professor. This first foray into filmmaking exemplified the main characteristics of his later work: loose (or no) script, long takes, self-conscious acting and improvised movement of camera, minus découpage (editing). In 1964, Angelopoulos returned to Greece and together with Tonia Marketaki, who was to become one of the most important directors of the period, established the journal Democratic Change/Dimokratiki Allagi in which he wrote his early film reviews (its publication was banned in 1967 by the military dictatorship). In 1965, he started working on his first film, an urban road movie modelled on Richard Lester’s The Beatles mockumentary A Hard Day’s Night (1964), about the Greek pop group The Forminx. The producer did not like the spontaneity of the filming process and the total absence of a script, so Angelopoulos resigned from the project. The film was completed by Kostas Lychnaras and released under the title Adventures with the Forminx/Peripeteies me tous Forminx (1965) and still included scenes shot by Angelopoulos. A er his first eﬀort, Angelopoulos embarked on the production of a short film, The Broadcast/Ekpompi (1968), which received the Critic’s Prize at the Thessaloniki Film Festival, despite the strict censorship imposed by 20 The Cinematic Language of Theo Angelopoulos the 1967 military junta. This film is an extremely interesting early example of his experimentation with cinematic form, especially camera movement, and his a empt to fuse the techniques of direct cinema with the new televisual modes of filming. In September 1969, in collaboration with his lifelong friend Vasilis Rafailidis (1934–2000), Angelopoulos established the journal Contemporary Cinema/Synchronos Kinimatografos as a project in which advanced theoretical reflection, applied film criticism and continuous dialogue on the ideology of the cinematic medium would be encouraged and conducted seriously. As a tribute to Rafailidis a er his death, Angelopoulos wrote: Rafailidis did all the work and the complete responsibility was with him. The journal was to become the central instrument of what was to be called New Greek Cinema, because it gathered all the new filmmakers of the period, the whole world of Greek cinema. In the middle of the Dictatorship, it was used as a place of coming together, resistance and rebellion towards both directions: political, in regard to the junta but also towards the quest for a substantially ‘other’ cinema – a new cinema which would go along – both thematically and ‘linguistically’– with the currents which were prevailing at that moment not only in Europe, but the whole world. And this was supported fanatically by Vasilis, until the day he handed over the journal to certain younger people and departed. Things, however, didn’t evolve as we expected them – neither with Greek cinema nor with politics. (in Rafailidis 2003 [1969]: 172–73) Some of the most important young cinematographers of what was later to be called the New Greek Cinema worked with them on the journal; George Korras, Yannis Smaragdis, Michel Dimopoulos, Takis Lykouresos, Kostas Sfikas, Lakis Papastathis, Hristos Vakalopoulos, Stavros Tornes, Demos Theos, Roula Mitropoulou, Pandelis Voulgaris and many others were involved in its production, editing or distribution. In its pages, we can find detailed critical writing about the work of many international directors like Michelangelo Antonioni, Pier-Paolo Pasolini, Jean-Luc Godard, the Taviani Brothers, Elia Kazan, Miklós Jancsó, Eric Rohmer and Nagisa Oshima, whose work was screened in selected art-house cinemas in Athens. At the same time, they published theoretical and critical articles problematising – or, rather, dismissing – established expectations and practices of the dominant, so-called Old Commercial Cinema of the studio era (dominated by Finos Film and James Paris Productions) while critically exploring the ideological, historical and aesthetic foundations of Greek cinema and its institutional and cultural specificities. For the first issue, Angelopoulos translated a short essay called ‘Goals of New Cinema’ by the otherwise unknown French writer Francois Liberet into Greek. The essay seems to encapsulate Angelopoulos’ own concerns about cinematic language and Life and Works 21 . . . a new view of the world, a view both critical and poetic at the same time. Critical because it doesn’t accept old traditional truths that were imposed on us since our birth, but questions and refutes them; Poetic because ‘crisis of conscience’ means choice, therefore art. The eﬀort to disseminate culture is meaningless unless it takes place together with a renewal of structures in all aspects. (Angelopoulos 1969: 11) In the same issue, we also find articles on the ‘authenticity of new cinema’, the articulation of a new synergistic model of spectatorship, and a rather nervous interview between Angelopoulos and Lakis Papastathis, representing the journal, with Alexis Damianos, the director of the film Until the Ship/Mehri to Ploio, alternative title Cornerstone (1965), which can be considered a precursor to the ‘New Greek Cinema’ as advocated by Angelopoulos. The interviewers are critical of the organic cohesion, music and folklore elements in Damianos’ film while praising his choice of amateur actors. The journal, which defined the development of cinephilia in Greece, lasted until 1984 under diﬀerent editors and took on various ideological orientations over its lifespan, ranging from militant Marxist to ethnocentric, navel-gazing narrative quests for national identity. Angelopoulos le its editorial board rather early in 1971, a er having helped the journal articulate, mostly through his presence and his first film, a solid theoretical reflection on the nature and function of cinema, both aesthetically and politically. His dialogue with Rafailidis in the third issue (November 1969: 20–29) remains to this day the foundational declaration of what was to be called New Greek Cinema/Neos Ellinikos Kinimatografos and one of the few documents of cinematic self-reflexivity in the country. During this period of intense questioning of the studio system, Angelopoulos discovered his own independent and, to a certain degree, critical trajectory towards the politique des auteur approach, as expressed in the Cahiers Du Cinema. Despite the obsession with the visual representation of ‘Greekness’ that preoccupied some members of the original group, Angelopoulos initiated his own quest for a renewed understanding of history and historicity, as opposed to the ideological and sometimes defensive pursuit of an elusive national identity expressed in cinematic form. For him, what always preceded this quest was the special vision of the auteur, which translates as ‘creator’ or ‘poet’ in Greek; so, his films are the cinema of the creator or the poet who desires to reconstruct the pristine vision of his gaze in a unement with analogous visions of collective movements. In his discussion with Rafailidis, he called it ‘. . . a cinema that is culture, . . . a form of cinema that raises claims of influencing the intellectual evolution of Greeks . . .’ (Rafailidis 2003 [1969]: 135). A er 1973, due to a long dispute about a grant from the American Ford Foundation, which brought to the surface many personal feuds and antip- 22 The Cinematic Language of Theo Angelopoulos athies, the journal was unfortunately taken over by a group of ostensibly anti-American ‘radicals’, who denounced Rafailidis and, implicitly, Angelopoulos. ‘My Friend Theodore,’ Rafailidis wrote later, ‘Don’t be confused because, a er I resigned, they a acked you from the journal which we both established. Envious and dysfunctional people will always exist in this world. We did what we could. They did what they could and closed down the company and the journal Contemporary Cinema’ (Rafailidis 1992: 464). A er this incident, Angelopoulos followed a rather lonely path in Greek filmmaking and, on many occasions, his old comrades criticised not only his films for not being ‘Greek’ enough but later him personally for being either a formalist or pessimistic reactionary. In his problematisation of the cinematic past, Angelopoulos initiated a fusion of genres and styles, establishing gradually the foundations for a cinematic language that expressed a deep awareness of the technological and aesthetic potentialities of the medium. He also framed a new sense of temporality that emerged during the political oppression and consequent psychological repression a er the 1967 dictatorship. His work defined the aesthetic and stylistic parameters of the New Greek Cinema as a radical movement towards cultural revisionism. Angelopoulos’ first completed film The Broadcast/I Ekpompi (1968) – on which he worked with Nico Mastorakis, who was soon to become notorious for his collaboration with the dictatorship – showed his ability to use the cinematic medium in a novel and distinct manner. Through Angelopoulos’ discussion with Rafailidis, we come to understand the problems surrounding the production of his first feature film Reconstruction/Anaparastasis (1970), which received three major awards at the Thessaloniki Film Festival. This film brought Angelopoulos global a ention a er receiving the French award for best foreign film of the year. His second film Days of ’36/Meres tou ’36 (1972) explored the atmosphere of fear and oppression the Greek people endured a er 1967, drawing a historical parallel with the previous dictatorship of General Ioannis Metaxas. With his third film, The Travelling Players/O Thiasos (1974–75), Angelopoulos singlehandedly reshaped the landscape of filmic (re)presentation, constructing a ‘thick’ visual narrative of epic scope that was totally new in the small market of Greek cinema and linked more to the grand cinematic experiments elsewhere in the world in the sixties. The success of this extraordinary movie, which was awarded the Critics Prize at the Cannes Festival in 1975, essentially internationalised Angelopoulos and allowed for his exodus from both the restricted borders of Greek cinema and the oﬃcial policies of the Greek state. Despite the Restoration of the Republic in July 1974, the government withheld, indeed practically banned, all funding for his films and sabotaged his foreign Life and Works 23 distribution. Yet ironically, the film’s success also brought about the internationalisation of Greek cinema, which until then was predominantly known for Michael Cacoyannis’ Zorba the Greek (1964) and Jules Dassin’s Never on Sunday (1960). With his next film, The Hunters/Oi Kiniyoi (1977), Angelopoulos secured producers from outside the country for the first time since Zorba the Greek. Most of his later major films were also produced or co-produced by centres like the Italian RAI, the German channel ZDF and the French Institut National de l’Audiovisuel through the funding bodies of the European Union, which Greece had joined in 1980. The Greek Film Centre, which was established as part of the Ministry for Industry by the dictatorship in 1970 and then reorganised within the Ministry of Culture in 1978, started partly funding Angelopoulos’ films only a er their recognition beyond Greece. In 1979, he met Phoebe Economopoulou, who was the production manager of Alexander the Great/ O Megalexandros (1980) and who became his lifelong partner. They had three daughters, Anna, Catherine and Heleni, names that recur in his scripts as evocative signs of Angelopoulos’ personal emotional landscapes. O Megalexandros marked a change in the style and the form of his filmmaking while paving the way for an international career unprecedented by any other Greek director. A er the Japanese release of this film, Akira Kurosawa invited Angelopoulos to Japan, where he stayed for three months. Kurosawa himself had wri en a short but succinct review of Angelopoulos’ film,1 and years later Angelopoulos appeared in Catherine Cadou’s documentary Kurosawa’s Way (1991) alongside ten other global filmmakers, praising the ‘multiplication of points of view’ that he detected in Kurosawa’s films as opposed to the usual Hollywood tradition of flashback, indirectly addressing the relationship between Rashomon and his first film Reconstruction. In 2001, Angelopoulos wrote a brief introduction, under the title ‘Three Meetings with Kurosawa’, to the Greek edition of Kurosawa’s Autobiography. He mentions Kurosawa’s comment about the quality of the colour black in the uniforms of the bandits in Megalexandros. Angelopoulos wrote: ‘For me the greatest Japanese director is Mizogushi. . . . Yet I was deeply impressed by the living encounter with Kurosawa. His finesse, his concern of the quality of what he did, manic and relentless . . .’ (in Kurosawa 2001: 6). During the eighties, especially a er the election of the Socialist government of PASOK in October 1981, Angelopoulos became more mainstream and was soon elevated to the status of a cultural icon, despite the fact that most of his films were not commercially successful. His presence in the media, and his ongoing debates with many film critics, made him a house- 24 The Cinematic Language of Theo Angelopoulos hold name. It was he who presented ‘Greece’ as a cinematic culture to the world, especially through the international film festival circuit. In 1984, he shared an apartment with Andrei Tarkovsky in Rome for several months before his death in 1986. Tarkovsky mentions in his diaries that Angelopoulos helped with the editing of a television film about him, where Angelopoulos mentions a colourful debate between the two of them about the origin of the word ‘nostalghia’ (Tarkovsky 2018: 298). There, Angelopoulos also met Michelangelo Antonioni and befriended Tonino Guera (Tarkovsky’s close friend and screenwriter), who would work with him and the writers Thanassis Valtinos and Petros Markaris on most of his subsequent scripts. Furthermore, his increasing use of international stars brought him global acclaim and paved the way for transcultural filmic modes of production, representation and distribution, since his films were no longer exclusively ‘Greek’. During this decade, Angelopoulos released four films, Voyage to Cythera/ Taxidi sta Kythera (1984), The Beekeeper/O Melissokomos (1986), Landscape in the Mist/Topio stin Omihli (1988) and The Suspended Step of the Stork/To Meteoro Vima tou Pelaryou (1991). They were all international productions and received awards at film festivals throughout the world. One has the impression that Angelopoulos tried to revive the force of the grand experiments of sixties cinema by using ambiguously the evocative star-power of actors like Giulio Brogi, Marcello Mastroianni, Serge Reggiani, Jeanne Moreau and later Jean Maria Volonte and Erland Josephson, whose presence can be seen as a symbolic gesture to Fellini, Antonioni, Visconti and Bergman, and an oblique delineation of his personal cinematic genealogy. A er the confused atmosphere of political disenchantment in Greece and Europe, the collapse of communist regimes, and the ‘end of history’ neoliberal optimism of the eighties, in the nineties Angelopoulos and his work came to represent the ‘lost spring’ of creative modernism, with its failed projects of political renewal, novel formal representations and fairer pa erns of sociability. His films of this decade, partly funded by his own production company, made him one of the best-known names at international art-film festivals, including in the Americas, Europe, Japan and later China, and a number of documentaries were made about him by directors from various countries. Two of his most important works, Ulysses’ Gaze/To Vlemma tou Odyssea (1995) and Eternity and a Day/Mia Aioniotita kai mia Mera (1998), were generally well-received and became landmarks of the new production realities in post-communist Europe. They indicated a remarkable renaissance in Balkan cinema, also seen in the work of Emir Kusturica, Cristi Puiu, Radoslav Spasov, Yilmaz Erdoğan and Nuri Bilge Ceylan. Exploring the European unification project, its shared past and tragic present, together with the possibilities oﬀered to directors of the periph- Life and Works 25 ery, these films had a distinct impact at a European and global level. The use of the American superstar Harvey Keitel and the German cultural hero Bruno Ganz, who had starred in Wim Wenders’ film The Wings of Desire (1987), created another career for Angelopoulos in the United States, opening the American market and culture of film criticism to his work, with varied reactions and interpretations. The reviews of Angelopoulos’ films listed on the website Ro en Tomatoes website proliferated a er 1998, with wildly diﬀering critiques by, for example, Roger Ebert, Jonathan Rosenbaum and David Thomson. Angelopoulos received the Palme d’Or at the Cannes Festival in 1998 for Eternity and a Day, earning the unconditional praise of Martin Scorsese – whose subsequent film Gangs of New York (2002) was aesthetically permeated by an Angelopoulos-like mood. Scorsese’s recognition vindicated the persistence of an auteur’s cinematic style, despite the domination of commercial blockbusters. A er this point, many prominent film scholars like Andrew Horton, Dan Georgakas, David Bordwell, Fredric Jameson and David Thomson, amongst others, started studying Angelopoulos’ work in the first collective volume on his work (Horton 1997). Andrew Horton’s lengthy monograph under the title The Films of Theo Angelopoulos: A Cinema of Contemplation (1999 [1997]) gave international impetus to the promotion and understanding of his films, oﬀering a coherent and systematic framework for their contextualisation and appreciation. Furthermore, over three decades Dan Georgakas’ essays systematically explored, with clarity and empathy, the ideological subtexts of Angelopoulos’ films and their aﬃnity with major global cinematic movements. In Greece, his success at Cannes in 1998 made Angelopoulos a ‘national treasure’, to be revered and parodied simultaneously. At this point, we must stress the continuous political and aesthetic elucidation of Angelopoulos’ films by his friend and associate, the film critic and cultural theorist Vasilis Rafailidis, an essential source for the appreciation of his work. Until his unexpected death in 2000, Rafailidis defended Angelopoulos’ films belligerently against their many cultural despisers; however, because of their acerbic tone, his essays on Angelopoulos’ films are marred by an aggressive fanaticism, despite their perceptive and sensitive interpretations. Ιn 2002, Angelopoulos, as the President of the Thessaloniki Film Festival, awarded its special grand prize, known as Golden Alexander, to the most important director of the old ‘commercial’ cinema, the vernacular auteur Yannis Dalianidis: a gesture of reconnection and reconciliation with the past of Greek cinema, as well as an act of recognition for the contribution Dalianidis made to the development of film culture. Angelopoulos’ late films, The Weeping Meadow/To Livadi pou Dakryzei (2004) and The Dust of Time/I Skoni tou Hronou (2008), were made possible 26 The Cinematic Language of Theo Angelopoulos with international collaborations and productions. The Dust of Time, in particular, was a multilingual production across many diﬀerent countries, with the American superstar Willem Dafoe cast as its central protagonist. However, the presence of actors like Michel Piccoli, Bruno Ganz and Irène Jacob, among others, made it a site of contested equivocations, rooted in an uneasy coexistence of diﬀering styles, cultures and genres. While this film on its release generated renewed interest in Angelopoulos’ complex and ambitious experimentation with visual temporality throughout his career and showcasing him to the wider audience of American cinephiles, most reviews were reserved, if not hostile. In the so-called ‘years of crisis’, which began in 2009/10, and with the rise of what was misleadingly called the ‘weird wave’,2 spearheaded by Yorgos Lanthimos and Athina Rachel Tsangari, Angelopoulos became one of the most recognizable voices in the Greek media: a prophet lamenting the future of culture, cinema, Greece and Europe. He talked unequivocally about himself, sometimes conveying a sense of despair or even sentimentalism, which caused considerable consternation but also implied a confession of powerlessness and surrender, and indeed gestured towards a sense of an ending. From 1999, Angelopoulos had already fallen into a state of melancholic self-examination. ‘I want to make a film in the colours of rust,’ he said, ‘because of the melancholy I feel. Such melancholy is one of the dominant elements of our times since they all talk about collapse. Melancholy before the end of the century’ (Soldatos 2015: 214). Angelopoulos died 24 January, 2012 in an accident while working on his final film, The Other Sea/I Alli Thalassa. He had been checking the lighting of a tunnel at night but neglected to wear a yellow safety vest (a frequent symbol and omen in some of his films) and was hit by a motorcycle. With his death came the recognition that an entire historical period in the cultural creativity of Greece had ended. It was the ultimate expression of the demise of a cinematic movement that had dominated film production for decades and given Greece and Europe some of their most enduring images and stories. Directors, cinematographers, actors and film critics praised Angelopoulos for being so unique and therefore so isolated; an artist determined to do pure cinema untrammelled by commercial concerns, and without pretending to represent anyone other than himself and his personal vision of the cinema. He was the ultimate model of an auteur filmmaker who never made concessions to the expectations of audience or producer. A er his death, a number of significant studies and serious testimonials about Angelopoulos’ life and work were published. In 2015, Angelos Koutsourakis and Mark Steven edited The Cinema of Theo Angelopoulos, bringing together various lines of research on his work, including two 27 Life and Works short but powerful studies by Nagisa Oshima and a brief introduction by Alexander Kluge (Koutsourakis and Steven 2015: 39–45). Kluge stated: ‘In film history, there is one sentence that is for me irrefutably true: the nonfilmed criticises that which is filmed’ (Koutsourakis and Steven 2015: x). How Angelopoulos managed to talk about the unfilmed through what he filmed is probably one of the most important and unanswerable questions regarding his work. Angelopoulos knew all too well his precarious and ambiguous position in the history of the cinema in both his country and the rest of Europe. In 1982, a decisive year for both himself as director in the middle of his career and for his country, he wrote a cryptic poem about the destiny of his work, which he later incorporated into his film The Suspended Step of the Stork: I wish you health and happiness but I can’t take part in your voyage. I am just a visitor. Everything I touch hurts me deeply. And then it doesn’t belong to me. There is always someone to say: ‘That’s mine!’ I don’t have anything that is mine . . . I arrogantly said one day. Now I’ve learned that nothing . . . is nothing. That we don’t even have a name. And that each time we need to borrow one. Give me a place to look at. Forget me in the sea. I wish you health and happiness.3 This is a strange confession by a director whose camera transformed absence and loss into profound visual revelations about the human predicament in history. The Contextual Webs of History Throughout Angelopoulos’ career, the history of his country and of various ideological, political and aesthetical trends intersected on the filmic texts and subtexts of his work. Indeed, within his films one can detect the collective and the personal converging and diverging in many intriguing ways, transforming them into symbolic spaces of contested histories, aesthetics and visualities. Angelopoulos was born during one of the most turbulent periods in Greek history. His work is sometimes unfortunately interpreted as the visual representation of this time, and there are good reasons for this. In 1936, General Ioannis Metaxas imposed a fascist dictatorship, inflicting extensive political oppression and persecution on those he considered enemies of the state, especially communists, liberals and social deviants. This decade was culturally dominated by the so-called Generation of the ’30s, a modernist movement focused on questions of national identity and its aesthetic form, unoﬃcially led by the poet George Seferis. Against the background of the Asia Minor Catastrophe of 1922 and the mass wave of 28 The Cinematic Language of Theo Angelopoulos refugees that sought refuge in Greece, the Generation of the ’30s debated liberals and Marxists on the ambiguity and elusiveness of ‘Greekness’ and the quest for national identity in all forms of artistic production. Having grown up in a neighbourhood full of Anatolian refugees, the predicament of displaced people was a constant theme for Angelopoulos throughout his entire career. At the same time, cinema had become the most important event for the socialisation of the newly urbanised population and was rapidly transforming into a large-scale industry. The process of ‘commercially industrialising’ Greek cinema began with the production of the first feature films, such as the famous Astero (1929) by Dimitris Gaziades, Daphnis and Chloe (1931) by Orestis Laskos, Social Corruption/Koinoniki Sapila (1931) by Stelios Tatasopoulos and later the first talkies, which were mostly costume dramas about an idyllic past in the countryside. Ideal ‘Greekness’ resided mainly in the villages and rural areas outside the traumatic spaces of urban centres, which were inhabited by anonymous industrial workers and refugees. Angelopoulos’ references in The Travelling Players to the costume dramas of this period take on a political and subversive character, forming the great underlying mythos of what he called ‘the deep Greece’. The remote rural land was beyond and above history; there, the trauma of the Asia Minor Catastrophe had never taken place, and the peasants enjoyed a life of pure innocence, in mythological atemporality, unstained by the fall into the confusing realities of urban alienation, industrial exploitation and existential fragmentation. Among Greece’s early directors, the unwi ing pioneer of direct cinema, Stelios Tatasopoulos, paved the way for many innovations in the practices of filming both in feature movies and documentaries. In his first work, he filmed real-life scenes of the underworld of drug dealers and prostitutes, which were embedded in the story. In 1951, Tatasopoulos repeated the use of amateur actors and a documentary style in his impressive neorealist film Black Earth/Mavri Gi, made on an impoverished island with a script that changed in situ according to the circumstances (reminiscent of Giuseppe De Sanctis’ Bi er Rice (1949) and Bunuel’s Los Olivados (1950)). The industry gradually established itself through the enthusiasm and dedication of people like the producer Filopoimin Finos and started examining the ambiguities of national identity, making the screen the only space in which its contradictions, conflicts and flaws could consciously and aesthetically materialise. Because many people were unable to a end school, there was a high illiteracy rate during this period; cinema became the only place where the population could be educated and entertained at Life and Works 29 the same time while also functioning as the main site for socialisation and even politicisation. Angelopoulos’ childhood was marred by the brutal force of history. Between 1936 and 1944, the Monarchy was restored and the Republic replaced by the Metaxas dictatorship (during which the Greek-Italian War was fought), and the Germans invaded. In the capital, the Angelopoulos family experienced the famine brought about by the Occupation. He later confided that the silence that permeates his films is an a empt to replicate the silence he ‘heard’ when the Germans entered an empty and silent Athens on Sunday 27 April 1941. The Occupation was merciless, with famine, executions and collective punishments, but the situation became worse when the Germans le Athens on 12 October 1944, as the first manifestations of a civil war between communist partisans and conservative pro-British forces were becoming obvious. The terrible events of 3 December 1944 in Athens, in which British forces killed peaceful demonstrators without warning or justification, and the retaliation by the communists, remained deeply embedded in Angelopoulos’ memory and are found in some of the most emblematic scenes in The Travelling Players. The Civil War that ensued (split between two periods, 1946 and 1947– 1949) was to become the central mythopoetic temporal and spatial background for many of Angelopoulos’ movies, both actual and inferred. The ethical ambiguities that came out during that fratricidal conflict remained with him as both the political and existential realities in his films, especially those produced a er 1984. The moving, and tragic, reconciliation of the old opponents in Voyage to Cythera indicated a kind of closure to Angelopoulos’ own inner conflict about those sha ering events, which fractured not only the country’s body politic but also its cultural imaginary. The conflict had a profound personal impact on Angelopoulos as a young boy. During this period, between 1944 and 1945, Angelopoulos’ father was abducted by his nephew and sentenced to death by the procommunist terrorist militia. ‘My cousin, who was a communist, arrested my father and sent him to be executed. . . . With my mother we started searching for his body. We went to Peristeri [a suburb in Athens] where open fields existed full of dead bodies and searched through them. We didn’t find him. This marked me more than anything else in my life and made me aware of the reality around me’ (Archimandritis 2013: 19). Angelopoulos described time and again how he felt as he searched with his mother for his father’s corpse in the mortuaries around Athens. The quest for a lost father, indeed for one violently abducted and presumed dead, is one of the most salient psychological undercurrents of his films. 30 The Cinematic Language of Theo Angelopoulos Angelopoulos returned to these early traumatic memories in many interviews, including in 2009: Three months later I was out in the street playing. Suddenly I saw someone in rags approaching. It was my father. He was not executed. They had taken him hostage to Thebes. There, he was liberated by English tanks and returned to Athens on foot. I called out for my mother. I remember her, dressed in black, running towards him. They met in the middle of the street. A er a moment of total immobility, they came close to us. We went back in and started having soup – the only food available. Emotions were so intense that no one could say anything. This family reunion is the first scene of Reconstruction, my first movie. (Archimanditis 2013: 19–20) Those formative years between 1946 and 1961 are crucial to understanding Angelopoulos’ work. At first, the liberation brought immense hope to the Greek people, but it was soon followed by complete disillusionment. Because of the ruthless censorship imposed on the population by the victorious anti-communist conservatives, the atmosphere of persecution, mutual suspicion and generalised fear could only be expressed indirectly in the cultural production of the period, culminating with the famous The Ogre of Athens/O Drakos by Nikos Koundouros (1956), the only other Greek film that Angelopoulos ever praised unreservedly. Angelopoulos made this atmosphere of dark foreboding a central element in his cinematic imaginary, cemented by his own experience in cinema a er watching Michael Curtiz’s Angels with Dirty Faces (1938). When he saw the film in 1946 or 1947, he was emotionally scarred by the final scene in which the protagonist, played by James Cagney, screams ‘I don’t want to die’ as he is taken away to be executed. Angelopoulos says that the scene ‘haunted his nights for a long time. Cinema came into my life with an expanding shadow on the wall and a scream’ (Fainaru 2001: 125). What cinema could achieve became the focus of his intellectual and aesthetic quest. Despite his anti-Hollywood and anti-illusionist beliefs, which he expressed in many of his reviews, Angelopoulos’ connection with the formal accomplishments of Hollywood storytelling was deep, and he returned to its pa erns frequently in the final decade of his life. The end of the Civil War in 1949 did not end the bi er divisions in Greek society. Most le -wing intellectuals were sent to remote, arid islands, which functioned as internment camps and places of torture, humiliation and execution. The image of the exile returning home a er leading a dreadful existence on one of these islands is present in almost all Angelopoulos’ films. Cinematically, these tumultuous experiences are also present in the way that Angelopoulos rejected the dominant images of Greece as a country of subliminal sunshine and Mediterranean euphoria, as perpetuated through a national cinema of entertainment and facile Life and Works 31 comic relief. On the contrary, for him Greek islands, indeed the whole Greek territory, were ‘memorials of death and loss, and their images were trauma-scapes: symbols of oppression, violence and exile’ (Tumarkin 2005: 12–20). Angelopoulos lived in Paris from 1961 to 1964. There, he encountered the Nouvelle Vague in all its festive rejection and jocular assassination of the dominant cinema de qualité, or the cinema de papa, and everything it had achieved. Angelopoulos singled out Jean-Luc Godard’s Breathless/À Bout de Souﬄe (1960) as the film that changed the way he understood cinema. In an interview, he claimed that he had watched the film while he was still in Athens, at a movie theatre frequented only by working-class people and, at that moment, decided to become a filmmaker. French cinema was indeed at the centre of radical changes in the understanding, appreciation and practice of filmmaking, introducing a profound theoretical problematisation of the role of the medium and of the practices employed to construct cinematic visuality. Angelopoulos watched films by Godard, Claude Chabrol, Éric Rohmer, François Truﬀaut, Alain Resnais, Agnès Varda and Jacques Rive e, amongst others. The origins of Angelopoulos’ distinct directorial presence with his characteristic compositional pa erns, lighting arrangements and acting styles can be detected in the epistemological conversations of French cineastes about the connection between images and ideology, especially those featured in the magazine Cahiers du Cinema between 1959 and 1969. During his time in France, where he worked at the Cinematheque, headed at the time by Henri Langlois, Angelopoulos was actively imagining his own cinematic language. There he had the opportunity to watch Japanese, Italian, Russian and German films, especially those of Michelangelo Antonioni, Federico Fellini, Ingmar Bergman, Yasujirō Ozu, Kenji Mizoguchi, Miklós Jancsó, Francesco Rosi and Pier Paolo Pasolini, along with the early movies of Bernardo Bertolucci and the later works of Roberto Rossellini. In his short homage to the Japanese master, Angelopoulos talked about the impact that Kurosawa’s Rashomon had on his cinematic thinking with its ‘overlapping narratives’, its fusion of ceremonial theatricality and the grandeur of emotions ‘as in the Greek tragedy’. In the pages of Cahiers and in the work of these directors, Angelopoulos encountered the theory of the director as the auteur of a film, which was a rebellion not just against the cinema de papa but also against the restrictions of the bureaucratised studio system. Against such impersonal perceptions of filmic representation, Angelopoulos raised the idiosyncrasy and the specificity of the individual. At the same time, he tried to avoid the idea of the director as superstar, expressing the Hollywood illusionist dramatisation of individualism. 32 The Cinematic Language of Theo Angelopoulos The central idea that ultimately an auteur’s films exhibit the tension between his personality and the cinematic material (Sarris 1968: 32) can be felt in much of Angelopoulos’ work, although his collaboration with director of photography Giorgos Arvanitis was essential for developing his own version of the auteur. Upon his return to Greece and the establishment of the journal Democratic Change, we can see Angelopoulos starting to develop his own critical approach to local and international cinema. Maria Chalkou systematically studied Angelopoulos’ early film criticism and concluded: ‘Characteristic of his critical texts was his purely cinéphilic and surprisingly apolitical perspective. His writing was not didactic and he did not discuss the films in ideological, moral or political terms (dominant practices among his fellow critics) but only made occasional and brief comments on socio-political issues and with li le relation to Marxist ideas’ (Chalkou 2015: 25). It is important to point out the pre-existing critical projects within Angelopoulos’ cinematic thinking, most dominant among them the idea of the poetic cinema of the auteur. It is also interesting to note that a er he started making his own movies Angelopoulos abandoned film criticism, following the Cahiers principle that ‘the only true criticism of a film is another film’ (Bickerton 2009: 31). A er 1970, most of his thinking on cinema was geared towards elucidating his own work and constructing the conceptual framework for its proper contextualisation. Meanwhile, the country entered a tumultuous period of political instability a er the first centre-le government, elected in 1963, was overthrown in July 1965 by an ‘apostasy’, leading to a prolonged period of unrest that culminated in the imposition of the 1967 dictatorship. We cannot understand the development and evolution of Angelopoulos’ cinematic language without reference to the contextual restrictions imposed by the dictatorship of the Colonels. The military Junta lasted from 1967 to 1974 and played a pivotal role in the structural opaqueness of his early work, and in the form of the coded language he employed to address the oppression and persecution, and indeed the lack of freedom in general, not only for political experiences but also existential realities. During that period, the split in the Greek Communist Party revealed the looming crisis within the ranks of the le -wing believers, artists and activists. This crisis can be traced back to the thirties and the conflict between ‘Orthodox’ communists, who were loyal to Stalin and defended the Soviet Union, and dissidents like Pandelis Pouliopoulos, Agis Stinas and Cornelius Castoriadis, who initially sided with Leo Trotsky and the Fourth International. The ri between the groups grew deeper during the Civil War, when the hard-line communists turned against the dissidents in a vicious campaign of terror and extermination, and became even more Life and Works 33 marked a er 1956 with the denunciation of Stalin’s personality cult and the invasion of Hungary. In 1968, the Greek Communist Party split into two groups: the interior and the exterior. Eventually, the former became aligned with what would be called Euro-communism and the la er remained faithful to Moscow. Nevertheless, political oppression and ideological divisions are not sufficient to explain the scope and the ultimate achievement of Angelopoulos’ early films. He came gradually to see himself as a figure of common acceptance: a true believer of the Le , fighting for social equality and political liberation. Until the end of his life, he maintained a humanistic commitment to this vision, coming ever closer to marginal political and ideological formations that privileged utopian politics and the anti-statist ideals of perpetual resistance. An understanding of the complexities of the Greek film industry, with its pa erns of production, its star system, studio codes, mechanisms of distribution and dominant genres, is also fundamental to an appreciation of Angelopoulos’ intervention in its main practices. Between 1945 and 1970, the industry had developed robust production dynamics, with prominent filmmakers working in a variety of genres and a multiplicity of ideological orientations and formal achievements. It was mostly organised around big studios and producers, like Finos Films, Spentzos Films, Karayiannis-Karatzopoulos, James Paris and others, who vied for popularity and commercial success. Actors like Melina Mercouri, Aliki Vougiouklaki, Ellie Lambeti, Mary Hronopoulou, Irene Pappas and many more had become the local stars of a thriving studio system that was commodifying their images. Some of them succeeded in becoming known beyond Greece. Melina Mercouri, for example, gained visibility through Jules Dassin’s Never on Sunday (1960) and Phaedra (1962) and was for a period in the late sixties quite famous worldwide as an activist and fashion icon simultaneously. Popular composers like Manos Hatzidakis, Mikis Theodorakis, Nikos Mamangakis, Yannis Markopoulos, Mimis Plessas, Kostas Kapnisis and others brought new perspectives to the function of the film soundtrack, with music and songs becoming integral to its formal aesthetics. They influenced pa erns of spectatorship in the period while also contributing decisively to the symbolic imaginary of a rapidly industrialised society. Specific musical styles were associated with specific genres in Greek cinema, and one of Angelopoulos’ main projects in his films of the seventies was to fuse different components and a ributes from various genres into unexpected formal juxtapositions. At the same time, the transition from a culture of books privileging the historical continuity and prestige of the Greek language to a culture of 34 The Cinematic Language of Theo Angelopoulos images still in search of structural parameters and iconography was one of the seminal realities during the formative years of Angelopoulos’ cinema. An astounding 117 films were produced in 1968 a er which their numbers began to dwindle with the arrival of television. The establishment of the Thessaloniki Film Festival in 1960 heralded a new era in the way the state promoted and simultaneously tried to control cinematic production. Accomplished directors like Yorgos Tzavellas, Gregoris Gregoriou, Michael Cacoyannis, Maria Plyta and Nikos Koundouros all constructed successful plot-structures with their own discursive identifications for general, and especially urban, spectatorship. The ‘plot-structure’ as a specific genre was mostly Aristotelian, keeping the unities of time, space and plot intact, and culminating, mostly, in happy endings. Actors also followed the Method Style as defined by the teaching of Konstantin Stanislavsky, Lee Strasberg and Elia Kazan, which asked for the total empathic identification between actors and their roles. However, even from the early sixties the first cracks in the system had started to show, and between 1965 and 1970 the dominant model was brought into question, particularly by Roviros Manthoulis and Alexis Damianos. Angelopoulos would dissociate himself completely from these models of production, screenwriting and acting style; consequently, it is easier to delineate his artistic genealogy outside the mainstream history of Greek cinema, and sometimes in opposition to it. As already mentioned, at the same time, going to the cinema created a vertical society, cu ing through all social classes, and the theatre itself became a place of socialisation and interaction between the old rivals of the Civil Wars throughout the country. Going to the movies, especially during the dictatorship, became not only a form of escapism but also an act of defiance and resistance, as all venues were under police surveillance. Subversive and anti-national films were only very rarely permi ed to be screened and even then people were ‘profiled’ for a ending. Overall, local film production was dominated by urban melodramas, technicolour musicals, gripping film noirs, derivative costume dramas and, soon, so porn. They were all based on linear, sequential narrative structures, oﬀering predominantly sentimental and feel-good escapism to an emerging middle class who were a empting to forget their peasant origins and cope with the traumas of immigration and urban anonymity. In in the early sixties, Takis Kanellopoulos, Manousos Manousakis, Dimos Theos and especially Roviros Manthoulis de-st
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In addition to traditional representatives of Europe’s key TV networks, sales agents and festivals, EDP will for the first time host representatives of international funds now open to films from Central and Eastern Europe, as well as consultants who connect film with international business. They will introduce new start-ups designed to support documentary filmmakers. Documentary filmmaking has been going through dramatic changes in terms of funding and distribution. The traditional model of international collaboration with TV networks has become dysfunctional due to cuts in co-production funding, hence documentary professionals need to look elsewhere to find partners. Starting this year, the East Doc Platform is exploring uncharted waters with a line-up of attractive guests – international fund representatives as well as investors who connect film and private equity. For the first time in Prague, we have the pleasure of hosting, among others, Lucila Moctezuma of Chicken & Egg Pictures, a US fund that supports women nonfiction filmmakers; Lynn Nwokorie of Doc Society (formerly Britdoc) or Amy Hobby and Mridu Chandra of the Tribeca Film Institute that in partnership with the EDP hosts the inaugural IF/Then pitch for short documentary films. The event takes place on Wednesday, March 7 at 10 a.m., Cervantes Institute. Other guests include Jane Ray and Phoebe Hall of the Whicker’s World Foundation that supports young talent in authored documentary. On Wednesday, March 6, they will attend the panel “Catching a Second Wind” and, along with other fund representatives, explore new funding options from private sources. The panel will also be attended by Martijn te Pas of the IDFA Bertha Fund Europe and Juliane Schulze of peacefulfish, a consulting firm that has since 2000 been actively connecting film, media and gaming industry with business across Europe. This year, the East Doc Platform will welcome two representatives of new start-ups. Jhava Chikli and Guillaume Renaud will present Archive Valley, a unique online platform for sharing archive footage sources worldwide. The current problem of festival decision makers who are often overloaded with work, could be alleviated using an online project pitch platform – Pitch the Doc that will be introduced by the founders Adam Papliński and Katarzyna Szarecka. The East Doc Platform will for the first time welcome Sascha Bleuler of Semaine de la Critique Locarno, Julian Carrington of Hot Docs, Francesco Giai Via of the Venice Biennale, and Madeline Robert, a new programmer of Visions du Reél Nyon, who will be added to our very long list of other representatives of prestigious events. New trends in interactive storytelling will be outlined by Liz Rosenthal, a curator of the world’s first festival VR competition that takes place as part of the Venice Biennale. Her presentation “How to Bring VR Projects to Life” takes place on Monday, March 5, 6 p.m., Cervantes Institute. Public presentations and talks are FREE. AttachmentSizeEast_Doc_Platform.png531.83 KB ↧ ↧ East Doc Platform to Focus on “New Resistance” The largest industry event dedicated to documentary filmmaking in Central and Eastern Europe reflects on the rise of populist regimes in the region and examines the options available for fighting efforts to suppress critical voices. “In the course of the year, we see dozens of Polish and Hungarian producers who, under various pretexts, suddenly lose funding for their projects. Yet in fact, it’s in reaction to their public expression of anti-regime opinions,” says Tereza Šimíková, East Doc Platform Manager. “Public media and free speech have come under attack, documentary filmmakers and journalists have been facing threats of censorship even in the Czech Republic. A bit of silver lining is that countries in the former Eastern bloc share a common history with regard to these issues. It is time to reopen the subject and find some lessons for the present.” The theme “NEW RESISTANCE” implies the unwillingness of documentary filmmakers to suck up to populist voices in society. Their resistance is manifested as dogged persistence with which they pursue these issues while maintaining critical thinking. They are resistant to the dangers they report on and immune to suggestions their work might be undesirable. The mission of the Institute of Documentary Film is to work on behalf of Central and East European documentary filmmakers, to be an “advocacy organization”. For 10 years, the East Doc Platform has been a meeting place for documentary filmmakers from post-communist countries; it is by no means just a closed industry event that highlights some of the best projects with international potential for TV, festival, fund and sales representatives from around the world. It is a true platform that annually hosts some 400 documentary professionals to discuss and tackle issues that trouble the entire community and that require a joint response. This year’s EDP addresses the general public and invites people to participate in this important discussion. The panel “NEW RESISTANCE; Media, Film and Politics” takes place on Tuesday, March 6 at 4 p.m., Kino 35, French Institute in Prague with following invited guests: Max Tuula (The Trial: The State of Russia vs Oleg Sentsov), Filip Remunda (Czech Journal), Konrad Szołajski (The Battle with Satan) or Outriders, a platform for independent Polish journalism. The discussion will be hosted by Czech journalist Veronika Sedláčková and it will be translated into Czech. The East Doc Platform (March 3 – 9, 2018) is organized by the Institute of Documentary Film in partnership with the One World International Human Rights Documentary Film Festival. More details on the programme here. Download our poster here! AttachmentSizeEDP2018_vizual.jpg40.6 KB ↧ Critical Documentary Filmmaking is Becoming a Risky Business The EAST DOC PLATFORM, the largest event for documentary professionals in Central and Eastern Europe, takes place March 3-9, 2018. During the week-long event, Prague will host leading documentary professionals, distributors, TV and festival selectors from around the world. Filmmakers will pitch their documentary projects and compete for several prizes in the total amount of EUR 35,000. General audiences can attend a number of interesting talks by international professionals. Most events take place at the Cervantes Institute, entrance to talks is free. The theme of the 7th EDP “New Resistance” addresses the rise of nationalism in the region of Central and Eastern Europe. “We hear more and more political voices today calling for the restriction of critical free press. Public media and free speech have come under attack, documentary filmmakers and journalists have been facing threats of censorship even in the Czech Republic. Countries in the former Eastern bloc share a common history with regard to these issues. It is time to reopen the subject and find some lessons for the present,” explains Tereza Šimíková, EDP Manager. What impact do these tendencies have on the life of documentary filmmakers? Is their stubborn unwillingness to turn a blind eye to current issues more important today than ever before? Get answers to these and other questions at a panel discussion with the invited guests: Max Tuula (The Trial: The State of Russia vs Oleg Sentsov), Filip Remunda (Czech Journal), Konrad Szołajski (The Battle with Satan) or Outriders, a platform for independent Polish journalism. The discussion will be hosted by Czech journalist Veronika Sedláčková and it will be translated into Czech. It takes place on Tuesday, March 6 at 4 p.m., Kino 35, French Institute in Prague. This year’s EDP has a slate of inspiring talks for visitors. On Wednesday, March 7 at 5 p.m., we are proud to introduce Kim Longinotto, one of the most popular documentary filmmakers whose previous films include the Cannes IFF winner Sisters in Law and Rough Aunties, awarded at Sundance. Liz Rosenthal, a curator of the world’s first festival VR competition that takes place as part of the Venice Biennale, will deliver a talk entitled “How to Bring VR Projects to Life”. It takes place on Monday, March 5 at 6 p.m., Cervantes Institute. Another attractive panel discussion will be dedicated to new funding opportunities. The traditional model of international collaboration with TV networks is in troubles due to cuts in co-production funding, and so the East Doc Platform has decided to invite an entirely new type of partners – international fund representatives and investors connecting film and private equity. For the first time in Prague, we have the pleasure of hosting representatives of Chicken & Egg Pictures, a US fund that supports women nonfiction filmmakers, Whicker’s World Foundation and the Tribeca Film Institute that in partnership with the EDP organizes a brand new short film pitch competition this year. The panel discussion takes place on Wednesday, March 7, at 3 p.m. Filmmakers who will pitch their documentary projects at the East Doc Platform will compete for one of several awards designed to aid further film development. Czech audiences will surely appreciate the fact that nearly one in three selected projects has a Czech director or (co-)producer. These and other projects will be carefully assessed by international festival selectors, including Martijn te Pas, Senior programmer at IDFA, who will be looking to find the best films in the region and set them on a successful path. An international jury consisting of Serge Gordey, Esther van Messel, Rada Šešić, Lejla Dedić and Lars Säfstrom will present the best project in development and production with the East Doc Platform Award that comes with EUR 7,500. Czech TV, EDP’s general media partner, will announce the Czech TV Co-production Award that comes with EUR 5,700. The best short project will receive USD 20,000, year-long mentoring service and distribution support from the Tribeca Film Institute. In addition, all projects selected for the 2018 East Doc Platform will compete for the HBO Europe Award and EUR 2,000 for project development. Current Time TV will support a selected filmmaker with EUR 1,500. East Doc Platform will also hold the official opening of the fourth edition of the project KineDok, focused on alternative distribution of creative documentaries. It will start fashionably with a screening of Polish film Communion (Anna Zamecka, 2017), awarded the best European Documentary Award. The screening will be followed by Q&A with filmmakers and party. The East Doc Platform is organized by the Institute of Documentary Film in partnership with the One World International Human Rights Documentary Film Festival. ↧ The Unwilling followedd the opening of Fantasporto THE UNWILLING is shown at 23.45pm. A movie with ALL Fantas's condiments. Pure horror. Great. WINNER IN 14 FESTIVALS SO FAR Blackout Film Festival Best picture, best director Oregon Film Awards Best narrative feature Film Playoff Tournament Best film, best director, best actor David Lipper Toronto Spring of Horror and Fantasy Best Effects The Indie Horror Film Festival Best actress Dina Meyer, best story Houston WorldFest Gold Remi Award Silver Scream Festival Best horror feature High Desert International Film Fest Best Feature Film IIPMF Ancona Best CGI Best Supporting Actor Lance Henriksen and Best Horror Feature Hot Springs Horror Film Festival Best Horror Feature Film Edmonton Festival of Fear Best Actor David Lipper Hot Springs International Horror Film Festival Best Horror Feature Film The British Horror Film Festival Best Supporting Actor for Lance Henricksen Tabloid Witch Awards Best Visual Effects WHO'S IN THE FANTASPORTO TODAY Karen Shakhnazarov - Director of "Anna Karenina: Vronsky's Story" / Career Award 2012 Brian Metcalf-Perdomo - Director "Living Among Us" Thomas Ian Nicholas - Actor "Living Among Us" Ben Chan - Producer "Living Among Us" Maurice Haeems - Director "Chimera" Jay Sitaram - Producer "Chimera" Suzanne Halewood - Jury Frederico Duarte Carvalho - Jury Liam Gavin - Jury Harley Louis Cokeliss - Jury Arrives tomorrow, day 24 Tony Morales - Director "BEC" ↧ Screening February 24th - Fantasporto SATURDAY, FEBRUARY 24 Fantasporto's show features a wide range of proposals from the science fiction fantasy "Glass Garden" by Shin Su-won (South Korea) to the "director's cut" of "Dream Demon" , by Harley Cokeliss, a British horror film classic that makes this year 30 years. It is also a must for the intrigue and realism of the Budapest Noir political-police drama by the Hungarian Eva Gárdos (European anteater), who lived in the oppressive atmosphere of fascist Hungary in the late 1930s. Toho, the biggest film producer in the country, presents "Ajin - Demi - Human" by Katsuyuki Motohiro, a fantastic action story about humans who never die, while the North American Preston deFrancis presents with "Ruin Me", passed in a limit event that mixes camping, haunted house and "escape room" that goes wrong. Maurice Heems'"Chimera", another world premiere, co-production USA / United Arab Emirates / India, a story about immortality and ethics, the theme of this year's festival focus. Grand Auditorium 3:00 PM - Glass Garden Shin Su-won - 117'- South Korea- Fantastic- CF - v.o.leg english / leg port - EUROPEAN ANTESTREIA Fantastic story about a scientist who studies trees and their physiological interaction with humans. Filmed with an extraordinary sensitivity, it is also a story about the excluded and the destruction of the environment. The director's previous film, Reinbou "(2010) was considered the Best Asian Film at the Tokyo Film Festival. 17:00 - Ruin Me Preston DeFrancis - 88 '- USA - CF-Horror - v.o. english / leg port - EUROPEAN FOOTBALL Alexandra reluctantly agrees to attend the 'Slasher Sleepout' event, a limiting experience that is a mix of camping, haunted house and 'escape room'. But the event goes awry ... First feature film by the director. Movie winner at the Atlanta Horror Film Festival, among other awards. 7:00 PM - Budapest Noir Éva Gárdos- 95'- Hung- Drama- v.o.leg ingl / leg port - EUROPEAN ANTESTREIA A mysterious homicide crime passed in 1936 in Budapest, at a time when Hungary was preparing to align itself with Hitler and the Axis powers. A very beautiful young prostitute is found dead to the blow. But nobody wants to investigate the crime. The difficult relations between the Press and the power, in a magnificent reconstitution of a historical period decisive for the History of the Humanity. 21:00 - Ajin: Demi-Human Katsuyuki Motohiro - 109'- Jap-Fantasy - CF - v.o. leg ingles / leg.port.- ANTESTREIA Coming from Japan's largest film company, Toho, and following the 2-year welcome of Fantasporto, I'm Not a Hero now comes a fantastic story about humans who do not die from a perspective of originality and action, questioning the power of those who know they can do everything without consequences. Selection of the Festival of Paris. 23:00 - Dream Demon - Director's Cut Harley Cokeliss - 89 '- 1988/89 - Fantastic / Horror - UK - v.o. english / leg port - HOMAGE 30th Anniversary Celebration of a British Horror Film Classic in the presence of director Harley Cokeliss and following the restoration and digitization of his cult film in 2017 by the British Film Institute. Small Auditorium 18:30 - OFFICIAL SECTION COMPETITIVE OF FANTASTIC SHORTS-METRAGENS 1 - 81 ' Session at the Small Auditorium dedicated to the screening of seven of the films competing with the Official Section for Fantastic Short Films which includes works by some well-known filmmakers such as Milcho Manchevski or the British Drew Casson. Reruns Face, 14'23 '', Hol / Fra / Bel Charon Luís Tinoco, 15'51 '', Esp Creature from the Lake Renata Antunez, Alexis Bédué, Léa Bresciani, Amandine Canville, Maria Castro Rodriguez, Logan Cluber, Nicolas Grangeaud, Capucine Rahmoun-Swierczynski, Victor Rouxel, Orianne Siccardi, Mallaury Simoes, 5'10 '', Fra And orange Frédéric Gaudin, Marceau Leger, Tanguy Lemonnier, Patrick Martini, Diana Nikitina, Flora Silve, 5'52 '', Fra Azdaja - The Dragon Ivan Ramadan, 13 ', Bosnia Herzegovina The End of Time Milcho Manchevski, 5'24 ", USA / Cuba Sweet water Drew Casson, 20 ', UK 9:15 PM - Chimera Maurice Haeems - 80 '- India / United Arab Emirates / USA - P & P - Fantasy - v.o.leg english WORLDWIDE ANTESTREIA In the future, all children are infected with a virus. The solution is to have stem cells in quantity but for this you have to do "creation". A story about immortality and ethics in scientific research. Kathleen Quinlan, nominated for an Oscar for "Apollo 13", and Henry Ian Cusik, an actor in the TV series "Scandal". ↧ ↧ Focus on Chimera first film on 2018 Fantasporto theme "Ethics" showing feb 24th at 9.15 February 24th, 9:15 PM - Chimera Small auditorium The filmmakers are in town today to introduce the movie tonight and they brought T shirts and caps and a great bottle of Porto which will be drawn in a raffle at today's screening. Maurice Haeems (left) and Jay Sitaram (producer) The story: A brilliant but disturbed scientist decides to freeze his children alive, while he races against time to cure their deadly genetic disease by unlocking the secret of immortality encoded within the DNA of the Turritopsis jellyfish. Imagine a world without aging, injury, disease or death. Quint’s obsesson with this utopian dream pushes him to the edge of his sanity. Rather than risk losing his dying children, Quint decides to preserve them in a cryonic ametabolic state while he researches genetic modifications that would induce in them the regenerative abilities of the “immortal” Turritopsis jellyfish. Quint’s desperate need for embryonic stem cells sets him on a collision course with Masterson, a shadowy figure, whose bizarre motives trigger a chain of events with far-reaching consequences. ↧ Tonight is your chance to win a bottle of Porto and Tshirts from Chimera : Check the screening at 9.15 Chimera is at the centre of the Bio Ethics Forum and theme from Fantasporto ETHICS AND CINEMA FORUM at FANTASPORTO 2018 The film festival returns to Porto and to the Rivoli Theater in discovering the most modern and recent films from around the world, after the INTERNATIONAL RECOGNITION of the last years that places the FANTASPORTO BETWEEN THE BEST OF THE WORLD. The " Grand Cinema of the World " is the generic theme of the 38th edition, whose has already been announced . As sub-theme we will have "... Recent reviews of Chimera CrypticRock.com [Jeannie Blue] Decay Mag [Ken Artuz] Filmfestivals.com [Bruno Chatelin] Horror Society [MGDSquan] MorbidlyBeautiful.com [Jackie Ruth] MoviesovertheRainbow.com [Ali Naro] Pophorror.com [Brandon Long] Search my Trash [Mike Haberfelner] SpoilerFreeMovieSleuth.com TG Geeks [Ben Ragunton] The Rotting Zombie [Daniel Simmonds] VoicesFromTheBalcony.com WithoutYourHead.com [Jason Minton] ... Chimera selected as My Best for Fests by filmfestivals.com Bruno Chatelin curator of the Best for Fests commented. "My appreciation for the genre dates back to my work as a distributor in the nineties, releasing two of Wes Craven’s films, as well as Joel Schumacher's Flatliners, Chuck Russel's The Blog, Mike Nicholl's Wolf, Francis Ford Coppola’s Dracula, Kenneth Branagh’s Frankenstein and the acclaimed Independence Day. Now I am proud to add Chimera to this brilliant lineage of horror/sci-fi mas... Watch out for the Special Advance Screening of Chimera at Fantasporto Special Advance Screening of the Anticipated Sci-Fi Thriller “Chimera” at Fantasporto 2018 FilmFestivals.com is pleased to announce a Special Advance Screening of one of the year’s most anticipated indie features, the sci-fi thriller Chimera at the 2018 edition of the Fantasporto International Film Festival. This sophisticated film is helmed by first-time writer-director Maurice Haeems and is produced by Jay Sitaram. The movie stars Emmy-nominee Henry Ian C... It’s a beast. A crystal clear, suspense amplifier and a stunning work of art...says MGDSquan from Horror Society "so professional, so stylized, so futuristic that it’s on par with the most popular movies from Ridley Scott. Writer, director and producer Maurice Haeems and cinematographer David Kruta should be proud of themselves for this achievement. Chimera is going to be one of thee science fiction titles to watch for in 2018, and it’s going to be a serious contender for numerous awards whether it hits the film festival circuit or goes straight-to-DVD. It’s a beast. A cr... Part sci-fi, part thriller, part horror, and all outstanding! Excellent review of Chimera in TG Geek “Chimera” is part sci-fi, part thriller, part horror, and all outstanding! "From the first few minutes of this film I immediately realized that I was in store for something entirely different. It doesn’t play like your typical monster horror movie, rather it shows us the horror of humanity and exposes some of our darker natures and obsessions, as well as highly compromised morality, all in the name of science. Chimera is a very intelligent film, and unlike... Maurice Haeemes - The director's statement Director Biography Maurice has a Bachelor’s degree from the VJTI School of Engineering of the University of Mumbai and an MBA in Finance from the Wharton School of the University of Pennsylvania. He has enjoyed successful careers in mechanical/fluid engineering, investment banking, and software entrepreneurship. Maurice has studied Filmmaking, Screenwriting and the Entertainment Business at the New York Film Academy (NYFA) and at the University of California Los Angel... Chimera The Synopsis : Do you want to live forever? A brilliant but disturbed scientist decides to freeze his children alive, while he races against time to cure their deadly genetic disease by unlocking the secret of immortality encoded within the DNA of the Turritopsis jellyfish. SYNOPSIS Imagine a world without aging, injury, disease or death. Quint’s obsesson with this utopian dream pushes him to the edge of his sanity. Rather than risk losing his dying children, Quint decides to preserve them in a cryonic ametabol... Chimera - Cast and Crew MAURICE HAEEMS WRITER, DIRECTOR JAY SITARAM PRODUCER FRANCO SAMA CONSULTING PRODUCER ... Chimera - Watch the trailer GENRE Science Fiction / Thriller LOGLINE A brilliant but disturbed scientist decides to freeze his children alive, while he races against time to cure their deadly genetic disease by unlocking the secret of immortality encoded within the DNA of the Turritopsis jellyfish. SYNOPSIS Imagine a world without aging, injury, disease or death. Quint’s obsesson with this utopian dream pushes him to the edge of his sanity. Rather than risk losing his dying children, Quint decides to... 19.10.2017 \| Chimera's blog ↧ Screening February 25th - Fantasporto European premiere of Living Among Us intrdouced by the team and cast Vampires have just made themselves public! Now a group of documentarians have been granted access to spend some time with them and learn how they live and coexist with humans. But as reality sets in, the crew realize they are in for far more than they bargained for. 80 minutes USA October 2017 A film by Brian Metcalf I Website I Trailer I Facebook I Twitter I Youtube I Grand Auditorium 15:00 - Still / Born Brandon Christensen - 87'- Canada - CF - Terror - v.o.ingl / leg port - ANTESTREIA Woman who lost one of the twins at birth, thinks one genie wants to steal the other. A look at the "REC" that connects classic horror movies, this is the director's first feature. Selection of the festival of Sitges. 17:00 - DC Superheroes VS Eagle Talon Frogman - 104'- Jap- Animation / Super heroes - v.o.leg english / leg port - INTERNATIONAL PREMIERE Distributed internationally by Warner, this film will fetch, with the grace of Japanese anime and the heroes of DC Comics. The secret society Eagle Talon to conquer the world. The film takes place in Tokyo, where the Joker and Harley Quinn steal a secret weapon. DC superheroes are called to face them and undo ... 19:00 - A Sublime Life Luís Diogo - 106' - Port- SR - Drama - v.o.port / english leg. - WORLD ANTESTREIA Dr. Ivan found two radical cures for unhappiness. From the director Luís Diogo, a horror story whose protagonist has the best of intentions. This film follows "Fatal Sin", premiered at Fantasporto and internationally awarded, namely at the Canada International Film Festival and in Bulgaria. 9:30 pm - Living Among Us Brian A. Metcalf - 80 '- USA - CF - Horror - v.o.ingl / leg port - WORLD ANTESTREIA The vampires decide to leave the hiding places and appear in public! A team of documentary filmmakers gets access to the vampires to make a documentary with them and know how they live and how they coexist with humans. But when they are in their presence they realize that things will not go smoothly ... Metcalf's first feature film, visual effects and computer games specialist. Small Auditorium 15:00 - On the Society File of Shanghai WANG Chu-Chin - 91 '- 1981 - RETRO B-MOVIES TAIWAN - v.o.leg english "On the Society File of Shanghai" tells the tragic story of a repeatedly raped woman whose humiliation eventually leads her to a path of despair and destruction. 17:30 - OFFICIAL SECTION COMPETITIVE OF FANTASTIC SHORTS-METRAGS 2 - 86 ' In the Dark, Dark Woods Jason Bognacki, 4'30 '', USA Merry-Go-Round Ihor Podolchak, 4'59 '', Ukraine / Pol Belle a Croquer Axel Courtière, 14'57 '', Fra BEC Tony Morales, 12'17 '', Esp Zarr-Dos Bart Wasen, 6'34 '' Switzerland Storylines Juan Manuel Betancourt Calero, 17'50 '', Col. Salvatore Maarten Groen, 11'38 '', Hol A.L. Cashell Horgan, 10'57 '', Ireland 21:15 - The Night of the Virgin Roberto San Sebastián - Esp - 117 '-Fantasy - P & P - v.o. english / leg port - ANTESTREIA A horror comedy about a New Year's Eve party. Nico, a naive 20-year-old, does everything to lose his virginity that night, no matter what the cost. In the middle of the party, his gaze intersects with that of Medea, a cunning and attractive mature woman. Award-winning film at the festivals Fantasia (Canada), Fantaspoa (Brazil) and Atlanta Horror Fest. ↧ North American sale of the sci-fi action film, OCCUPATION to Saban Films Film Mode Entertainment’s OCCUPATION Slays Berlin with Sales, including North America to Saban Films Sci-Fi Action Epic Adventure Starring DAN EWING and TEMUERA MORRISON Makes International Screening Debut at EFM and Garners Impressive Sales BERLIN (February 16, 2018) – Clay Epstein’s Film Mode Entertainment announces the North American sale of the sci-fi action film, OCCUPATION to Saban Films. “We are thrilled to have found the perfect home in North America for OCCUPATION with the talented team at Saban Films,” said Epstein. “Be ready to be blown away by the scale of this film. Luke is an impressive filmmaker who has brought out the best in everyone who worked on this film. The F/X and action sequences are so impressive, making the film a real treat for audiences not only in North America, but around the world.” Additional sales for OCCUPATION include: United Kingdom - Altitude Films, Middle East - Falcon Films, Japan - Gaga and South Korea - Scene and Sound, and Germany – Ascot-Elite. The production, written and directed by LUKE SPARKE (RED BILLABONG, YESTERDAY IS HISTORY) showcases a tremendous ensemble of actors as well as extraordinary postproduction and mind-blowing visual effects. The film stars DAN EWING (Home and Away), TEMUERA MORRISON (AQUAMAN, MOANA), RHIANNON FISH (emmy-nominated The 100) and BRUCE SPENCE (STAR WARS: EPISODE III). Film Mode continues to rack up impressive sales across the board, as evident with this and other new titles, and the reputation of the Film Mode Entertainment team. The company continues to operate as a home for the elevated genre films and has been helping to pave the way for filmmakers of all kinds in this rapidly changing marketplace, where competition is at a peak. The company further strives to present a variety of commercially viable products that remain true to their key-messaging, continuously filling the hole in the market for films that “raise the genre-bar” and that audiences are yearning to see more of, as proven by recent box-office records, media attention, award shows and major film festivals. OCCUPATION unfolds after a devastating intergalactic attack on Earth, when the last surviving group of humans must band together for the sake of survival. As war looms, and the struggle to stay alive worsens, they realize the only way to save the human race is to stay one step ahead of their attackers and strike back. Reeling from the success of INDEPENDENCE DAY: RESURGENCE, GUARDIANS OF THE GALAXY VOLUME 2 and ARRIVAL: COVENANT, the resurgence of the sci-fi genre is already evident across the global marketplace. The action-heavy film stars TEMUERA MORRISON whose fan base is ever-expanding from wowing audiences as Chief Tui in the Oscar-nominated MOANA and bringing his talent to the screen in next year’s AQUAMAN, and DAN EWING in his second collaboration with director LUKE SPARKE. SPARKE asserts, "We're extremely excited to show OCCUPATION for the first time to buyers at EFM. The film has been put together by a team of passionate individuals and companies from Australia and around the world, and it really is a huge achievement from all. We believe the film takes the 'invasion' storyline in a new and exciting direction, while still giving action film junkies a fun experience I hope they will want to watch again and again. The cast involved are all absolutely wonderful and I can't wait for the audience at EFM to be taken on the roller coaster ride that is - OCCUPATION." OCCUPATION is produced by SparkeFilms, the team behind the 2016 monster flick RED BILLABONG. Producers include Carly Imrie and Carmel Imrie. The deal was negotiated by Clay Epstein, President of Film Mode Entertainment and Jonathan Saban, Senior Vice President of Distribution, Sales & Marketing for Saban Films. Saban Films will release the film in North America, and Pinnacle Films will be releasing the film theatrically in Australia and New Zealand later this year. Additional territorial release dates will be forthcoming. Film Mode Entertainment is representing worldwide rights on OCCUPATION. Film Mode Entertainment is a leading worldwide sales agent, production entity and distribution company, focusing on commercially driven feature films of all genres and budget sizes. Film Mode represents projects at all stages of the filmmaking process, often as Executive Producer, with the aim of helping producers and distributors achieve maximum exposure for their films. Film Mode’s recent successes include SUGAR MOUNTAIN starring Jason Momoa, THE GOOD NEIGHBOR starring Academy Award nominee, James Caan and GANGSTER LAND starring Sean Faris, Milo Gibson, Jason Patric, Jamie-Lynn Sigler and Peter Facinelli. Upcoming releases include THE ESCAPE OF PRISONER 614 starring Golden Globe winner Ron Pearlman and VIKING DESTINY starring Academy Award nominee Terence Stamp. Additional titles include TIFF official selection HUMAN TRACES with Mark Mitchinson and Sophie Henderson and THE GIRL WHO INVENTED KISSING, starring Luke Wilson, Abbie Cornish and Suki Waterhouse. DocMode, Film Mode’s Documentary label was launched to focus on award-winning Documentaries that impact the world. BALLERINA, the first film under the label will have its American debut in 2018. Film Mode is based in Beverly Hills, California. ↧ ↧ Berlin Awards: There's no disputing bad taste, especially in big film festivals. By Alex Deleon Films in International Competition were adjudicated by a Jury presided over by ace German director Tom Tykwer. There's no disputing bad taste, especially in big film festivals. Golden Bear, BEST FILM TOUCH ME NOT ..AAAaaaarrrrgh !! The ugliest most sickening most repulsive and perverted film of all time -- shot in amateuristic manner like a home movie on masturbation. A basket case of a movie that goes from bad to worse as screen time progresses. Not even worth walking out on. let alone walking in on. Not to be touched with a ten foot pole unless you're on the Berlin film Juty Silver, Jury Prize- Twarz (MUG) -- ugh. If you wish you had a new face this is not the movie for you. Even your mother won't love you anymore.. As an alternative check out the Japanese masterpiece "The face of another", Teshigahara, 1966, and give this one a pass. Silver, Best Director. Wes Anderson: Isle of Dogs. Stop motion K9 movies are not my cup of tea so I gave it a pass. I'll wait for Budapest Hotel number 2. Best actress: Ana Bron. Los Herederos (N.C. Didn't see it.) Best Actor. Anthonly Bajon, La Priere (N.C. Didn't see it.) Best Sreenplay, Museo. Manuel Alcala, and Alonso Ruizpalacios Terribly wandering screenplay very derivative of similar heist films.to the point that it feels like plagiarusm. Butbsince it was made innMexico who cqres? Zero. Nothing novel to say. Not even bad. One of the leading protagonists of Romanian basket case film. "Touch Me Not" at Berlin Press conference ↧ He Won't Get Far on Foot: Gus Van Sant's earnest biopic is a drain on the nervous system and a feel badder all the way Joaquin Phoenix on wheels with philosophical AA guru in Gus Van Sant's excessively earnest biopic He won't get far on Foot --- and this painful orgy of alcololic confessionalism by a quadriplegic cartoonist in a wheel chair won't get far on celluloid past the extremely masochistic art house crowd who like to be reassured that some lives out there are worse than their own. I was hoping that this highly touted Gus Van Santer starring favorite actor Joaquin Phoenix would break the unelievable streak of feel bad films I have exposed myself to here at Berlin 2018, but it actually felt worse than all of the other feel badders seen earlier put together. Let's face it: Do I really want to watch my favorite Hollywood actor suffering as a paraplegic In a wheelchair for over two tedious hours while other of his alcoholic anonymous groupmates seem to be suffering even more? -- and then as part of his recovery he scratches out schizzy cartoons that displease many people --- The answer is No -- a big fat resounding NO -- even if this is based on the real life tragedy of a cartoonist I never heard of (John Callahan) and don't wanna know anything else about. I thought this one would never end, but when i finally stumbled out into a frigid sunny Berlin afternoon Holding tickets for two other films I realized that I had been bludgeoned enough for one day and did not need any more celluloid stimulation to make my festival day even worse. So I went all the way back across town to the film market in the Gropius building and spent the rest of the afternoon there sipping thick Turkish coffee and Delicious Turkish delight candy to wash away the bitter aftertaste of the latest van Sant plunge into the abyss of human misery. Still hoping that at least one genuinely enjoyable movie may yet turn up during the final three days of the Berlinale. Alex, Billie Wilders Bar ↧ The misery of the Human Condition is the Hallmark of films at Berlin 2018 by Alex Deleon 1. EVA: French, Isabelle Huppert stars in zig zag story of upper class middle aged hooker who mesmerizes handsome phony playwright half her age -- with a plot heavy vehicles could be driven through every ten minutes but nice setting along Glittering Swiss mountain lake helps to alleviate the lethargy -- and Huppert, as usual, is something else. Just watching her do her thing is enough to make a total turkey halfway watchable. 2. Minato Machi, a(Inland Sea) A lloving Cinema Verité study of old timers in a Japanese fishing village with a fast fading fishing culture . Kazuhiro Soda - Sometimes Mr Murata, the octogenarian fisherman thinks that it was just yesterday when he was 50 or 60. “And now I’m pushing 90,” he says. This may be his last fishing trip. Like many parts of rural Japan, the fishing village of Ushimado suffers from an aging population and youth that does not care to follow tradition. Ushimado (Bull Window) The hometown of his young wife provides the ideal spot for the careful observations made in Kazuhiro Soda’s Minatomachi, which is shot in dreamy black and white converted from color! 3. L'animale, Austria -- high school biker bullshit directed by Katharina Muckstein.. Mucky high shcool,drama with confused sexual orientations galore in the same family. Film reaches for more meaning than it can handle and ends up in a muck of half baked misery. 4. Genesiz, (Genesis). Hungary, Arpad Bogdan. In yo face three part meat grinder drama about persecution of gypsies in hungary. Grrr -- too grimy to absorb. Even a pretty sharpshooting female archer cannot put egis one completely out of its misery. 5. Utoya 22 -- July. Norsk. Erik Poppe, also directed the Kings reply. In yo face take on the 27/22 2011 massacre from the P.o.v. of the survivors. Traumatic all the way as seen from the view of desperate kids trying to survive by clinging to rocky caves along the shore. The murderous gunslinger is barely seen once or twice in the distance immeresed in an endless medley of shotgun blasts. Almost too much to bear but the story had to be told, or rather retold on film after an overlong wait. Not exactly family fare. German actrice Marie Bäumer has an uncanny resemblance to Romy Schneider and portrays her with verve in Three Days in Quiberon 6. Three days in Biberon. Romy Schneiders last interview as an unhappy aging star of 42 in 1981. In a rehab clinic on the coast in Brittany Romy Schneider gives her last no holds barred interview in 1981 to a sleaze seeking German Journalist and an enthralled photographer. The way the journalist plies her with embarrassing personal questions is truly disgusting but in the end even he succumbs to her disarming frankness and urge to shake off her sweetie teenage image as Sissy, the Austrian queen Germans clung to even after she became a French speaking megastar opposite Alain Delon in a string of megahits. Actress Marie Bäumer is nearly a dead ringer for Romy at 42 and like Romy flits easily back and forth from German to French, but the Pic wears out its welcome as it goes on too long belaboring viewers with wearying repetitions of her shattered private life and longing to be a real mother to 14 year old son who prefers to live away from her. Bottom line, informative and revealing but ultimately depressing with a bad aftertaste. Ps: Her son died in a freak accident the following year and she herself of a heart attack shortly thereafter. 7. Retablo. Story boxes are an artisanal tradition in the indigenous Andean of Ayacucho in Peru. Quechua language drama, about a fag father and devited son in a severely homophobic Indianncommunity in Peru. Very colorful. atmospheric. One of a kond pic. director isna psychologist byntraining. Nestnfilm so far. seen at Zoo Palast One. 8. 7 days in Entebbe, Surprisingly unthrilling take on the thrilling rescue of a hijacked Air france airliner with many Jewish passengers from Entebbe Airport in Africa. Main suspense is provided by the poltical haggling in Tej Aviv between Shomin Oeres and YitzhakmRabin, the katter energetically portrayed bynIsraeli actor LiommAshkenazy. 9. El Dorado. The plight of African refugees risking their lives at sea to get to Italy and Switzerland. Grimsville. 10. Museum; Shaggy Dog Mexican museum heist film stifling and boring. 11. Khook (Pig) -- unfunny black comedy from Iran. Somebody is killing off all the worst film directors in the country and the next on the list may our shaggy director hero. . But he is protected by a gun toting provincial mother who will come to his aid in the nick of time. The only saving grace of this unfunny screamathon is that it provides relief now and then by showing the divinely beautiful actress Leila Hatami from various angles. 12. Touch me Not. A horrid study of freaked out people who have trouble with relationships and sex. Hey, all ya need is to be touchy about it. Reminiscent of sixties grope therapy sessions. Don 't touch this revulsifier with a ten foot pole. Audience seemed to be stupified into sitting it out but I took a walk before the end. Horrid. Terrible. How this one escaped is a good question. It actually had a director, a young woman whose main point of view seems to be voyeurism laced with bad taste and pseudopsychology 101. ↧ Screening February 26th - Fantasporto FEBRUARY 26 Grand Auditorium 14:00 - OFFICIAL COMPETITIVE SECTION OF FANTASTIC SHORTS-METHODS - 167 ' Reruns Face, 14'23 '', Hol / Fra / Bel Charon Luís Tinoco, 15'51 '', Esp Creature from the Lake Renata Antunez, Alexis Bédué, Léa Bresciani, Amandine Canville, Maria Castro Rodriguez, Logan Cluber, Nicolas Grangeaud, Capucine Rahmoun-Swierczynski, Victor Rouxel, Orianne Siccardi, Mallaury Simoes, 5'10 '', Fra And orange Frédéric Gaudin, Marceau Leger, Tanguy Lemonnier, Patrick Martini, Diana Nikitina, Flora Silve, 5'52 '', Fra Azdaja - The Dragon Ivan Ramadan, 13 ', Bosnia Herzegovina The End of Time Milcho Manchevski, 5'24 ", USA / Cuba Sweet water Drew Casson, 20 ', UK In the Dark, Dark Woods Jason Bognacki, 4'30 '', USA Merry-Go-Round Ihor Podolchak, 4'59 '', Ukraine / Pol Belle a Croquer Axel Courtière, 14'57 '', Fra BEC Tony Morales, 12'17 '', Esp Zarr-Dos Bart Wasen, 6'34 '' Switzerland Storylines Juan Manuel Betancourt Calero, 17'50 '', Col. Salvatore Maarten Groen, 11'38 '', Hol A.L. Cashell Horgan, 10'57 '', Ireland 17:30 - Involution Pavel Khvaleev - 87 '- Russ / Alem - Fantastic - Fantasy, Sci-fi - CF - v.o.leg english / leg port - WORLD ANTESTREIA The earth has gone uncontrolled, affected by a cruel and inhumane mechanism that causes a regression of Charles Darwin's theory of evolution ... A psychiatrist witnesses the "involution" of the modern world, where men are increasingly approaching monkeys. From the director of "III- The Ritual", Fantasporto's selection of 2016. 7:00 PM - Bikini Moon Milcho Manchevski - 102'- USA - Drama - v.o.ingl / leg port - EUROPEAN ANTESTREIA A charismatic war veteran with mental problems is the focus of a film crew who wants to explore their story for an independent film. A fabulous trip to the human mind with an excellent rendition of Condola Rashad (Sex and the City 2). From the winner of the Golden Lion of the Venice Film Festival in 1995, the Fantasporto 2016 Career Award, with more than 15 international awards, including UNESCO. 9:30 PM - The Child Remains Michael Melski-113 '- CF - Canada - Horror - ANTESTREIA A desired romantic weekend of a couple in a secluded cottage becomes a nightmare of terror when they discover that this house is a former clinic / maternity where the babies and their mothers were murdered. Based on a true story. Selection of festivals in Montreal (Best Film), Edmonton (Public Prize), Wisconsin, Ottawa and Horror Film Festival London. Small Auditorium 15:00 - Never Too Late to Repent OUYANG Chun - 96'- 1979 - RETRO B-MOVIES TAIWAN - v.o.leg english At the age of 13, he lived in the prostitution quarters as a customer solicitor until he was sentenced to 15 years in prison for murder. This movie set the tone of where B-movies follow. 17:30 - The Challenge of the Lady Ninja LEE Tso-Nam - 91 '- 1982 - RETRO B-MOVIES TAIWAN - v.o.leg english During the Japanese occupation of China, Siu-Wai receives training in the Japanese soft arts and becomes the first Chinese ninja. When he knows of his father's death, he returns to Shanghai. 21:15 - Darkness and Light Chang Tso-Ch - 1999 - 104 '-Taiwan v.o.leg english With the arrival of summer, a 17-year-old returns home for a holiday in the blind masseuse room run by her father and stepmother. ↧ ↧ Twelve Films that sucked badly or not so badly at Berlin by Alex C. Deleon by Alex C. Deleon 1. Badly. "Don't worry he won't get far on foot" -- cause he's in a wheelchait ..gettit? -- Ordeal to sit through. Not even painful, just a draggg ...Joaquin Phoenix sits it out patiently in the latest Van Sant look at the miserable side of life. 2. Eva. Not even Isabelle Huppert could save this limp melodrama. Ridiculous decadent French story about an ultra attractive middle aged hooker and one of her hapless half-her-age victims. Idiotic but Isabelle Huppert makes almost anything, even a complicated miscarriage like this, worth watching. 3. Twarz (YMUG): Not so badly. Polish face transplant drama set in a Jesus freaking provincial town out in the Polish styxx. If you wish you had a better face, better give this painful ordeal a pass. (some say it was a comedy!) -- takes patience. 4. Utaya 22: One harrowing view of the Norwegian island massacre of July 22, 2012, carried out by a right wing racist fanatic. Brutal reminder of that terrible day hanging by your thumbs with survivors from rocky caves on the edge if the island in a dingle long take. Meaningful and sincere but a real ordeal to sit through, or hang out with. 5. Museo: Sucks Badly. Very shaggy dog long drawn out tale of a Mexican holiday museum heist with priceless loot too hot to handle on the black museum market. This one got a best scenario award. It must have gained a lot in German translation. One long yawn. Pointless Ordeal. La tuya en patines! 6. in den Gangen (In the aisles). An almost love story that gets lost in supermarket back stage storage rooms. Not exactly an ordeal but pretty boring unless you're into the intimate details of learning how to forklift. Fetching actress Sandra Huller will charm your sox off but she isn't in it long enough. I left before the end because breakfast hunger overcame my curiosity as to the final outcome. 7. ElDorado. Italy is the promised land many Africans risk (and often lose) their lives to get across the Mediterranean from Libya only to find reception there not too warm. Obviously well meaning to arouse sympathy for these hapless refugees but -- an ordeal to sit through. I left when I'd had enough. About halfway through. 8. Songwriter: Not even an ordeal. I bugged out after fifteen minutes when I realized this kind of Rockstar backstage creativity was not my cup of music or tea or anything else. 9. Khook (Persian for "Pig") -- Unfunny screamer of a supposedly black comedy set in Teheran. An unknown serial killer is knocking off all the worst film directors in Iran. Will our shaggy screaming hero, himself a bad director, be next, or will his gun toting elderly mother get there in the nick of time? The only saving grace of this pointless Persian ordeal are the frequent glimpses of the hauntingly beautiful face of Iranian actress Leila Hatami. 10. Dovlatov. Leningrad, 1971, where Sergei Dovlatov, a highly talented writer, can't get published because he refuses to toe the party line -- and also because he is Jewish. Another major figure is Jewish poet Joseph Brodsky who eventually emigrated to New York and won a Nobel prize. Handsome Serbian born actor Milan Maric looks like the next big Russian star but the film, which consists largely of poets reciting their banned poems to each other in flowery Russian loses just about everything in translation. Another well meaning Ordeal. Not quite an ordeal but still heavy going. Three days in Quiberon. The Brittany coastal resort where aging star Romy Schneider is drying out awash in champagne in 1981. At 42 she is still beautiful but her private life is a shambles as she painfully reveals to a mercilessly probing German reporter for major German weekly Stern. German actress Marie Bäumer, almost a Schneider clone physically, carries the drama with verve and aplomb beyond the point of historical comfort. Schneider died the next year at the peak of her popularity and personal pain. A painful worthwhile picture and unusual star portrait. Finally, The Berlin Golden Bear winner " Touch me Not", a pretentiously disgusting plunge into the psychology of warped people who cannot bear to be touched and have various other sexual problems. Main focus is on a middle aged woman who tries out various forms of therapy such as hiring a male prostitute to masturbate before her and an extremely phony "therapist" who is so revolting he makes her scream merely by touching her. One cannot help but getting the impression that this creep is merely using the therapy ploy as a means of trying to get laid. Populated from stem to stern with revolting people, one a buck toothed basket case (sorry about that but I was revolted!) and generally filmed in a shoddy manner reminiscent of a bad home movie. Needless to say this basket case of a film (directed by a Romanian woman artist) resulted in a walkout before the end, on the verge of regurgitation. As I walked out I noticed that most viewers seemed to be nailed to their seats like Christ on the Cross -- by this crucifying excuse for a film. That it won the Golden bear for Best Film did not surprise me as I suspected that this year's Berlin jury was ready to throw a whammy at the fans to remind them that there is no disputing Bad Taste. If theoretical physicist Wolfgang Pauli had seen this he would undoubtedly have characterized it as "Not even bad!" Alex, Hotel Alpert Berlin ↧ Screening February 27th - Fantasporto Grand Auditorium 3:00 PM - The Charmer Milad Alami - 102 '- Denmark - Drama - SR - v.o.leg english / leg port ANTESTREIA The drama of immigrant integration in Europe has several faces. It is not enough to succeed to be integrated. The mild and even fun cruelty of integration. Danish Film, Best Achievement Award at the Chicago Film Festival, and Best Film Award at the Tbilisi, San Sebastian and Warsaw Festivals. 17:00 - Replace Norbert Keil- 101 '-Can / Alem- CF- Horror- v.o.leg ingl / leg port - ANTESTREIA Kira's skin begins to age rapidly, drying, undoing and falling. But she discovers that she can replace her own with the skin of others ... First feature film by the director. It was considered best European film in the Festival of Brussels, having received there the Mèliès of Silver. 19:00 - True Fiction Jin-Mook Kim- 104'- South Korea - SR - Thriller - v.o.leg english / leg port - WORLD ANTESTREIA A young politician has aspirations to power under the protection of a powerful senator. A history of violence and arrogance. A Korean film with an argument full of surprises that questions the absolute power of politicians, their arrogance and betrayal. The unexpected alliances, the corruption and the unexpected in a movie whose story recalls "Fargo." 9:30 PM - A Day Sun-ho Cho - 110 '- Korea - Fantasy- CF - v.o.leg.ingl / leg port - EUROPEAN ANTESTREIA A father, due to various circumstances, arrives late to meet his daughter and she dies in an accident. He will have to relive several times and with the same people his tragedy, living with the guilty and the innocent. The different angles and surprising revelations will make of him an involuntary instrument of his misfortune. EUROPEAN ANTESTREIA Small Auditorium 15:00 - Soul of a Demon Chang Tso-Chi- 2007- 122'- Taiwan- v.o.leg english When he leaves the prison, a man only thinks about killing the father for having caused the suicide of the mother. 18:45 - The Best of Times Chang Tso-Ch - 2002 - 109'- Taiwan - v.o.leg english Young Wei and Jie are best friends. They are also neighbors, living with widowed parents and troubled siblings in the suburbs of Taipei. When Wei is promoted from a concierge to a nightclub where he parks cars to a debt collector on Brother Gu's gang, he persuades him to hire Jie. 9:15 PM - Woman Revenger OUYANG Chun (pseudonym of Tsai Yang-Ming) - 85 '- 1982 - RETRO B-MOVIES TAIWAN - v.o.leg english The heroine undergoes total degradation but resurfaces relentlessly and sexy against gangsters, traffickers, prostitution and violence. It is the most characteristic film of this wave of female fighters. ↧ 20th TDF: Doc Market-EDN Doc Market will take place March 4 – 10, Warehouse C, Thessaloniki Port The International Doc Market, introduced in 1999, will be held in Warehouse C at the Thessaloniki Port, providing a substantial space to its participants, outfitted with 30 digital booths for private viewing. The Market, supported by Creative Europe Media program, caters to television networks from European countries and a wide range of professionals from various parts of the world. The Doc Market is fully digital; all films are easily accessible in the video library. Approximately 490 films will be available in this year’s Doc Market, including the majority of the films that are screened as part of the 20th TDF official program. Approximately 80 buyers out of 140 industry professionals will be attending from all over the world, among them: Jordi Ambros (TV3 Catalunya), Abel Ksiksi (Al Jazeera), Emmanuel Chicon (Visions du Réel), Monika Mikusova (RTV Slovakia), Rui Madruga (RTP Portugal), Krishan Arora (SBS Australia), Charlotte Madsen (SVT Sweden), Madeleine Avramoussis (ARTE), Jenny Westergard (YLE Finland), Ines Pedoth (ORF Austria), Mohamad Soueid (Al Arabiya UAE), Caroline Libresco (Sundance FF USA). DOCS IN PROGRESS 2018 Wednesday, March 7, 10.00-13.00, Pavlos Zannas Theatre The Doc Market will present for the seventh consecutive year the Docs in Progress section: 10 projects from Central Europe, the Balkans and the Mediterranean region participate in closed sessions for Thessaloniki’s invited industry professionals, sales agents, distributors, producers and festival representatives. This year the segment features an impressive number of 6 projects –out of 10- directed by women. The participants will present and screen 6-8 minutes from their projects, aiming towards securing coproduction deals, funds for project completion, as well as deals for presales and distribution. 2\|35 Inc Post-Production House offers for the fourth time an award of up to 15.000 euro in post-production services. In addition, the MuSou award for music and sound services, amounting up to 6.500 euro, will be presented for the second time and the Greek Film Centre offers an award of 3.000 euro in cash. The DiP awards amount to 24.500 euro in total. The international Docs in Progress jury consists of: Laia Aubia, Distribution Manager, DocsBarcelona, Spain Charlotte Madsen, Buyer, SVT, Sweden Takis Veremis, Distributor, StraDA Films, Greece The projects are: 1000 m2 of Time, Direction: Maro Anastopoulou, Production: Lilette Botassi - Inkas Film Productions, Co-producer: Pangaia Pictures, Greece Body Struggles, Direction: Francesco Corona, Production: Lorenzo Cioffi – Ladoc, Italy Figures, Direction: Eugenio Canevari, Production: Eugenio Canevari, Melina Pereyra, Waking Films Co-producer: Felipe Yaryura - Mamá Húngara Cine, Spain-Argentina Frugal Abundance, Direction: Giorgos Savoglou & Frantzeska Romanou, Production: Amanda Livanou - Neda Film, Greece Gentle Warriors, Direction: Marija Stonyte, Production: Giedre Zickyte – Moonmakers, Co-producer: Riho Vastrik, Lithuania-Estonia Janitou, Direction: Amine Hattou, Production: Boualem Ziani - Libre image Production, Co-producer: Thomas Kaske - Kaske Film, Algeria-Germany-France-Qatar KAT People, Direction: Marco Gastine, Production: Eleni Chandrinou, Marco Gastine - MINIMAL FILMS, Co-producer: Alexandre Cornu - Les films du tambour de soie, Greece-France Seeds of Columbus, Direction: Marianna Economou, Production: Spyros Mavrogenis -Stefi/ Lynx Productions, Co-producer: Rea Apostolides – Anemon, Greece Staring at the Sun, Direction: Atieh Attarzadeh & Hesam Eslami, Production: Etienne de Ricaud - Caractères Productions, Co-producer: Hesam Eslami, Atieh Attarzadeh, France-Iran Tiny Souls, Direction: Dina Naser, Production: Dina Naser - Mad Moshawash, Co-producer: Khaled Haddad - Jordan Prioneers, Palmyre Badinier- Urban Factory, Jordan-Lebanon-Qatar-The Netherlands-France DOCS IN PROGRESS AWARD SPONSORS MOVING DOCS Thursday 8 – Saturday 10 March 2018, Warehouse C & Takis Kanelopoulos theatre (both at the Thessaloniki Port) For the first time the Moving Docs conference will take place during the Agora Doc Market giving the opportunity to even more professionals to come to Thessaloniki and share their knowledge and expertise for documentaries. Moving Docs brings powerful films to screens big and small, by combining live screenings and event cinema with innovative online distribution. With 19 partners across Europe, it enables a selection of the best European documentaries to cross borders and reach new audiences in over 20 territories. Moving Docs is the very first initiative of its kind, powered by national partners across Europe, managed by the European Documentary Network, and supported by Creative Europe. For more information: www.movingdocs.org EDN DOCS IN THESSALONIKI – PITCHING FORUM 2018 March 2- 6, 2018 Workshop (2-4/3, Warehouse C and Takis Kanelopoulos theatre located at the Thessaloniki Cinema Museum, Thessaloniki Port) & Pitching (5/3, 09.30–14.00 and 6/3, 09.30–13.00, Pavlos Zannas theatre). The Docs in Thessaloniki, running since 2001 in collaboration with the European Documentary Network -a member-based organisation for professionals working with documentary feature projects- and with the support of the EU MEDIA Program, gives documentary professionals the opportunity to have their projects pitched to a panel of international financiers, commissioning editors and representatives of the international audiovisual media. The first 3 days focus on project development and polishing, under the guidance of the following industry professionals: Jesper Osmund, Editor, Denmark, Gitte Hansen, Deputy Director, First Hand Films, Switzerland, Brian Hill, Director, Century Films, UK, Paula Vaccaro, Producer, Pinball, UK, Christine Camdessus, Producer, Alegria, France, Arash Riahi, Producer & Director, Golden Girls Filmproduction, Austria, Ove Rishøj Jensen (EDN, Denmark). The last 2 days are reserved for pitching (Monday, March 5, 09.30–14.00 & Tuesday, March 6, 09.30–13.00, at Pavlos Zannas theatre). The following 21 projects have been selected to take part in Docs in Thessaloniki 2018: A Violent Past, Director-Producer Alex Tieleman, Co-director Marjolein van de Water, The Netherlands ALL-IN, Director Volkan Üce, Producer Emmy Oost, Cassette for timescapes, Belgium Antoine the Fortunate, Director Nefin Dinç, Producer Ömer Atay, Atlantik Film, Turkey Blazing the Trail, Director Ariadna Relea, Executive Producers Luis Collar & Senay Ozdemir, Nephilim Producciones/House of Red & White, Spain Bottlemen, Director/Producer Nemanja Vojinović, Rt dobre Nade, Serbia Debouttes Director Maxime Faure, Producer Estelle Robin-You, Les Films du balibari, France Eyewitnesses Directors Ditteke Mensink & Dirk Boelhouwer, Producer Martijn Winkler, VERTOV, The Netherlands Franci Goes to Hollywood, Director Lorand Balazs Imre, Producers Laszlo Jozsa, Franciska Farkas & Lorand Balazs Imre, SpeakEasy Project, Hungary Holy Father, Director Andrei Dăscălescu, Producer Anamaria Antoci, Tangaj Production, Romania Into the Bank, Directors Eva Hillström & Oscar Hedin, Producers Oscar Hedin & Åse Fougner, Film and Tell, Sweden MEL, Directors Inna Sahakyan & Paul Cohen, Producer Vardan Hovhanisyan, Bars Media, Armenia My Father's Daughter, Director Lea Podhradska, Producer Balázs Lévai, Színfolt Film, Hungary People, Gods and Other Creatures, Director Sveta Strelnikowa, Producers Frank Müller, Viktoria Lupik & Vicky Miha, Germany-Russia-Greece Princesse, Heritiere, Director Nevine Gerits, Producers Bram Crols & Nina Landau, Associate Directors, Belgium Riders of Destiny, Director Michael Niermann, Producer Ansgar Pohle, 7T1 Media, Germany Salam’s Odyssey, Director Jonas Bruun, Producer Malene Flindt Pedersen, Hansen & Pedersen Film and Television, Denmark Society must be Defended, Director Antonino D'Ambrosio, Producer François Le Gall, a_BAHN, France The Pipe, Director Marko Kumer, Producers Katja Lenarčič & Marko Kumer, EnaBanda, Slovenia The Unbearable Lightness of the Golden Age, Director Ana Lungu, Producer Anca Puiu, MANDRAGORA, Romania The World According to Amazon, Director Jean-Baptiste Malet, Co-director Adrien Pinon, Producer Valérie Montmartin, Little Big Story, France Women of the Sun, Director Nuray Sahin, Producers Alex Tondowski & Ira Tondowski, Tondowski Films, Germany The ΕRT Doc on Air award With the aim to enhance documentary production, ERT S.A., the Hellenic Broadcasting Corporation, bestows the ERT Doc on Air award to the best project of the Doc in Thessaloniki pitching forum organised by EDN. The award winner is decided by the tutor team of Docs in Thessaloniki. The winning project team receives 3.000 euro and the documentary will be broadcasted by ERT. Docs in Thessaloniki 2018 is organized by EDN and the Thessaloniki Documentary Festival with the support of the EU Creative Europe MEDIA Program. EDN is a member-based organisation for professionals working with documentary film and television. EDN supports, stimulates, and creates networks within the documentary sector. www.edn.dk. EDN DOCS IN THESSALONIKI MASTERCLASS Tuesday, March 6, 17:30 – 19:30, Pavlos Zannas Theatre “How to Reach and Build an Audience” with Ben Johnson, CEO at Gruvi How do you reach and build audiences in the early stages of a film production? The answer lies in aligning the film’s marketing early on, and thinking about the wider scope of the life cycle of the production. Ben Johnson, CEO at Gruvi, a technology media company that helps entertainment businesses reach and engage online audiences, will provide valuable insights that can help film professionals with digital film marketing, as well as the possibilities to reach and communicate with audiences en masse. This master class takes place within the framework of Docs in Thessaloniki Pitching Forum 2018. It is organized by EDN – European Documentary Network and the Thessaloniki Documentary Festival. ↧ Line up of 180 feature and 48 short documentary films at 20th Thessaloniki Documentary Festival 20th THESSALONIKI DOCUMENTARY FESTIVAL [2-11/3/2018] Line-up, Juries and Sidebar events The 20th anniversary edition of the Thessaloniki Documentary Festival presents approximately 180 feature and 48 short documentary films by directors from all over the world, as well as a parallel events program. The film screenings will take place at the Olympion complex (Olympion and Pavlos Zannas theatres, Aristotelous Sq., Thessaloniki), as well as at the Tonia Marketaki, Frida Liappa, Stavros Tornes and John Cassavetes theatres located at the city’s Port. This year, TDF will host screenings in two additional venues situated in two Thessaloniki Municipalities: Pavlos Melas (“Christos Tsakiris” Cultural Center) and Kalamaria (Municipal Theatre of Kalamaria “Melina Merkouri”). FILM PREMIERES The 20th TDF presents 8 world, 4 international and 8 European premieres. World Premieres: A VISIT TO JUNE LEAF'S STUDIO - MY FIRST FILM, Brigid KENNISON ACROSS HER BODY, Zacharias MAVROIDIS PEOPLE OF THE WASTELAND, Heba KHALED SILICONE SOUL, Melody GILBERT SOUNDS OF KIBERA/KIBERA SAUTI, Luis LANCHARES THE ARTIST & THE PERVERT, Beatrice BEHN, Rene GEBHARDT THE SOWER/EL SEMBRADOR, Melissa ELIZONDO THESE ARE MY HOURS, Scott KIRSCHENBAUM International Premieres: A FINE LINE, Ioanna JAMES COMPOSITE, Toby LEE LITTLE FIRE, Nicky MAAS MY HAPPY COMPLICATED FAMILY, Tessa Louise POPE European Premieres: LIVING IN THE FUTURE'S PAST, Susan KUCERA presented by Jeff Bridges ROOM FOR A MAN, Antony CHIDIAC STEALING RODIN/ROBAR A RODIN, Cristobal VALENZUELA THE OSLO DIARIES, Mor LOUSHY & Daniel SIVAN THE SENSITIVES, Drew XANTHOPOULOS THE TIME OF THE BEES/IL TEMPO DELLE API, Rossella ANITORI & Darel DI GREGORIO THIS COLD LIFE, Darren MANN WORKING IN PROTEST, Michael GALINSKY & Suki HAWLEY OPENING FILM Faces Places / Visage Villages by AgnèsVarda & JR (2017) Friday 2/3, 20:00, Olympion theatre (invitation only) Agnès Varda and JR embark on an unpredictable, feel good journey in the French countryside, sharing on camera their friendship and the engaging stories of the people who meet on the way. CLOSING FILM À propos de Nice by Jean Vigo (1930) Sunday 11/3, 20:00, Olympion theatre (invitation only) Jean Vigo’s iconic silent documentary will be screened with live original score composed by Lefteris Tsavdaridis exclusively for the event and performed by the Thessaloniki State Symphony Orchestra. The closing ceremony screening is a collaboration between the TDF and the Thessaloniki State Symphony Orchestra. 20th TDF FILM LINE-UP International Competition ACROSS HER BODY, Zacharias MAVROIDIS, Greece, 2018, 85’ ALL THAT PASSES BY THROUGH A WINDOW THAT DOESN'T OPEN, Martin DiCICCO, USA-Qatar, 2017, 70’ ANGKAR, Neary Adeline HAY, France, 2017, 71’ AWAKEN, Jiawei NING, China, 2017, 62’ BARONESA, Juliana ANTUNES, Brazil, 2017, 70’ HOTEL JUGOSLAVIJA, Nicolas WAGNIERES, Switzerland, 2017, 78’ LAS CINEPHILAS, Maria ALVAREZ, Argentina, 2017, 74’ METEORS, Gurcan KELTEK, The Netherlands-Turkey, 2017, 84’ OBSCURO BARROCO, Evangelia KRANIOTI, France-Greece, 2018, 59’ THE DISTANT BARKING OF DOGS, Simon LERENG WILMONT, Denmark-Finland-Sweden, 2017, 90’ International CompetitionVR / VirtualReality GHOST OF MALAWI, Johan KNATTRUP JENSEN, Denmark, 2018, 11’ ISAWTHEFUTURE, Francois VAUTIER, FRANCE, 2017, 5’ LIMBO, Shehani FERNANDO, United Kingdom, 2017, 8΄ NOTES TO MY FATHER, Jayisha PATEL, United Kingdom-USA-India, 2017, 11’ PLANET, Momoko SETO, France, 2017, 7΄ THE LAST CHAIR 1&2, Anke TEUNISSEN & Jessie VAN VREDEN, The Netherlands, 2017, 15΄ THE PARTY, Shehani FERNANDO & Anrick BREGMAN, United Kingdom, 2017, 7΄ Human Rights A YEAR OF HOPE, Mikala KROGH, Denmark-The Netherlands, 2017, 81’ AMAL, Mohamed SIAM, Egypt-Germany-France-Norway-Denmark-Qatar, 2017, 83’ CITIZEN XENOS, Lucas PALEOCRASSAS, Greece, 2017, 63’ COBY, Christian SONDEREGGER, France, 2017, 77’ DEVIL'S FREEDOM/LA LIBERTAD DEL DIABLO, Everardo GONZALEZ, Mexico, 2017, 74’ EUROPE, THE DREAM, Anneta PAPATHANASIOU & Angelos KOVOTSOS, Greece, 2018, 80’ EVERYTHING'S BETTER THAN A HOOKER/LA OU LES PUTAINS N' EXISTENT PAS, OVIDIE, France, 2017, 56’ GAME GIRLS, Alina SKRZESZEWSKA, France-Germany, 2018, 85’ INTERLUDE, Joshua OLSTHOORN & Lefteris KALTSAS, Greece, 2017, 42’ MR. GAY SYRIA, Ayse TOPRAK, France-Germany-Turkey, 2017, 87’ MUHI - GENERALLY TEMPORARY/ MUHI, Tamir ELTERMAN & Rina CASTELNUOVO, Israel-Germany, 2017, 87’ NO PLACE FOR A REBEL, Ariadne ASIMAKOPOULOS & Maartje WEGDAM, The Netherlands-Uganda-Greece, 2017, 76’ ONE DAY IN ALEPPO, Ali ALIBRAHIM, Syria-Sweden, 2017, 24’ PEOPLE OF THE WASTELAND, Heba KHALED, Syria-Germany, 2018, 22’ PIRIPKURA, Renata TERRA & Bruno JORGE & Mariana OLIVA, Brazil, 2017, 81’ THE CLEANERS, Hans BLOCK & Moritz RIESEWIECK, Germany-Brazil, 2018, 88’ THE LONG SEASON, Leonard Retel HELMRICH, The Netherlands, 2017, 114’ THE RAPE OF RECY TAYLOR, Nancy BUIRSKI, USA, 2017, 91’ THE VENERABLE W./LE VENERABLE W., Barbet SCHROEDER, France-Switzerland, 2017, 100’ Habitat A SEED FOR CHANGE, Alexandros ECONOMIDES, Greece, 2017, 75’ BEFORE THE FLIGHT/AVANT L'ENVOL, Laurence BONVIN, Switzerland, 2016, 20’ BRAGUINO, Clement COGITORE, France-Finland, 2017, 50’ JANE, Brett MORGEN, USA, 2017, 90’ LEANING INTO THE WIND: ANDY GOLDSWORTHY, Thomas RIEDELSHEIMER, Germany, 2017, 93’ LIVING IN THE FUTURE'S PAST, Susan KUCERA, USA, 2017, 85’ THANK YOU FOR THE RAIN, Julia DAHR, United Kingdom-Norway-Kenya, 2017, 91’ THE GREEN LIE, Werner BOOTE, Austria, 2017, 93’ THE SENSITIVES, Drew XANTHOPOULOS, USA, 2017, 83’ THIS COLD LIFE, Darren MANN, USA, 2017, 88’ UP DOWN & SIDEWAYS/KHO KI PA LU, Anushka MEENAKSHI & Iswar SRIKUMAR, India, 2017, 83’ ZHALANASH -EMPTY SHORE/ZALANASZ - PUSTRY BRZEG, Marcin SAUTER, Poland, 2017, 40’ Memory / History A TREE REMEMBERS, Kostas FOLLAS, Greece, 2018, 90’ ATHENS RESISTANCE (1941–1944), Xenofon VARDAROS & Giannis XYDAS, Greece, 2018, 72’ CUBA AND THE CAMERAMAN, Jon ALPERT, USA, 2017, 113’ ELLIS ISLAND TALES: MEMORIES/RECITS D'ELLIS ISLAND: MEMOIRES, George PEREC & Robert BOBER, France, 1980, 60’ ELLIS ISLAND TALES: TRACES/RECITS D'ELLIS ISLAND: TRACES, George PEREC & Robert BOBER, France, 1980, 57’ IN SEARCH OF LADINO, David PERLOV, Israel, 1981, 49’ INTENT TO DESTROY, Joe BERLINGER, USA, 2017, 114’ THE BALCONY - MEMORIES OF OCCUPATION, Chrysanthos KONSTANTINIDIS, Greece, 2018, 105’ THE DEAD NATION, Radu JUDE, Romania, 2017, 83’ THE LAST PARTISAN, Andreas HADJIPATERAS, Greece, 2018, 74’ THE OSLO DIARIES, Mor LOUSHY & Daniel SIVAN, Israel-Canada, 2018, 98’ THE OTHER SIDE OF EVERYTHING/DRUGA STRANA SVEGA, Mila TURAJLIC, Serbia-France-Qatar, 2017,104’ THE WALDHEIM WALTZ/WALDHEIMS WALZER, Ruth BECKERMANN, Austria, 2017, 93 ‘ Kaleidoscope 7 VEILS/7 PARDEH, Sepideh FARSI, Afghanistan-France, 2017, 80’ A MURDER IN MANSFIELD, Barbara KOPPLE, USA, 2017, 88’ A SKIN SO SOFT/TA PEAU SI LISSE, Denis COTE, Canada, 2017, 93’ ANTONIS' VOICE, Christos KAPATOS, Greece, 2018, 75’ BACK TO THE TOP, Stratis CHATZIELENOUDAS, Greece, 2018, 96’ BOOM FOR REAL: THE LATE TEENAGE YEARS OF JEAN-MICHEL BASQUIAT, Sara DRIVER, USA, 2017, 78’ CITY OF THE SUN, Rati ONELI, Georgia-USA-Qatar-The Netherlands, 2017, 103’ DEAF CHILD, Alex DE RONDE, The Netherlands, 2017, 72’ DREAMING MURAKAMI, Nitesh ANJAAN, Denmark, 2017, 58’ EX LIBRIS: NEW YORK PUBLIC LIBRARY, Frederick WISEMAN, USA, 2017, 197’ FIRE MOUTH/BOCA DE FOGO, Luciano PEREZ FERNANDEZ, Brazil, 2017, 9’ FRAGMENTS, Marianna ECONOMOU, Greece, 2018, 47’ GOLDEN DAWN GIRLS, Havard BUSTNES, Norway-Finland-Denmark, 2017, 92’ HAPPY PRINCES/PRINCIPES FELIZES, Panos DELIGIANNIS, Greece-Germany, 2017, 82’ KOSTIS PAPAGIORGIS, THE SWEETEST MISANTHROPE, Eleni ALEXANDRAKI, Greece, 2017, 92’ LIGHT, Suela BAKO & Yllka GJOLLESHA GJIKOPULLI, Albania, 2017, 53’ LOTS OF KIDS, A MONKEY AND A CASTLE/MUCHOS HIJOS, UN MONO Y UN CASTILLO, Gustavo GARCIA SALMERON, Spain, 2017, 91’ MAKALA, Emmanuel GRAS, France, 2017, 96’ MARBLE HOMELAND, Menios KARAYANNIS, Greece, 2018, 57’ MICHAELLE JEAN: A WOMAN OF PURPOSE/UN FILM AVEC TOI, Jean-Daniel LAFOND, Canada, 2015, 52’ MISS MARIA, SKIRTING THE MOUNTAIN/SENORITA MARIA: LA FALDA DE LA MONTANA, Ruben MENDOZA, Colombia, 2017, 90’ MISSING FETINE, Yeliz SHUKRI, Cyprus, 2017, 75’ NAPALM, Claude LANZMANN, France, 2017, 100’ OF FATHERS AND SONS, Talal DERKI, Germany-Syria-Lebanon, 2017, 98’ OVER THE LIMIT, Marta PRUS, Poland-Germany-Finland, 2017, 74’ PIAZZA VITTORIO, Abel FERRARA, Italy, 2017, 75’ PLAYING GOD, Karin JURSCHICK, Germany, 2017, 96’ ΞΑΔΕΛΦΕΣ/PRIMAS, Laura BARI, Canada-Argentina, 2017, 100’ ROOM FOR A MAN, Antony CHIDIAC, Lebanon-USA, 2017, 77’ SHADOWS OF DREAMS, Dimitris YERARDIS, Greece, 2018, 80’ SILICONE SOUL, Melody GILBERT, USA, 2017, 71’ SO HELP ME GOD/NI JUGE NI SOUMISE, Jean LIBON & Yves HINANT, France-Belgium, 2017,99 STEALING RODIN/ROBAR A RODIN, Cristobal VALENZUELA, Chile-France, 2017, 80’ TARZAN'S TESTICLES/OUALE LUI TARZAN, Alexandru SOLOMON, Romania-France, 2017, 107’ TASTE OF CEMENT, Ziad KALTHOUM, Germany-United Arab Emirates-Lebanon-Syria-Qatar, 2017, 85’ THE ARTIST & THE PERVERT, Beatrice BEHN & Rene GEBHARDT, Germany-USA, 2017, 96’ THE DEMINER, Hogir HIRORI & Shinwar KAMAL, Sweden, 2017, 83’ THE FARTHEST, Emer REYNOLDS, Ireland, 2017, 121’ THE REBEL SURGEON, Erik GANDINI, Sweden, 2017, 52’ THE RETURN, Menelaos KARAMAGHIOLIS, Greece, 2017, 63’ THE SOWER/EL SEMBRADOR, Melissa ELIZONDO, Mexico, 2017, 97’ THE STRANGER, Nicole NIELSEN HORANYI, Denmark, 2017, 104’ THIS IS EVERYTHING: GIGI GORGEOUS, Barbara KOPPLE, USA, Canada, 2017, 91’ UNTITLED, Michael GLAWOGGER & Monika WILLI, Austria, 2017, 107’ WHAT COMES AROUND/AL GAMI'YA, Reem SALEH, Lebanon-Egypt-Greece- Qatar-Slovenia, 2018, 79’ WORKING IN PROTEST, Michael GALINSKY & Suki HAWLEY, USA-Greece, 2017, 79’ Food vs. Food A FINE LINE, Ioanna JAMES, USA-Greece, 2016, 70’ BARBECUE, Matthew SALLEH, USA-Japan-Australia-Mexico-Sweden- Philippines-New Zealand-South Africa-Uruguay-Armenia, 2017, 102’ EXPIRED, Kieran KOLLE, Norway, 2017, 52’ FOOD ON THE GO/E IL CIBO VA, Mercedes CORDOVA, Italy-Argentina, 2017, 66’ RAMEN HEADS, Koki SHIGENO, Japan, 2017, 93’ THE END OF MEAT/EINE WELT OHNE FLEISCH, Marc PIERSCHEL, Germany, 2017, 95’ THE GAME CHANGERS, Louie PSIHOYOS, USA, 2018, 88’ THE LAST HONEY HUNTER, Ben KNIGHT, Nepal, 2017, 36’ THE QUEST OF ALAIN DUCASSE/LA QUETE D' ALAIN DUCASSE, Gilles DE MAISTRE, France, 2017, 84’ TUNA, FAROFA & SPAGHETTI/ATUM, FAROFA & SPAGHETTI, Riccardo ROSSI, Brazil, 2017, 95’ Cinema DAVID STRATTON: A CINEMATIC LIFE, Sally AITKEN, Australia, 2017, 97’ FILMWORKER, Tony ZIERRA, USA, 2017, 94’ SAVING BRINTON, Tommy HAINES & Andrew SHERBURNE, USA, 2017, 87’ SPIELBERG, Susan LACY, USA, 2017, 147’ THE GREENAWAY ALPHABET, Saskia BODDEKE, The Netherlands, 2017, 68’ THE LEGEND OF THE UGLY KING/DIE LEGENDE VOM HASSLICHEN KONIG, Huseyin TABAK, Germany-Austria, 2017, 122’ THE PRINCE AND THE DYBBUK/KSIAZE Y DYBUK, Elwira NIEWIERA & Piotr ROSOLOWSKI, Poland-Germany, 2017, 82’ Music BUNCH OF KUNST: A FILM ABOUT SLEAFORD MODS, Christine FRANZ, Germany, 2017, 103’ ERIC CLAPTON: LIFE IN 12 BARS, Lili FINI ZANUCK, United Kingdom, 2017, 135’ FAITHFULL, Sandrine BONNAIRE, France, 2017, 60’ IN SITU, Chryssa TZELEPI & Akis KERSANIDIS, Greece, 2017, 104’ LIVING ON SOUL, Cory BAILEY & Jeff BROADWAY, USA, 2017, 96’ ME AND MY SHADOW: A DOCUMENTARY FOR NIKOS PAPAZOGLOU, Michalis ARISTIDOU & Ioannis GRIGOROPOULOS, Greece, 2017, 100’ NIKOS MAMANGAKIS THE LAST WORD, Takis SAKELLARIOU, Greece, 2018, 66’ RYUICHI SAKAMOTO: CODA, Stephen NOMURA SCHIBLE, USA-Japan, 2017, 102’ SILVANA/SILVANA VACK MIG NAR NI VAKNAT, Olivia KASTEBRING & Christina TSIOBANELIS & Mika GUSTAFSON, Sweden, 2017, 91’ SOUNDS OF KIBERA/KIBERA SAUTI, Luis LANCHARES, Spain, 2017, 70’ >>Film Forward AS WE'RE TOLD,VI BARA LYDER, Erik HOLMSTROM & Fredrik WENZEL, Sweden, 2017, 28’ COMPOSITE, Toby LEE, USA, 2017, 23’ END OF LIFE, John BRUCE & Pawel WOJTASIK, USA-Greece, 2017, 90’ THESE ARE MY HOURS, Scott KIRSCHENBAUM, USA, 2017, 53’ Verena Paravel & Lucien Castaing-Taylor tribute AH HUMANITY!, Verena PARAVEL & Lucien CASTAING-TAYLOR & Ernst KAREL, France-USA-Japan, 2015, 24’ CANIBA, Verena PARAVEL & Lucien CASTAING-TAYLOR, France, 2017, 95’ FOREIGN PARTS, Verena PARAVEL & J.P. SNIADECKI, USA, 2010, 80’ LEVIATHAN, Lucien CASTAING-TAYLOR & Verena PARAVEL, USA-France- United Kingdom, 2012, 87’ SOMNILOQUIES, Verena PARAVEL & Lucien CASTAING-TAYLOR, France-USA, 2017, 74’ SWEETGRASS, Lucien CASTAING-TAYLOR & Ilisa BARBASH, USA, 2009, 101’ Greek Panorama A SCHOOL AGAINST RACISM (1ST ELEMENTARY SCHOOL OF OREOKASTRO), Mihalis AGRAFIOTIS, Greece, 2018, 30’ A SHOUT OUT TO THE WAY OUT, Sergios VAFEIADIS, Greece, 2017, 98’ A WAKE FOR SHAKESPEARE, Elias YANNAKAKIS, Greece, 2017, 70’ AFTERWARDS - DATA FOR 2017, Yorgos ZERVAS, Greece, 2018, 82’ ALIMA, Loukas KOUMPOURIS & Nikolas PAPADIMITRIOU, Greece, 2017, 30’ AMARI IN FLAMES, Tasos BIRSIM, Greece, 2017, 36’ ARISTOPHANE'S PEACE – NIKOS KYPOURGOS (ANCIENTS' DRAMA), Panos PAPPAS & Despina HARALAMBOUS, Greece, 2017, 61’ BORDER SOULS, Takis BARDAKOS, Greece, 2017, 50’ CHARLOTTE RAMPLING – NOTEBOOKS,THANASIS LALAS, Maria GIANNOULI, Greece, 2017, 24’ CRACKS IN THE WALLS, Dimitra KOFTI, Bulgaria-Greece-Italy-Germany, 2018, 56’ DIMITRIS KATALEIFOS: WHISPERER OF TIME, Michalis LYKOUDIS, Greece, 2017, 54’ DYING FOR EUROPE, Nikos PILOS, Greece, 2017, 17’ EMBERA, Iason PIPINIS, Panama-Greece, 2018, 20’ EUROPE, Stavros STRATIGAKOS, Greece, 2017, 30’ FAOUEYIA, Myrna TSAPA, Greece, 2017, 61’ FLOWERS FADE EARLY, KAKOPETROS, AUGUST 28TH, 1944, Mathaios FRANTZESKAKIS & Vicky ARVELAKI, Greece, 2018, 66’ FROM AFRICA WITH LOVE - GREEKETHIOPICS, Christina VAZOU, Greece, 2017, 49’ GREEK FOOTBALL LEGENDS: TAKIS LOUKANIDIS, Leonidas PANONIDIS, Greece, 2017, 47’ GUS G.: "LIFE THROUGH FIRE", Thanassis TSAOUSOPOULOS, Greece, 2018, 117’ HLA, Valentina FEDONOS, Cyprus-Greece, 2018, 65’ LAMBDA PI, Cristo PETROU, Greece, 2017, 70’ MAGNETIC FIDELITY: A LOVE STORY, Elina VERIKIOU, Greece, 2017, 52’ MEMORIES AND TESTIMONIES: THE LONG NIGHT OF DICTATORSHIP, Yiannis XIROUHAKIS, Greece, 2017, 46’ NATIONAL OPERA OF GREECE: THE STORY OF OPERA IN GREECE, Kostas AVGERIS, Greece, 2017, 82’ OPENING CREDITS, Haris RAFTOGIANNIS, Greece, 2018, 43’ OUT, Petros NIAMONITAKIS, Greece, 2017, 22’ PAINTING..., Dimitris STAMATIS & Ioanna NEOFYTOU, Greece, 2017, 23’ PANTELIS KALIOTSOS – IN THE WRITER'S WORKSHOP, Maria DOUZA, Greece, 2018, 64’ PARANAUE: THE DOCUMENTARY, Anastasis DALLIS, Greece, 2018, 62’ PARNITHA: 10 YEARS AFTER THE FIRE, Christos GIANNAKOPOULOS & Iasonas KANTAS, Greece, 2017, 21’ PONTOS "MEMORIES IN THE MIST OF PAST", Giorgos DEMIR, Turkey-Greece, 2017, 92’ PROHIBITED VISIT, Nikos THEODOSIOU, Greece-Spain, 2017, 35’ RELICS, Christos PANAGOS & Kostas MAKRINOS, Greece-Cyprus, 2017, 17’ SEARCHING FOR ANDREAS: POLITICAL LEADERSHIP IN TIMES OF CRISIS, Harris MYLONAS & Thodoris PRODROMIDIS, Greece-USA, 2018, 94’ SYMPOSIUM, Iasonas TAVLAS, Greece, 2017, 21’ THALATTA, Triantafillia DIMOPOULOU, Greece, 2017, 50’ THE AIRPORT OF DISILLUSIONS, Olivia DEHEZ & Anna PSAROUDAKI, Greece-France, 2017, 25’ THE GREAT FIRE OF SALONICA: BIRTH OF A CITY, Grigoris VARDARINOS, Greece, 2017, 62’ THE ICEBERG, Manos PAPADAKIS, Greece, 2018, 35’ THE INVISIBLE HANDS, Marina GIOTI & Yorgos SALAMEH, Greece-Egypt, 2017, 93’ THE JOURNEY OF ORPHEUS, Theofilos DADIS, Greece, 2017, 62’ THE MEDITERRANEAN – A GREEK LAKE, Costas VAKKAS, Greece, 2018, 152’ THE METHOD: CAPTURED, Charis GIOULATOS, Greece, 2017, 13’ THE NOOSE, Thomas SIDERIS, Greece, 2017, 104’ THE ODYSSEY OF HEPTANESE: THE BIRTH OF A STATE, Alexandros POTAMIANOS, Greece, 2017, 66’ THE REFUGEE CRISIS THROUGH MOBILE PHONES, Daphne TOLI, Greece, 2017, 40’ THE WORK ABOVE ALL, Tania HATZIGEORGIOU, Greece, 2017, 59’ THE YARD, Elisavet TSOUHTIDI & Aris BAFALOUKAS, Greece, 2017, 31’ THIS IS SOPI, Christos PITHARAS, Greece, 2017, 60’ THOSE WHO DARED: DIONISSIOS IKKOS, Stavros PSYLLAKIS, Greece, 2017, 52’ TONGUE TWISTERS, Simos KOREXENIDIS, Greece, 2018, 61’ UP TO THE LAST DROP – THE SECRET WATER WAR IN EUROPE, Yorgos AVGEROPOULOS, Greece-France-Germany, 2017, 59’ WELCOME, Paola REVENIOTI, Greece, 2017, 59’ Carteblancheto Sara Driver AVISITTOJUNELEAF'SSTUDIO - MYFIRSTFILM, Brigid KENNISON, USA, 2018, 12’ DREAM CITY, Steven SIEGEL, USA, 1986, 21’ ENERGY AND HOW TO GET IT, Robert FRANK & Ruddy WURLITZER & Gary HILL, USA, 1981, 28’ IDIOCRACY, Mike JUDGE, USA, 2006, 84’ LAND OF LOOK BEHIND, Alan GREENBERG, USA, 1982, 90’ LET'S ROCK AGAIN!, Dick RUDE, USA, 2004, 67’ NATIVE LAND, Paul STRAND & Leo HURWITZ, USA, 1942, 88’ RIVERS AND TIDES, Thomas RIEDELSHEIMER, Germany, 2000, 91’ SCENES FROM THE LIFE OF ANDY WARHOL: FRIENDSHIPS AND INTERSECTIONS, Jonas MEKAS, USA, 1982, 35’ THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION, Stanley NELSON, USA, 2015, 116’ THELONIOUS MONK: STRAIGHT NO CHASER, Charlotte ZWERIN, USA, 1988, 99’ TWIST, Ron MANN, Canada, 1992, 78’ AgnèsVarda tribute BLACK PANTHERS, Agnès VARDA, France, 1968, 28’ DAGUERREOTYPES, Agnès VARDA, France-Germany, 1975, 79’ MURAL MURALS/MUR MURS, Agnès VARDA, France-Germany, 1980, 81’ SALUT LES CUBAINS, Agnès VARDA, France, 1963, 29’ THE BEACHES OF AGNES/LES PLAGES D'AGNES, Agnès VARDA, France, 2008, 112’ THE GLEANERS AND I/LES GLANEURS ET LA GLANEUSE, Agnès VARDA, France, 2000, 82’ THE SO-CALLED CARYATIDS/LES DITES CARIATIDES, Agnès VARDA, France, 1984, 13’ THE WORLD OF JACQUES DEMY/L'UNIVERS DE JACQUES DEMY, Agnès VARDA, France, 1995, 92’ UNCLE YANCO, Agnès VARDA, France, 1967, 19’ “Brave New World” tribute CYBORGS AMONG US, Rafel DURAN TORRENT, France-Spain, 2017, 76’ INSTANT DREAMS, Willem BAPTIST, Netherlands, 2017, 91’ LET THERE BE LIGHT, Mila AUNG-THWIN &Van ROYKO, Canada, 2017, 80’ SCIENCE REACTORS: COMMUNICATING SCIENCE FROM A DIFFERENT PERSPECTIVE, Lila MOKOU, Greece, 2017, 73’ THE TIME OF THE BEES/IL TEMPO DELLE API, Rossella ANITORI & Darel DI GREGORIO, Italy, 2017, 65’ “’68 Beyond ‘68” tribute 1968 – HOPE / ROK 68 – NADEJE, Viktor POLESNY, Czech Republic, 2008, 52’ AMERICAN REVOLUTION 2, Howard ALK, USA, 1969, 76’ CONFUSION/ZMATEK, Evald SCHORM, Czechoslovakia, 1969, 35’ IN THE INTENSE NOW/NO INTENSO AGORA, Joao MOREIRA SALLES, Brazil, 2017, 127’ JUNE TURMOIL/LIPANJSKA GIBING, Zelimir ZILNIK, Yugoslavia, 1969, 10’ NEITHER FORGET NOR FORGIVE/NI OLVIDO, NI PERDON, Richard DINDO, Switzerland, 2003, 86’ SUMMER IN NARITA/NIHON KAIHO SENSEN: SANRIZUKA NO NATSU, Shinsuke OGAWA, Japan, 1968, 105’ Thessaloniki Documentary Festival, 1 to 20 IN MY FATHER'S HOUSE/IN HET HUIS VAN MIJN VADER, Fatima JEBLI OUAZZANI, Netherlands, 1997, 68’ NIGHTFLOWERS, Nikos GRAMMATIKOS, Greece, 1998, 90’ ↧ ↧ Cinema in Europe - three new free market intelligence reports from the European Audiovisual Observatory now on line! Cinema in Europe Our latest free market intelligence! ↧ Spotlight on films showing Fantasporto february 28 Films from the Philippines, Egypt and Canada, European or international screenings mark the schedule of this Wednesday at the Grand Auditorium of Rivoli, with themes ranging from dramatic comedy to fantasy, two of which are candidates for awards in the official section Cinema Fantástico (CF) and the other two at the Directors' Week (SR) at the 38th Fantasporto - Porto International Film Festival. At 15:00, the program of the Grand Auditorium opens with "Boy Intside", by the Filipino Joel Lamangan, in an international prelude, "about a transvestite who is looking for the mankind in the streets of Manila." It follows, also from the Philippines and also in international previews, "The Water Spirit" by Dan Villegas, "the story of a family break in the midst of a demonic attack," in which the protagonist, a reporter named Dennis, accidentally summons "Ilawod", the "spirit of water" that binds to his son, Ben ... "Al-Aslayen" / The Originals, by Marwan Hamed in a world premiere, is an Egyptian superproduction, a dramatic comedy described as "a political fable and a human drama in a topical story," centered on a bank employee with a life apparently stable who is fired from one day to the other. At the 9:30 pm meeting, Robin Aubert's film "Les Affamés" was shown in a remote village in Québec (Canada's French-speaking province) whose inhabitants are undergoing sudden modifications and turned against their loved ones. Robin Aubert already holds the 2006 Best Director of Fantasporto, with his film "Saints Martyrs des Damnés". "Les Affamés" has won the Toronto Film Festival (Best Picture) and won awards at the Montreal and Madrid festivals. The program of the Small Auditorium opens with the exhibition of the competitors to the Portuguese Cinema - Film Schools Prize. At 4:00 pm the productions of ESAP - Escola Superior Artística do Porto and Lusófona University of Lisbon are shown. At 18:30, the films of Escola Artistico Soares dos Reis (Porto) are shown. At the 9:30 pm session the German film "Freddy / Eddy" by Tini Tullman, a psychological drama by a man, is shown. As his world crumbles, his imaginary childhood friend, Eddy, reappears, who used to help him. But instead of helping him, this reappeared imaginary friend only creates complications ... ↧ Screening February 28th - Fantasporto Grand Auditorium 15:00 - Bhoy Intsik Boy Inside Joel Lamangan - 107'- Philippines- Drama- SR - v.o.leg english / leg port - INTERNATIONAL PREMIERE Coming from the Philippines, a powerful example of the emerging quality of this cinematography. The story of a transvestite on the streets of Manila city, looking for humanity that runs away. Audience Award from the Manila Festival. 17:00 - The Water Spirit Dan Villegas - 96 '- CF- Philippines- Fantasy- v.o.leg english / leg port - INTERNATIONAL PREMIERE The story of a family break in full demonic attack. Dennis, a reporter, accidentally invites the 'Ilawod' a spirit of water, who ties himself to his son, Ben ... "English Only, Please" (2014) de Villegas won the Award for Best Director of the Metro Manila Film Festival. Another surprise coming from the Philippines, an increasingly prized cinematography at Fantasporto. 19:00 - Al- Asleyeen / The Originals Marwan Hamed - 125 '- Egypt - Dramatic comedy - SR - v.o. leg / leg. port. - WORLD ANTESTREIA Egyptian super-production with an unexpected theme coming from an Arab country. In a technological society, where mobile phones and surveillance are of enormous importance, a fired banker is forced to do what he does not want. God or just a Big Brother? Political fable and human drama in an extraordinary story full of topicality. Not to be missed, even by the superb interpretation of the lead actor, Maged El Kedwany. 9:30 PM - Les Affamés Robin Aubert - 97 '- Canada - Fantasy - CF - v.o.leg english / leg port - ANTESTREIA In a small, remote village in Quebec, the locals suffered terrible changes and suddenly turned against the people they loved most. Canadian filmmaker Robin Aubert ("Saint Martyrs des Damnés" was the Best Director at Fantasporto 2006), this film was considered Canada's Best Film at the Toronto Film Festival. He also had prizes in Montreal and Madrid. Small Auditorium 16:00 - PORTUGUESE CINEMA PRIZE - CINEMA SCHOOLS - 80 ' ESAP - Escola Superior do Porto - 48 ' The Death of a Friend - Bernardo Sanches do Carmo - 6'57 '' Chains - Lourenço Malcatanho - 5 '11' Mystery - Pedro Magano Pinto - 4'50 '' Oblivion - João Monteiro - 20 ' Ship of Theseus - Francisco Cortez - 11'2 '' Universidade Lusófona de Lisboa - 30 ' Annex - Leonor Basilio - 7'48 '' Ermo - Fábio Rebelo - 7 '53'' Tartus - Francisco Mineiro, Leonor Abreu - 10'28 '' 18:30 - PORTUGUESE CINEMA PRIZE - BEST MOVIE AND SCHOOL - 124 ' Escola Artística de Soares dos Reis- Porto - 44 ' Abel - Francisca Dores - 6 '33'' Anthrax - Daniel Manesse - 5'12 '' Bambara - Ângela Silva - 5 ' Camel Toe - Alexandra Barbosa - 11'16 '' Inner Body - Sara Sousa - 2'33 '' Vala or the Space between Being and the World - Rodrigo Barroso - 10'15 '' PCP- FILM - 80 ' Calipso - Paulo A.M.Oliveira, Pedro Martins - 15'05 '' - Port Entretons - Luís Miranda - 4'34 '' - Port Tartus - Francisco Mineiro, Leonor Abreu - 10 28 '' - Port No Excuse - Sofia Almeida Ferreira, Pedro Marta - 6 '38''- Port Anything of Beauty - Pedro Senna Nunes - 10 '04''- Port Red Queen - Adriana Martins da Silva, Pedro Martins - 15'29 '- Port Spin - Off - Farid Salamé - 15'27 '' - Port / Lebanon 9:30 PM - Freddy / Eddy Trini Tullman - 94 '-Germany - Psychological drama - P & P -v.o.ingl / leg port - ANTESTREIA Freddy finds himself in the biggest crisis of his life after being accused of beating his wife. As his world crumbles, his childhood imaginary friend, Eddy, reappears exactly with Freddy's current appearance. But instead of becoming an aid, as in the past, Eddy becomes a nightmare. Best Film Award at the Austin Film Festival. ↧
18075	yago	2	24	https://histyle.ie/mesmerise-throughout-the-festive-season-with-the-latest-launch-from-kash-beauty-crystal-nights/	en	Mesmerise Throughout The Festive Season With The Latest Launch From KASH Beauty: Crystal Nights	https://histyle.ie/wp-co…hts-12.jpg65.jpg	https://histyle.ie/wp-co…hts-12.jpg65.jpg	[ "https://histyle.ie/wp-content/uploads/2023/07/hi-logo-2023-Chosenweb2.svg", "https://histyle.ie/wp-content/uploads/2023/07/hi-logo-2023-Chosenweb2.svg", "https://histyle.ie/wp-content/uploads/2020/11/Kash-Beauty-Crystal-Nights-12.jpg65.jpg", "https://histyle.ie/wp-content/uploads/2020/11/Kash-Beauty-Crystal-Nights-2.jpg54-1024x783.jpg", "https://histyle.ie/wp-content/uploads/2020/11/Kash-Beauty-Crystal-Nights-1.jpg78-682x1024.jpg", "https://histyle.ie/wp-content/plugins/revslider/sr6/assets/assets/dummy.png", "https://histyle.ie/wp-content/plugins/revslider/sr6/assets/assets/dummy.png", "https://histyle.ie/wp-content/plugins/revslider/sr6/assets/assets/dummy.png", "https://histyle.ie/wp-content/plugins/revslider/sr6/assets/assets/dummy.png", "https://histyle.ie/wp-content/uploads/2023/07/hi-logo-2023-Chosenweb2.svg" ]	[]	[]	[ "" ]	null	[ "himag" ]	2020-11-17T16:31:43+00:00	Keilidh exploded onto the Irish beauty scene in 2015 and her career has continued to skyrocket since, with highlights including winning Best Beauty Influencer at the 2018 Xposé Benefit Awards and Best Beauty Influencer at the 2018 Image Magazine Business of Beauty Awards and most recently the face of a global campaign with Morphe Cosmetics…	en	https://histyle.ie/wp-co…07/FaviconHI.jpg	Hi Style.ie	https://histyle.ie/mesmerise-throughout-the-festive-season-with-the-latest-launch-from-kash-beauty-crystal-nights/	Keilidh exploded onto the Irish beauty scene in 2015 and her career has continued to skyrocket since, with highlights including winning Best Beauty Influencer at the 2018 Xposé Benefit Awards and Best Beauty Influencer at the 2018 Image Magazine Business of Beauty Awards and most recentlythe face of a global campaign with Morphe Cosmetics for their Hit The Lights Artistry Palette in 2019, which saw Keilidh appear on billboards across the US. Keilidh has collaborated with some of the world’s biggest influencers including Manny MUA (4.2m Instagram followers / 4.8m YouTube followers) and James Charles (21m Instagram followers / 21.7m YouTube followers). There is no stopping one of Irelands fastest rising stars. Keilidh’s years of experience provided her with a unique insight into a variety of brands, products and textures, equipping her with a specialist knowledge and artistry to create her own collection. Having served us looks for years, Keilidh has painstakingly created her unique brand of products from the ground up over the last year and a half. The KASH Beauty Crystal Nights Collection is available to buy on www.kashbeauty.com We are massive fans of Keilidh and love watching her Social Media and following her journey. Now down to business! No makeup-bag holds more possibilities than one filled with a shimmering array of products. This season, indulge your senses and shimmer into the New Year with the latest launch from KASH Beauty – Crystal Nights. Created by Top Irish Beauty Influencer and Makeup Artist Keilidh Cashell, KASH Beauty has become a favourite of the beauty elite since its launch in September. The first collection, Secret Treasure, sold out instantly, with products purchased from all corners of the globe. The brand’s second collection, Crystal Nights, is filled with an array of glistening pantones and glimmering hues, sure to transport us all to make up nirvana. Buttery mattes and dazzling shimmers in a variety of prismatic pigments dominate this succeeding collection. From Lipsticks, Glosses, and Lashes to a scintillating 9 shade Eyeshadow Palette and unique Eyeshadow Toppers, this collection is as bold and bright as your festive party dress, with the perfect arsenal of products to take you from day to night in a flash. The new KASH Beauty Crystal Nights Collection includes; Lip Set – RRP €69.95 The ultimate gift for any beauty lover this festive season, the Crystal Nights Lip Set features 4 new KASH Beauty shades and a unique high shine lip gloss. The KASH Beauty lipsticks are the ultimate in luxe, immovable lip colour. Created using a creamy, silky, ultra-wearable formula, with a delicious vanilla scent, each shade is guaranteed to bring out the best in any makeup look. The lipsticks are semi-matte and long-lasting, offering super-pigmented and buildable colour for every occasion imaginable. Shades: Veil: This neutral nude lipstick is muted and soft, adding a touch of chic to everyday makeup looks. Wear to professional events, day dates and dressed-down hangouts. Dawn: Add a touch of soft, rosy pink to any makeup look or outfit with this girly shade. Dawn is super-wearable and versatile, perfect for any occasion, bringing femininity to every look. Soleil: Brighten up a gloomy day with this gorgeous coral-toned lip shade. Soleil complements blusher well and will make any look pop, creating luminous lips that stand out. Blood Moon: This deep, muted red is a must-have shade for the holiday season. The understated colour is perfect for those who favour a more demure red lip and will instantly vamp up any festive look. Starlight Lip Gloss Add sparkle to every makeup look with this high-shine lip gloss. It’s crystal clear formula features tiny, gleaming flakes of rose gold glitter, creating a rich, eye-catching effect, making it the perfect pairing for both on top of bare lips or your favourite lipsticks. For an added multi-use bonus, the gloss also works well as a highlighter, adding a stunning shimmer to skin, cheekbones or collarbones. The Starlight Lip Gloss is ideal for the festive season and will bring a little shine to every look, creating photo-worthy pouts each and every time. Crystal Nights Eyeshadow Palette – RRP €29.95 Inspired by the gleam of semi-precious gems such as amethyst and jade, as well as all the shimmer of the festive season, the Crystal Nights palette presents nine luxe shades ranging from deep, warm mattes to high-shine and rich metallics. The palette is ultra-versatile and can be used to create dreamy daytime looks as well as dramatic night-time smokey eyes. Featuring three versatile mattes, one transition shade and five glamorous, glittering metallics, the Crystal Nights palette is sure to add flair and flourish to every holiday look. Pair the palette with shades from its sister palette, Secret Treasure, to create an infinite amount of unique makeup looks. Shades: Moonlight: Add all-over luminescence to the eyelid with this soft cream shade, inspired by the glow of the moonlight. The shade is perfect for adding brightness to any look. Haze: This neutral-toned brown is the ideal transition shade, helping blend colours smoothly and adding depth and intensity to the lid. Haze will bring even the simplest looks to another level. Crystal: A gorgeous, indulgent metallic gold, designed to draw attention to the eyes. Use it to vamp up a party look, 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, creating instant drama. 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 and turn heads. 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 – perfect for party season. Amethyst: This luxe purple shimmer is created in the likeness of amethyst crystals, designed to catch the light and add flair to any makeup look. The shimmer is flecked with pink and purple reflects, reminiscent of sparkling tinsel. Lashes – RRP €24.95 Conquer the party season in style with KASH Beauty’s faux-mink false lashes. This collection of six unique lashes are created using 3D synthetic fibres and features curved and flexible bands to make application easier. Designed to take you from day to night, each of the lashes are named after a time of the evening, beginning with the soft, natural Twilight and ending with the full-glam After Dark. Create looks ranging from subtle and demure to daring and dramatic, topping off soft shadows and smoky eyes with ease. Each set of lashes are comfortable and simple to apply. Eyeshadow Toppers – €19.95 Take your holiday looks to a new level with these uber-shiny and versatile eyeshadow toppers. Designed to be used to add intense shimmer to eyeshadows while also working well on bare lids, resulting in both stand-out day-time and striking night-time looks. Pack the toppers on to create an intense foil effect, or gently blended on top for a softer, more subtle sheen. The toppers feature a sleek, pointed applicator which makes application a breeze, allowing you to apply with precision and speed. Shades: Gold Dust: This shade is composed of chunky glitter particles in a rich gold hue. Gold Dust is sure to add depth, dimension and drama to your look. Rose Glow: The muted sheen of this stunning, rosy shadow topper is guaranteed to bring elegance and femininity to any eye look.
18075	yago	2	73	https://www.instagram.com/superfreakboutique/reel/Chd2UYHg2NI/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
18075	yago	1	5	https://www.azmovies.net/movie/crystal-nights	en	Crystal Nights (1992)	https://image.tmdb.org/t…stx4tStaxX0q.jpg	https://image.tmdb.org/t…stx4tStaxX0q.jpg	[ "https://www.azmovies.net/images/logo.png", "https://image.tmdb.org/t/p/w185/jnZbc6F6NMNlhcestx4tStaxX0q.jpg", "https://image.tmdb.org/t/p/w45/zXD6pKR3d898I4KiPrYstM9ivCP.jpg", "https://image.tmdb.org/t/p/w45/yVm0C5HXGvLCvOV8UqNHc6cCIRR.jpg", "https://image.tmdb.org/t/p/w45/2TNNcXXVz4yN508io5Rbwebjbc.jpg", "https://image.tmdb.org/t/p/w45/qVTJ8HDAcfKq1IfKMO8WlJk236d.jpg", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://image.tmdb.org/t/p/w45/lc5Yht2cIvqeKsnydzSbOshnuRo.jpg", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://image.tmdb.org/t/p/w45/qYqtHB1NUgo4kgFNzsU4eK4DvXm.jpg", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://www.azmovies.net/images/noposter.png", "https://image.tmdb.org/t/p/w45/o12rcGTVZ1Yoc6A8pVu0A0B3uSB.jpg", "https://image.tmdb.org/t/p/w45/qpX8P7QNaoytrdzc9qicJsY3Q9I.jpg", "https://www.azmovies.net/images/noposter.png", "https://image.tmdb.org/t/p/w185/bzYtco1xsZHnbVIuRraRT8YCXdF.jpg", "https://image.tmdb.org/t/p/w185/hm9gArj26PjyCYPqo7SapKytSgG.jpg", "https://image.tmdb.org/t/p/w185/9bxdLLmnoWZraPTF2asYBSxX8ox.jpg", "https://image.tmdb.org/t/p/w185/pewfnkwtvB7lx4OZnxR6LGCY4UD.jpg", "https://image.tmdb.org/t/p/w185/1LNmgJ1m5AE5CCg5eNijj21zFR7.jpg", "https://image.tmdb.org/t/p/w185/kaFhOF4XhqZtzSgavMCje9AJLxp.jpg", "https://image.tmdb.org/t/p/w185/bsybst7ZAkoUaDSlL1sHnsDgtZU.jpg", "https://image.tmdb.org/t/p/w185/eauZ3KLBcBejZDyXge5HoWJ6zwn.jpg", "https://image.tmdb.org/t/p/w185/sF1U4EUQS8YHUYjNl3pMGNIQyr0.jpg", "https://image.tmdb.org/t/p/w185/2dzSBmFWWqt8NbnubJKIWU21Y86.jpg", "https://www.azmovies.net/images/twit32.png", "https://www.azmovies.net/images/face32.png" ]	[]	[]	[ "" ]	null	[]	1992-09-02T00:00:00	Crystal Nights AZ Movies. 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 ti	en	https://www.azmovies.net/favicon.ico	AZ Movies	https://www.azmovies.net/movie/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	1	10	https://www.moviefone.com/movie/crystal-nights/CFv8MNh6rsJodU5yjJcbp6/main/	en	Crystal Nights (1992) - Movie	https://cdn.moviefone.co…g?d=360x540&q=60	https://cdn.moviefone.co…g?d=360x540&q=60	[ "https://cdn.moviefone.com/legacy/assets/x.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/image-assets/175848/jnZbc6F6NMNlhcestx4tStaxX0q.jpg?d=360x540", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/x.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035391&cv=3.6.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Tonia Marketaki", "Malvina Karali" ]	2020-06-30T00:00:00	Visit the movie page for 'Crystal Nights' on Moviefone. Discover the movie's synopsis, cast details and release date. Watch trailers, exclusive interviews, and movie review. Your guide to this cinematic experience starts here.	en	https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico	Moviefone	https://www.moviefone.com/movie/crystal-nights/CFv8MNh6rsJodU5yjJcbp6/main/	NR 2 hr 18 min In this supernaturalthemed romance a German woman in the betweenwars period is being initiated into some kind of esotericpsychic order and learns at that time that her ideal mate wont 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 others thoughts and do so in the midst of a sexual encounter Despite the boys 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	12	https://spartacus-educational.com/GERcrystal.htm	en	Kristallnacht (Crystal Night)	https://spartacus-educat…m/00crystal5.jpg	https://spartacus-educat…m/00crystal5.jpg	[ "https://spartacus-educational.com/img/spartacus-title.png", "https://spartacus-educational.com/00crystal5.jpg", "https://spartacus-educational.com/00jewishED1.JPG", "https://spartacus-educational.com/00crystal2.jpg", "https://spartacus-educational.com/00crystal4.jpg", "https://spartacus-educational.com/00crystal.jpg", "https://spartacus-educational.com/00crystal7.jpg", "https://spartacus-educational.com/00crystal3.jpg", "https://spartacus-educational.com/00crystal6.jpg", "https://spartacus-educational.com/00crystal8.jpg", "https://spartacus-educational.com/img/twitter-follow.jpg", "https://spartacus-educational.com/img/facebook-like.jpg", "https://spartacus-educational.com/img/google-circles.jpg", "https://spartacus-educational.com/00crystalBK1.jpg", "https://spartacus-educational.com/00crystalBK3.jpg" ]	[]	[]	[ "" ]	null	[]	null	A detailed account of Kristallnacht (Crystal Night). GCSE Modern World History - Nazi Germany. A-level - Life in Nazi Germany, 1933–1945. Last updated: 14th June, 2020	en	helmeticon.png	Spartacus Educational	https://spartacus-educational.com/GERcrystal.htm	On 6th July 1938, a conference of 32 nations met at Evian in France to discuss the growing international problem of Jewish migration. The conference made an attempt to impose general agreed guidelines on accepting Jews from Nazi Germany. According to Richard Evans, the author of The Third Reich in Power (2005): "One delegation after another at the conference made it clear that it would not liberalize its policy towards refugees; if anything, it would tighten things up... Anti-immigrant sentiment in many countries, complete with rhetoric about being 'swamped' by people of 'alien' culture, contributed further to this growing reluctance." (15) Ernst vom Rath was murdered by Herschel Grynszpan, a young Jewish refugee in Paris on 9th November, 1938. At a meeting of Nazi Party leaders that evening, Joseph Goebbels suggested that there should be "spontaneous" anti-Jewish riots. (16) Reinhard Heydrich sent urgent guidelines to all police headquarters suggesting how they could start these disturbances. He ordered the destruction of all Jewish places of worship in Germany. Heydrich also gave instructions that the police should not interfere with demonstrations and surrounding buildings must not be damaged when burning synagogues. (17) Heinrich Mueller, head of the Secret Political Police, sent out an order to all regional and local commanders of the state police: "(i) Operations against Jews, in particular against their synagogues will commence very soon throughout Germany. There must be no interference. However, arrangements should be made, in consultation with the General Police, to prevent looting and other excesses. (ii) Any vital archival material that might be in the synagogues must be secured by the fastest possible means. (iii) Preparations must be made for the arrest of from 20,000 to 30,000 Jews within the Reich. In particular, affluent Jews are to be selected. Further directives will be forthcoming during the course of the night. (iv) Should Jews be found in the possession of weapons during the impending operations the most severe measures must be taken. SS Verfuegungstruppen and general SS may be called in for the overall operations. The State Police must under all circumstances maintain control of the operations by taking appropriate measures." (18) A large number of young people took part in what became known as Kristallnacht (Crystal Night). (19) Erich Dressler was a member of the Hitler Youth in Berlin. "Of course, following the rise of our new ideology, international Jewry was boiling, with rage and it was perhaps not surprising that, in November, 1938, one of them took his vengeance on a counsellor of the German Legation in Paris. The consequence of this foul murder was a wave of indignation in Germany. Jewish shops were boycotted and smashed and the synagogues, the cradles of the infamous Jewish doctrines, went up in flames. These measures were by no means as spontaneous as they appeared. On the night the murder was announced in Berlin I was busy at our headquarters. Although it was very late the entire leadership staff were there in assembly, the Bann Leader and about two dozen others, of all ranks.... I had no idea what it was all about, and was thrilled to learn that were to go into action that very night. Dressed in civilian clothes we were to demolish the Jewish shops in our district for which we had a list supplied by the Gau headquarters of the NSKK, who were also in civilian clothes. We were to concentrate on the shops. Cases of serious resistance on the part of the Jews were to be dealt with by the SA men who would also attend to the synagogues." (20) Paul Briscoe, the son of Norah Briscoe, a member of the National Union of Fascists, had been educated in Nazi Germany and was living in the small town of Miltenberg: "At first, I thought I was dreaming, but then the rhythmic, rumbling roar that had been growing inside my head became too loud to be contained by sleep. I sat up to break its hold, but the noise got louder still. There was something monstrous outside my bedroom window. I was only eight years old, and I was afraid. It was the sound of voices - shouting, ranting, chanting. I couldn't make out the words, but the hatred in the tone was unmistakable. There was also - and this puzzled me - excitement. For all my fear, I was drawn across the room to the window. I made a crack in the curtains and peered out. Below me, the triangular medieval marketplace had been flooded by a sea of heads, and flames were bobbing and floating between the caps and hats. The mob had come to Miltenberg, carrying firebrands, cudgels and sticks." Paul Briscoe could hear the crowd chanting "Jews out! Jews out!" In his autobiography, My Friend the Enemy: An English Boy in Nazi Germany (2007) Briscoe recalled: "I didn't understand it. The shop was owned by Mira. Everybody in Miltenberg knew her. Mira wasn't a Jew, she was a person. She was Jewish, yes, but not like the Jews. They were dirty, subhuman, money-grubbing parasites - every schoolboy knew that - but Mira was - well, Mira: a little old woman who was polite and friendly if you spoke to her, but generally kept herself to herself. But the crowd didn't seem to know this: they must be outsiders. Nobody in Miltenberg could possibly have made such a mistake. I was frightened for her.... A crash rang out. Someone had put a brick through her shop window. The top half of the pane hung for a moment, like a jagged guillotine, then fell to the pavement below. The crowd roared its approval." (21) Armin Hertz was 14 years old in 1938. His parents owned a furniture store in Berlin. He later explained what happened that night: "During the Kristallnacht, our store was destroyed, glass was broken, the synagogues were set on fire. There was a synagogue in the same street where we lived. It was on the first floor of a commercial building; downstairs were stores, and upstairs was a synagogue. In the back of that building, there was a factory so they could not set that synagogue on fire because people were living and working there. But they threw everything out of the window - the Torah scrolls, the prayer books, the benches, everything was lying in the street." (22) Some people in Germany attempted to help the Jews on Kristallnacht. Susanne von der Borch lived in Munich. She was woken by the sounds of people screaming: "My mother was at the window. I sat up and saw the house opposite in flames. I heard someone screaming, Help! Why doesn't anyone help us? and I asked my mother, Why is the house burning, where are the fire brigades, why are the people screaming? And she just said, Stay in bed." Her mother left the house. "After a longtime, my mother came back. She had fifteen people with her. I was shocked because they were in nightgowns and slippers, or just a light coat. And I could see they were all our Jewish neighbours. She took them into the music room and my brother and I were told, Be quiet and don't move. My mother was very strict, so we didn't move. And we heard our mother phoning people up, and my sister was sent here and there to get drinks for them. Then these people were driven away by our chauffeur to relatives or friends." (23) Inge Neuberger was an eight-year-old girl who lived in Mannheim. She later recalled that while walking to a Jewish school with her cousin the next morning: "We saw a bonfire in the courtyard in front of the synagogue. Many spectators were watching as prayer books and, I believe, Torah scrolls were burned. The windows had been shattered and furniture had been smashed and added to the pyre. We were absolutely terrified. I am fairly certain that the fire department was in attendance, but no attempt was made to extinguish the flames. We ran back to my home to tell my mother what we had seen. She told us that we would leave the apartment and spend the day in Luisenpark, a very large park in town. We spent the entire day in the park, moving from one area to another." (24) Melita Maschmann was in Berlin that night and "had to pick her way through pieces of broken glass and furniture scattered all over the street". Maschmann asked a policeman what had happened. The policeman’s reply was “In this street they’re almost all Jews.” When he was questioned further he added: “Last night the National Soul boiled over.” She now decided that the "Jews are the enemies of the new Germany. Last night they had a taste of what that means." (25) Despite these comments Maschmann later claimed that, "like many of her upper-middle-class friends, she discounted the violence and anti-semitism of the National Socialist as passing excesses which would soon disappear". (26) A British journalist, Hugh Carleton Greene, was shocked by what he saw the following morning: "Racial hatred and hysteria seemed to have taken hold of otherwise decent people. I saw fashionably dressed women clapping their hands and screaming with glee while respectable middle-class mothers held up their babies to see the 'fun'. Women who remonstrated with children who were running away with toys looted from a wrecked Jewish shop were spat on and attacked by the mob. There were remarkably few policemen on the streets. Those who were there, when their attention was drawn to the outrages which were proceeding before their eyes, shrugged their shoulders and refused to take any action. Several hundred Jewish shopkeepers were, however, put under 'protective custody' for attempting to shield their property. A state of hopeless panic reigns tonight throughout Jewish circles. Hundreds of Jews have gone into hiding and many businessmen and financial experts of international repute have not dared to sleep in their own homes." (27) Inge Fehr went to school the next day but was immediately told that she had to return home. "Our headmistress told us a pogrom was in progress. We had to evacuate because members of the Hitler Youth carrying stones were gathering at the front and they were setting other buildings alight. We were all to leave quickly by the back door and not to return to school until further notice. On my way home, I followed the smoke and arrived at the synagogue in the Fasanenstrasse which had been set alight. Crowds were watching from the opposite pavement. I then passed through the Tauentzienstrasse where I saw crowds smashing Jewish shop windows and jeering as the owners tried to salvage their goods. When I got to our house I saw that our chauffeur, who had worked for us for years, had painted Fehr Jude in red paint on the pavement outside." (28) Armin Hertz was asked my his mother to find out about her sister because she had two little children and in the back of the building where she lived there was also a synagogue. "Get your bicycle and go to Aunt Bertha to see what's going on." Soon after he left home he became aware of the damage that had taken place. "As I was riding along the business district, I saw all the stores destroyed, windows broken, everything lying in the street. They were even going into the stores and running away with the merchandise. Finally, I got to my aunt's house and I saw a large crowd assembled in front of the store. The fire department was there; the police were there. The fire department was pouring water on the adjacent building. The synagogue in the back was on fire, but they were not putting the water on the synagogue. The police were there watching it. I mingled with the crowd. I didn't want to be too obvious. I didn't want to get into trouble. But I heard from people talking that the people who lived there were all evacuated, all safe in the neighborhood with friends. So I went right back and reported to my mother. After Kristallnacht our store was destroyed and it was impossible to stay in Berlin." (29) Effie Engel was living in Dresden in November 1938. "Just across from us there was a small fabric store that had a Jewish owner. You knew that because of his name. I was still an apprentice at the time of the Kristallnacht, when the Nazis, especially the SA, went around the city destroying all the shops. And those of us in our office were in the immediate vicinity when we watched them smashing up that shop over there across from us. The owner, who was a small, elderly man, and his wife were intimidated and just stood by and wept.... After this the shop was closed. They had stolen everything and cleared it out, and then the two Jews were picked up and they disappeared and never showed up again." (30) Reinhard Heydrich ordered members of the Gestapo to make arrests following Kristallnacht. "As soon as the course of events during the night permits the release of the officials required, as many Jews in all districts, especially the rich, as can be accommodated in existing prisons are to be arrested. For the time being only healthy male Jews, who are not too old, are to be detained. After the detentions have been carried out the appropriate concentration camps are to be contracted immediately for the prompt accommodation of the Jews in the camps." (31) Josef Stone was one of those arrested. "Early in the morning I was walking down the street and two SA men came to me and stopped me. 'Come with us,' they said. I didn't know them; they didn't know me, but they must have known I was a Jew. I don't know how they knew, but they knew. They kept me for the rest of the day, but by the evening they let me go. Then, on my way home, I saw all the destruction on the streets." (32) Inge Neuberger remembers her father going into hiding and "spent the next six weeks in the attic of our building. I was given strict orders that if anyone asked about my father's whereabouts I was to say that I didn't know where he was. I remember how strongly this was impressed on me." (33) Joseph Goebbels wrote an article for the Völkischer Beobachter where he claimed that Kristallnacht was a spontaneous outbreak of feeling: "The outbreak of fury by the people on the night of November 9-10 shows the patience of the German people has now been exhausted. It was neither organized nor prepared but it broke out spontaneously." (34) However, Erich Dressler, who had taken part in the riots, was disappointed by the lack of passion displayed that night: "One thing seriously perturbed me. All these measures had to be ordered from above. There was no sign of healthy indignation or rage amongst the average Germans. It is undoubtedly a commendable German virtue to keep one's feelings under control and not just to hit out as one pleases; but where the guilt of the Jews for this cowardly murder was obvious and proved, the people might well have shown a little more spirit." (35) On 11th November, 1938, Reinhard Heydrich reported to Hermann Göring, details of the night of terror: "74 Jews killed or seriously injured, 20,000 arrested, 815 shops and 171 homes destroyed, 191 synagogues set on fire; total damage costing 25 million marks, of which over 5 million was for broken glass." (36) It was decided that the "Jews would have to pay for the damage they had provoked. A fine of 1 billion marks was levied for the slaying of Vom Rath, and 6 million marks paid by insurance companies for broken windows was to be given to the state coffers." (37) David Buffum, the American Consul in Leipzig, reported: "The shattering of shop windows, looting of stores and dwellings of Jews took place in the early hours of 10 November 1938.... In one of the Jewish sections an 18 year-old boy was hurled from a three-story window to land with both legs broken on a street littered with burning beds. The main streets of the city were a positive litter of shattered plate glass. All of the synagogues were irreparably gutted by flames. One of the largest clothing stores was destroyed. No attempts on the part of the fire brigade were made to extinguish the fire. It is extremely difficult to believe, but the owners of the clothing store were actually charged with setting the fire and on that basis were dragged from their beds at 6 a.m. and clapped into prison and many male German Jews have been sent to concentration camps." (38) The day after Kristallnacht, the Nazi Party held a rally in Nuremberg. Around 100,000 people attended in order to hear the anti-Jewish invective of Julius Streicher, the man known to be the most rabid anti-semite in Nazi Germany. "Photographs of the rally show relatively few men in uniform. Instead, the faces of ordinary Germans - that is, the collective face of Nuremberg and of Germany - can be seen there conveying their ardent support for their government and the eliminationist program." (39) On the 11th November, 1938, Susanne von der Borch attended a meeting of the German Girls' League: "A few of the Hitler Youth leaders were there, who I normally liked a lot. And they were standing there telling us how they had spent the night. They said they had been at a shop, the Eichengrun in Munich, and they'd smashed the windows, and they'd got hold of one Jew and shaved the hair on his head. And I said, You horrible pigs! And I thought, I have to find out the truth, what was really going on. And that was when I really started to ask serious questions." (40) Consequences of Kristallnacht On 12th November, 1938 Joseph Goebbels had a meeting with Hermann Goering and Reinhard Heydrich. Goebbels commented: "I am of the opinion that this is our chance to dissolve the synagogues. All those not completely intact shall be razed by the Jews. The Jews shall pay for it. There in Berlin, the Jews are ready to do that. The synagogues which burned in Berlin are being leveled by the Jews themselves. We shall build parking lots in their places or new buildings. That ought to be the criterion for the whole country, the Jews shall have to remove the damaged or burned synagogues, and shall have to provide us with ready free space. I deem it necessary to issue a decree forbidding the Jews to enter German theaters, movie houses and circuses. I have already issued such a decree under the authority of the law of the chamber for culture. Considering the present situation of the theaters, I believe we can afford that. Our theaters are overcrowded, we have hardly any room. I am of the opinion that it is not possible to have Jews sitting next to Germans in varieties, movies and theaters. One might consider, later on, to let the Jews have one or two movie houses here in Berlin, where they may see Jewish movies. But in German theaters they have no business anymore. Furthermore, I advocate that the Jews be eliminated from all positions in public life in which they may prove to be provocative. It is still possible today that a Jew shares a compartment in a sleeping car with a German. Therefore, we need a decree by the Reich Ministry for Communications stating that separate compartments for Jews shall be available; in cases where compartments are filled up, Jews cannot claim a seat. They shall be given a separate compartment only after all Germans have secured seats. They shall not mix with Germans, and if there is no more room, they shall have to stand in the corridor." (43) The only people who were punished for the crimes committed on Kristallnacht were members of the Sturm Abteilung (SA) who had raped Jewish women. The judge ruled that this was worse than murder, since they had violated the Nuremberg Laws on sexual intercourse between Aryans and Jews. Such offenders were expelled from the Nazi Party and turned over to the civil courts. The judge released those charged with murder as they were only following orders. (44) Ulrich von Hassell, a former German diplomat, was appalled by the events of Kristallnacht and the reactions of the major foreign powers: He wrote in his diary: "I am writing under the crushing emotions evoked by the vile persecution of the Jews after the murder of vom Rath. Not since the World War have we lost so much credit in the world, and that shortly after the greatest foreign policy successes. But my chief concern is not with the effects abroad, not with what kind of foreign political reaction we may expect - at least not for the moment. The debility and amnesia of the so-called great democracies is moreover too monstrous. Proof is the signing of the Franco-German Anti-War Agreement at the same time as the furious indignation worldwide against Germany, and the British ministerial visit to Paris. I am most deeply troubled about the effect on our national life which is dominated ever more inexorably by a system capable of such things... There is probably nothing more distasteful in public life than to have to acknowledge that foreigners are justified in criticizing one's own people. As a matter of fact they make a clear distinction between the people and the perpetrators of acts as these. It is futile to deny, however, that the basest instincts have been aroused, and the effect, especially among the young, must have been bad." (45) Johannes Popitz, the Minister of Finance. had been hostile to Jews in Germany: "As somebody who was very familiar with conditions in the Weimar Republic, my view of the Jewish question was that the Jews ought to disappear from the life of the state and the economy. However, as far as the methods were concerned, I repeatedly advocated a somewhat more gradual approach, particularly in light of diplomatic considerations." (46) This did not stop him criticizing Kristallnacht, Popitz protested the mass persecution of Jews by offering his resignation, which was refused. Although he despised the barbarism of the Nazi Regime, he wanted to see the Reich dominating central and eastern Europe. (47) However, Emil Nolde, the famous German artist, reacted to Kristallnacht in a much more positive wat. In a letter to a friend he commented that he could “understand” that “the operation for the removal of the Jews, who have burrowed so deep into all peoples” could not be carried out without “a lot of pain”. Not long afterwards, Nolde wrote to the Nazi press chief Otto Dietrich giving his support to Jewish persecution, explaining that he had spent his entire life fighting against the “too-great dominance of Jews in all matters artistic”. (48) The Jewish community was forced to pay the costs of Kristallnacht: "The Jews were ordered to replace all damaged property, though their insurance - when they had any - was confiscated. At the same time new decrees were issued denying the 500,000 of them a chance to earn a livelihood. They were forbidden to participate in trade or the professions; they were dismissed from all important posts in incorporated companies. Against them as a race was levied a fine of a billion marks, nominally $400 million-roughly half their remaining wealth." (49) On 21st November, 1938, it was announced in Berlin by the Nazi authorities that 3,767 Jewish retail businesses in the city had either been transferred to "Aryan" control or closed down. Further restrictions on Jews were announced that day. To enforce the rule that Jewish doctors could not treat non-Jews, each Jewish doctor had henceforth to display a blue nameplate with a yellow star - the Star of David - with the sign: "Authorised to give medical treatment only to Jews." German bookmakers were also forbidden to accept bets from Jews. (50) Joseph Herman Hertz, the Chief Rabbi of Great Britain, asked Sir Michael Bruce, a retired British diplomat, if he could travel to Germany to assess the situation. He was horrified by what he found and went straight to the British Embassy to see Sir Neville Henderson, the British ambassador, who hoped he would contact Lord Halifax, the British foreign secretary, about what could be done to help. "I went at once to the British Embassy. I told Sir George Ogilvie-Forbes everything I knew and urged him to contact Hitler and express Britain's displeasure. He told me he could do nothing. The Ambassador Sir Neville Henderson, was in London and the Foreign Office, acting on instructions from Lord Halifax, had told him to do nothing that might offend Hitler and his minions." (51) After Kristallnacht the numbers of Jews wishing to leave Germany increased dramatically. The problem was that the world's politicians reacted in a similar way to those dealing with the Syrian refugee crisis. Sweden had taken in a large number of Jewish refugees since 1933. However, the government felt it had taken too many already. According to one source "this attitude was shared by the Jewish minority in Sweden, who were apprehensive that an influx of Jewish refugees might arouse anti-semitic sentiments". (52) The American Ambassador based in Stockholm reported: "No matter how great the sympathy for the Jews may be in Sweden it is apparent that no one really wants to take the risk of creating a Jewish problem in Sweden also by a liberal admission of Jewish refugees." (53) It was claimed by one Danish newspaper, Politiken, that "Europe is inundated with refugees, but there must certainly be a place for them elsewhere in the world." (54) Most of the world looked to the United States to take these Jewish refugees. President Franklin D. Roosevelt was approached by Jewish organizations to change the quota system employed by the United States. The combined German and Austrian annual quota of 27,000 was already filled until January 1940. It was suggested that the quotas for the following three years to be combined, allowing 81,000 Jews to enter immediately. (55) President Roosevelt believed that such a move would not be popular with the American people. A public opinion poll conducted a few months after Kristallnacht asked: "If you were a member of Congress would vote yes or no on a bill to open the doors of the United States to a larger number of European refugees than now admitted under our immigration quotas?" Eighty-three per cent were against such a bill and 8.3 per cent did not know. Of the 8.7 per cent in favour, nearly 70 per cent were Jewish. As the authors of Crystal Night: 9-10 November 1938 (1974) pointed out: "At the very time when sympathy for the victims was at its height, ten Americans out of eleven opposed massive Jewish immigration into the United States." (56) Secretary of the Interior, Harold Ickes, put forward a plan to settle large numbers of German and Austrian Jewish refuges in the virtually uninhabited 120-mile-long Kenai Peninsula, in Alaska. However, four Alaskan Chambers of Commerce passed resolutions opposing the settlement plan. Felix S. Cohen, one of the Interior Department lawyers, told Ruth Gruber, how Ickes "was determined to help refugees" but that "a whole group of Alaskans came all the way down here just to fight us." These Alaskans "said there was no anti-Semitism in the Territory now because there were only a few Jewish families in each town. Bringing give thousand Jews a year would start race riots." (57) Philip Noel-Baker, the Labour Party representative for Derby, and a leading Quaker, argued in the House of Commons, that Neville Chamberlain had been morally wrong to make concessions to Hitler and it was time to change policy towards Nazi Germany. He proposed a two-point programme: the threat of reprisals, to halt the arrest and expulsion of the Jews; and the immediate creation of a rehabilitation agency for the hundreds of thousands of emigrants. "I think they (the Government) might in some measure stay the tyrant's hand in Germany by the means I have suggested. Certainly they can gather the resources, human and material, that are needed to make a new life for this pitiful human wreckage. That wreckage is the result of the mistakes made by all the Governments during the last twenty years. Let the Governments now atone for those mistakes. The refugees have surely endured enough. Dr Goebbels said the other day that he hoped the outside world would soon forget the German Jews. He hopes in vain. His campaign against them will go down in history with St Bartholomew's Eve as a lasting memory of human shame. Let there go with it another memory, the memory of what the other nations did to wipe the shame away." (58) Chamberlain's rejected Noel-Baker's proposals but did have a meeting with Edouard Daladier, the prime-minister of France on 24th November. Daladier claimed that France had already accepted 40,000 Jewish refugees and urged Britain and the United States to do more. Chamberlain told Daladier that Britain was weekly admitting 500 hundred Jewish refugees: "One of the chief difficulties, however, was the serious danger of arousing anti-semitic feeling in Great Britain. Indeed, a number of Jews had begged His Majesty's Government not to advertise too prominently what was being done." (59) French newspapers tended to support Daladier. One newspaper argued: "France is a hospitable country. It will not allow a properly accredited diplomat to be assassinated in Paris by a foreign pig who was evading a deportation order... The interests of national defence and of the economy do not permit us to support the foreign elements which have recently installed themselves in and around our capital. Paris has too long been a dumping ground for international hoodlums, the right of asylum must have limits." (60) The French Socialist Party published a resolution of its executive committee "noting with regret that of all the government of the democratic countries only the French ministers had not thought fit to express publicly their disapproval of the Nazis government's crimes.... The SFIO urges workers to combine forces before the hateful repression embodied in fascism, and to join with the Socialist party in opposing all racial prejudice and in defending the conquests of democracy and the rights of man against adversaries." (61) The Jewish National Council for Palestine sent a telegram to the British government offering to take 10,000 German children into Palestine. The full cost of bringing the children from Germany and maintaining them in their new homes, as well as their education and vocational training would be paid for by the Palestine Jewish community and by "Zionists throughout the world". (62) The Colonial Secretary, Malcolm MacDonald, told his Cabinet colleagues that the proposal should be rejected because of a forthcoming conference to be held in London, between the British government and representation of Palestinian Arabs, Palestinian Jews, and the Arab States". He argued that "if these 10,000 children were allowed to enter Palestine, we should run a considerable risk that the Palestinian Arabs would not attend the Conference, and that, if they did attend, their confidence would be shaken and the atmosphere damaged." (63) Neville Chamberlain was very unsympathetic to the plight of the Jews. He wrote to a friend: "Jews aren't a lovable people; I don't care about them myself." (64) On 8th December, 1938, Stanley Baldwin, a former Prime Minister, made a radio broadcast calling on the British government to do more for the Jews in Nazi Germany. "Thousands of men, women, and children, despoiled of their goods, driven from their homes, are seeking asylum and sanctuary on our doorsteps, a hiding place from the wind and a covert from the tempest... They may not be our fellow subjects, but they are our fellow men. Tonight I plead for the victims who turn to England for help... Thousands of every degree of education, industry, wealth, position, have been made equal in misery. I shall not attempt to depict to you what it means to be scorned and branded and isolated like a leper. The honour of our country is challenged, our Christian charity is challenged, and it is up to us to meet that challenge." (65) Six days later Chamberlain announced that the government would allow a total of 10,000 Jewish children to enter the country. However, their parents would have to remain in Nazi Germany. He also stated that Jewish refugee organisations in Britain would have to maintain them and would be responsible for finding homes for the children. (66) Anne Lehmann, a twelve-year-old girl from Berlin arrived soon afterwards. She was placed with a non-Jewish couple, Mary and Jim Mansfield, in the village of Swineshead. Anne never saw her parents again as both died at the hands of the Nazis. (67) A Jewish boy who had witnessed the destruction of the synagogue in the village of Hoengen was another child who was allowed to live in Britain later wrote: "Standing at the window of the train, I was suddenly overcome with a maiming certainty that I would never see my father and mother again. There they stood, lonely, and with the sadness of death... It was the first and last time in my life that I had seen them both weep. Now and then my mother would stretch her hand out, as if to grasp mine - but the hand fell back, knowing it could never reach. Can the world ever justify the pain that burned in my father's eyes?... As the train pulled out of the station to wheel me to safety, I leant my face against the cold glass of the window, and wept bitterly." His parents died in an extermination camp three years later. (68) In a leading article in Pravda compared the treatment of Jews in Nazi Germany with the pogroms in Tsarist Russia: "The economic difficulties and the discontent of the masses have forced the fascist leaders to resort to a pogrom against the Jews to distract the attention of the masses from grave problems within the country... But anti-semitic pogroms did not save the Tsarist monarchy, and they will not save German fascism from destruction." (69) However, although the Soviet Union was willing to admit communists fleeing from Germany it did nothing to encourage Jewish emigration and rejected requests by the League of Nations High Commissioner for German Refugees to take in people seeking help. (70) On 9th February, 1939, Senator Robert F. Wagner, introduced a Senate Resolution that would have allowed 20,000 German Jewish refugee children of fourteen and under into the United States. One argument raised against the bill was that the admission of these refugee children "would be against the laws of God, and therefore would open a wedge for a later request for the admission of 40,000 adults - the parents of the children in question". One newspaper claimed that America should concentrate on looking after its own children. Another objection raised was that the bill would create a dangerous precedent that would result in the wholesale breakdown of the existing immigration statutes. The bill "died in committee" and no further action was taken. (71) An estimated 30,000 Jews were sent to concentration camps after Kristallnacht. (72) Up until this time these camps had been mainly for political prisoners. However, in January 1939, Reinhard Heydrich ordered police authorities all over Germany to release all Jewish concentration camp prisoners who had emigration papers. They were to be told that they would be returned to the camp for life if they ever came back to Germany. (73) Josef Stone later recalled that his father benefited by Heydrich's order as he was released from Dachau after he had obtained permission to emigrate to the United States. "He was away for about four or five weeks... I remember that when he came home, it was late in the evening. I remember when he rang the doorbell he looked strange to us. Although he never had much hair... now he was completely bald." (74) On 13th May, 1939, the ocean liner, the St Louis, left Hamburg with 927 German Jewish refugees on board. All had immigration quota numbers, issued by the American Consulates in Germany, entitling them to enter the United States. However, this was for the years 1940 and 1941. Henry Morgenthau, Secretary of the Treasury and a Jew, suggested that the refugees be given tourist visas. Cordell Hull, Secretary of State, rejected the idea. The captain now tried seven Latin American countries - Cuba, Argentina, Brazil, Chile, Colombia, Panama, Paraguay and Uruguay. All these countries refused to take a single one of these refugees. On 6th June, the liner arrived in Miami and a further request was sent to President Franklin D. Roosevelt. This was ignored and the St Louis returned to Europe. Britain took 288, France 244, Belgium 214 and Holland 181. Those in Britain were safe but more than 200 of those who were given haven by France, Belgium and Holland were killed after being deported to the death camps together with French, Belgian and Dutch Jews. The authors of Voyage of the Damned: A Shocking True Story of Hope, Betrayal, and Nazi Terror (2010) later argued: "What is certain is that if Cuba or the United States had opened their doors, almost no one from the ship need have died." (75) It has been estimated 115,000 Jews left Germany in the ten months or so between November 1938 and September 1939. It has been calculated that between 1933 and 1939, approximately two-thirds of the Jewish population of Germany left the country. Almost 200,000 had been given refuge in the United States and 65,000 in Britain. Palestine, with all the restrictions imposed on it, accepted 58,000. It is estimated that between 160,000 and 180,000 of those left in Germany died in the concentration camps. (76)
18075	yago	1	47	https://issuu.com/audiovisivofvg/docs/wemw_2014_catalogue_preview	en	Wemw 2014 catalogue preview	https://image.isu.pub/14…age_1_social.jpg	https://image.isu.pub/14…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/audiovisivofvg/photo_large.jpg", "https://image.isu.pub/150709123254-ea68e5096fe84c33f66a49f5e20b71d9/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/110914094813-35b7b6e254ab4c3498d45ce870ec8e3d/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2014-03-03T11:50:47+00:00	Read Wemw 2014 catalogue preview by elisa bordon on Issuu and browse thousands of other publications on our platform. Start here!	en	/favicon.ico	Issuu	https://issuu.com/audiovisivofvg/docs/wemw_2014_catalogue_preview	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.
18075	yago	2	86	https://www.creationscrystal.com/creationscrystalstore/p/leopardnights	en	Leopard Nights — Creation's Crystal	http://static1.squarespace.com/static/615270eb8c048472aea21be0/6154be158db5a775d2cd3fb7/62d7186f364b89254f7f9861/1658531145482/CA5CACB8-5556-4715-B246-E8D2F9918E92?format=1500w	http://static1.squarespace.com/static/615270eb8c048472aea21be0/6154be158db5a775d2cd3fb7/62d7186f364b89254f7f9861/1658531145482/CA5CACB8-5556-4715-B246-E8D2F9918E92?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/f33e71b6-2413-49b6-bdc6-d0441cc5cdc1/Creation%27s_Crystal_Instagram+4.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/f33e71b6-2413-49b6-bdc6-d0441cc5cdc1/Creation%27s_Crystal_Instagram+4.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531141978-CRXKWKVGXL3SP237T6GV/CA5CACB8-5556-4715-B246-E8D2F9918E92", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531156634-0GA8VC0QYNU930OR2MQO/CDF2ADE9-9DD1-42E8-84C3-C58471F03C89", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531141978-CRXKWKVGXL3SP237T6GV/CA5CACB8-5556-4715-B246-E8D2F9918E92", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531141978-CRXKWKVGXL3SP237T6GV/CA5CACB8-5556-4715-B246-E8D2F9918E92", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531156634-0GA8VC0QYNU930OR2MQO/CDF2ADE9-9DD1-42E8-84C3-C58471F03C89", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531156634-0GA8VC0QYNU930OR2MQO/CDF2ADE9-9DD1-42E8-84C3-C58471F03C89", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531141978-CRXKWKVGXL3SP237T6GV/CA5CACB8-5556-4715-B246-E8D2F9918E92", "https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/1658531156634-0GA8VC0QYNU930OR2MQO/CDF2ADE9-9DD1-42E8-84C3-C58471F03C89" ]	[]	[]	[ "" ]	null	[]	null	Leopard Print Acrylic and Gold Engraved Earrings	en	https://images.squarespace-cdn.com/content/v1/615270eb8c048472aea21be0/7df3ef62-6e41-4390-92e5-fabfc1718fd4/favicon.ico?format=100w	Creation's Crystal	https://www.creationscrystal.com/creationscrystalstore/p/leopardnights	Leopard Nights $15.00 Leopard Print Acrylic and Gold Engraved Earrings Quantity: Add To Cart Leopard Print Acrylic and Gold Engraved Earrings Leopard Print Acrylic and Gold Engraved Earrings
18075	yago	3	25	https://www.academia.edu/20052930/_Ancient_Myth_and_Drama_in_Greek_Cinema_An_Overall_Approach_1930_2012_Logeion_%25CE%259B%25CE%25BF%25CE%25B3%25CE%25B5%25E1%25BF%2596%25CE%25BF%25CE%25BD_%25CF%2584%25CF%2587_3_2013_%25CE%25A4%25CE%25BC%25CE%25AE%25CE%25BC%25CE%25B1_%25CE%2598%25CE%25B5%25CE%25B1%25CF%2584%25CF%2581%25CE%25B9%25CE%25BA%25CF%258E%25CE%25BD_%25CE%25A3%25CF%2580%25CE%25BF%25CF%2585%25CE%25B4%25CF%258E%25CE%25BD_%25CE%25A0%25CE%25B1%25CE%25BD%25CE%25B5%25CF%2580%25CE%25B9%25CF%2583%25CF%2584%25CE%25B7%25CE%25BC%25CE%25AF%25CE%25BF%25CF%2585_%25CE%25A0%25CE%25B1%25CF%2584%25CF%2581%25CF%258E%25CE%25BD_%25CE%25BA%25CE%25B1%25CE%25B9_%25CE%25A0%25CE%25B1%25CE%25BD%25CE%25B5%25CF%2580%25CE%25B9%25CF%2583%25CF%2584%25CE%25B7%25CE%25BC%25CE%25B9%25CE%25B1%25CE%25BA%25CE%25AD%25CF%2582_%25CE%25B5%25CE%25BA%25CE%25B4%25CF%258C%25CF%2583%25CE%25B5%25CE%25B9%25CF%2582_%25CE%259A%25CF%2581%25CE%25AE%25CF%2584%25CE%25B7%25CF%2582_191_233	en	«Ancient Myth and Drama in Greek Cinema. 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An Overall Approach (1930-2012)», Logeion / Λογεῖον, τχ. 3 (2013), Τμήμα Θεατρικών Σπουδών Πανεπιστημίου Πατρών και Πανεπιστημιακές εκδόσεις Κρήτης, 191-233.				https://www.academia.edu/20052930/_Ancient_Myth_and_Drama_in_Greek_Cinema_An_Overall_Approach_1930_2012_Logeion_%CE%9B%CE%BF%CE%B3%CE%B5%E1%BF%96%CE%BF%CE%BD_%CF%84%CF%87_3_2013_%CE%A4%CE%BC%CE%AE%CE%BC%CE%B1_%CE%98%CE%B5%CE%B1%CF%84%CF%81%CE%B9%CE%BA%CF%8E%CE%BD_%CE%A3%CF%80%CE%BF%CF%85%CE%B4%CF%8E%CE%BD_%CE%A0%CE%B1%CE%BD%CE%B5%CF%80%CE%B9%CF%83%CF%84%CE%B7%CE%BC%CE%AF%CE%BF%CF%85_%CE%A0%CE%B1%CF%84%CF%81%CF%8E%CE%BD_%CE%BA%CE%B1%CE%B9_%CE%A0%CE%B1%CE%BD%CE%B5%CF%80%CE%B9%CF%83%CF%84%CE%B7%CE%BC%CE%B9%CE%B1%CE%BA%CE%AD%CF%82_%CE%B5%CE%BA%CE%B4%CF%8C%CF%83%CE%B5%CE%B9%CF%82_%CE%9A%CF%81%CE%AE%CF%84%CE%B7%CF%82_191_233	Most productions of ancient drama in modern Greece were held primarily in the restored open-air theatres of antiquity: initially at Delphi and Epidaurus, and later at Philippi, Thasos, Dodoni, etc. It was the existence of these theatres precisely that gave Greek directors, actors, set and costume designers the opportunity to work systematically on the site where these enduring masterpieces of the ancient dramatic poets were first played. This essay is the English translation of a research paper published in Greek in the exhibition catalogue Ελληνες σκηνογράφοι – ενδυματολόγοι και αρχαίο δράμα (Greek Set-Costume Designers and Ancient Drama)1 which was edited by the author. The essay focuses on the creators, milestones, problems and achievements of set and costume design for the production of ancient drama from 1919 to the end of 20th century. Essential issues are touched upon regarding the tradition, originality and vanguard. The English tranlation is more richly illustrated than the original Greek paper. 1 The touring exhibition Ελληνες σκηνογράφοι – ενδυματολόγοι και αρχαίο δράμα (Greek Set-Costume Designers and Ancient Drama), curated by the H. Fessas-Emmanouil, was organised by the Department of Theatre Studies of the University of Athens (UOA) and the Greek Ministry of Culture. It took place in March-April 1999 at the UOA Kostis Palamas Building and then toured cities in Greece and the Balkans. The topic of the exhibition and of the exhibition catalogue was the adventure of the “look” of Greek productions of ancient drama from 1919 to the end of 20th century, presented through the work of 54 set and costume designers. Α part of the original material of the exhibition and of the exhibition catalogue was the product of primary sources research of 30 undergraduate and postgraduate students of the UOA Department of Theatre Studies. _______________________________________________________________________ Th e present book follows my published history of Greek cinema in an attempt at a closer look at certain filmmakers whose work I briefly analysed there. Each chapter delineates their persistent concern for a cinematic visuality of the lived experience, accented by the social imaginary of Greek culture through the transcultural narrative codes and transnational modes of representation provided by the global medium of cinema. What we are interested in here is not only what made the cinematic ‘product’ possible but how it achieved its accepted form so that its industry could become viable. The work of Michael Cacoyannis, Nikos Koundouros, Yannis Dalianidis, Theo Angelopoulos, Antouaneta Angelidi and Yorgos Lanthimos is presented analytically its historical development (some of them it is their presentation in English). After being awarded an Oscar for his work as artistic director on the film Zorba the Greek, the Greek painter and set designer Vassilis Fotopoulos decided to put himself behind the camera and recreate the ancient myth of The Atridae in his home country. Despite the censorship and the restrictions imposed by the Regime of the Colonels, Fotopoulos' film Orestes was able to be filmed without any complications and would become a valiant allegation for freedom and world peace. From the perspective of the new American concept of underground film and of the hippy culture that was prevalent at the time, Fotopoulos produced a very personal reinterpretation of the ancient myth, updating and modernizing it. His film is today considered a strong example of the reception and transmission of Greek Mythology, highly worthy of in-depth analysis.
18075	yago	3	72	https://www.flickr.com/photos/tags/Janet%2520Laura%2520Scott/	en	Janet%20Laura%20Scott photos on Flickr	https://combo.staticflickr.com/pw/favicon.ico	https://combo.staticflickr.com/pw/favicon.ico	[]	[]	[]	[ "" ]	null	[ "Flickr" ]	2024-08-21T03:15:12.802000+00:00	Flickr photos, groups, and tags related to the "Janet%20Laura%20Scott" Flickr tag.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/tags/Janet%20Laura%20Scott/
18075	yago	3	7	https://www.dramafilmfestival.gr/en/tag/disff46/	en	DISFF46 Archives	https://www.dramafilmfes…2020/10/NS04.jpg	https://www.dramafilmfes…2020/10/NS04.jpg	[ "https://www.dramafilmfestival.gr/en/wp-content/uploads/2021/10/LogoDISFF2021b.png", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/09/1694372704785.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/09/ICO09414.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/DISFF-Main-Visual-1920x1080-BW-1.jpg", "https://i.ytimg.com/vi_webp/gP8irfoJegI/hqdefault.webp", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/DISFF-Main-Visual-1920x1080-BW.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-Open-House.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/AQUERONTE.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-Way-Winter-Comes.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-Blind.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Super.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Same-Old.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Hold-On-For-Dear-Life.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Unorthodox-.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Apostles-Of-Cinema.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Φῶς-ἐκ-Φωτός-Light-of-Light.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Offline.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Ready.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Teacups.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Ulises.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Midnight-Skin.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Le-Chenilles.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-Silence-of-The-Banana-Tree.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-River-And-The-Labyrinth.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/Bed-Days.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/The-Age-Of-Innocence.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/06/oscarssite2.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/06/OSCARS2.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/02/DISFF-Pitching-Lab-Open-Call-IG.jpg", "https://i.ytimg.com/vi_webp/cDyZd5-aoNw/hqdefault.webp", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/02/DISFF-Pitching-Lab-Open-Call-IG.jpg", "https://i.ytimg.com/vi_webp/cDyZd5-aoNw/hqdefault.webp", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/01/opencallsite-scaled-1.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/01/QuLogob.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/08/poster-3.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2022/06/φωτο-1-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/04/ICO07530-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/04/DISFFinATH-WEB2-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/03/pldisff3-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2024/01/callforentries2-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/12/FRIDA-LIAPPA-68x99-1-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/09/1694372704785-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/09/ICO09414-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/DISFF-Main-Visual-1920x1080-BW-1-36x36.jpg", "https://www.dramafilmfestival.gr/en/wp-content/uploads/2023/08/DISFF-Main-Visual-1920x1080-BW-36x36.jpg" ]	[]	[]	[ "" ]	null	[ "Drama International Short Film Festival" ]	2023-09-13T23:19:43+03:00		en	https://www.dramafilmfes…/07/icon-601.png	Drama International Short Film Festival	https://www.dramafilmfestival.gr/en/tag/disff46/	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 to the film ‘A Piece of Liberty’, directed by Antigoni Kapaka 46th DRAMA INTERNATIONAL SHORT FILM FESTIVAL 4-10 SEPTEMBER 2023 With a diverse program of 182 films from 41 countries, the 46th Drama International Short Film Festival will take place on September 4-10, 2023 in Drama. The 46th DISFF has everything: 64 Greek films, seven (7) competition sections, student films, Cinematherapy, Short Film Hub, networking, workshops, green films, films for kids, films by kids… and two “tickets” to participate in the Oscars® Academy Awards! From the 4th to the 10th of September we see the future of cinema, in Drama… This year, the President of the Jury of the National Competition Programme will be the director Lefteris Charitos and the International Competition Programme will be chaired by the documentary filmmaker Eva Stefani, while the programme includes, among others, a tribute to German cinema, Ukrainian queer short films, animation screenings from Portugal and Spain, and the “LAGFF Travels to Drama” project. The Festival begins its 46th edition with the realisation of a long-held dream: the operation, since a few months ago, of the l Undergraduate Department of Film Studies in Drama by the Hellenic Open University, which offers distance learning and live workshops in the city of Drama. In addition, we have wonderful news: from this year onwards, the films that receive the top awards- Golden Dionysos and the Grand Prix in both the National and International Competitions will automatically secure the coveted “ticket” to participate in the Oscars®. The affiliation with the Academy Awards® will grant DISFF the extra impetus it needs to fulfil its role to the utmost. The National Competition Programme and the International Competition are once again complemented by the International Student Programme and the National Student Programme. At the same time, International Animation and Short & Green Competition Programmes continue their successful course, while last but not least is the innovative Cinematherapy Programme, which joined the schools again this year and travelled within and beyond the borders. This year marks the launch of the new KIDDO competition programme with films for and by children and the Short Film Hub, which aspires to form ties between talented directors, screenwriters and producers with the international and domestic film industry –while there is an even stronger presence of the Greek Film Centre. This year’s edition, with Yannis Sakaridis as artistic director and Yorgos Demertzis as president for the fourth year, will be held simultaneously in physical spaces and online. Through the platform the films will be accessible, with free admission, throughout Greece. The 46th DISFF will take place at the Olympia Cinema and the Municipal Music School of Drama (Antonis Papadopoulos Hall), at the open-air cinema Alexandros, in the garden of the Cyclops Cultural Centre, and at the Eleftheria multi-purpose café (at the junction of Venizelos and Kountouriotou streets). In the coming days, the festival will utilize the former Andrikakis military camp, which will be transformed into a state-of-the-art centre for audiovisual arts in Drama, while the modernisation of the infrastructure of the Municipal Music School and the Olympia Cinema is underway. The Drama Festival collaborates with: Greek Film Centre (EKK), the National Centre of Audiovisual Media and Communication (EKOME), RAYCAP, CYCLOPS, Green Pixel, the Hellenic Broadcasting Corporation (ERT), Cosmote TV, Onassis Culture and many other bodies, with the full support of the Ministry of Culture and Sports, the Region of Eastern Macedonia and Thrace, the Hellenic Parliament, and of course the Municipality of Drama. Here you will find the daily programme of the festival: “INTERNAL – REFLECTION” – 46th DISFF OFFICIAL TRAILER The Drama Festival honours the 46 years of the National Competition Section with a nostalgic short film that is this year’s official trailer. Four characters, 46 years old, representing their generation, reminisce, converse with themselves and other people in their lives, aspire and continue to dream, during a short personal journey, on foot, focused on a deeply internal reflection, as a film shot would be. The film “INTERNAL – Reflection” makes a symbolic reference to all the Greek filmmakers, who in the long course of the Festival, took their first timid but crucial steps in Drama, evolved, returned or even flew even higher and further. 62 indicatively selected films from the first Festival, up to last year’s 45th Festival, which have been screened and competed, stand next to the 35 new films of this year’s National Competition, and together they become part of this story. The Festival’s Artistic Director Yannis Sakaridis is the director and editor, while the script was written by Vasilis Terzopoulos. The four characters are voiced by, alphabetically: Phoebus Delivorias, Aris Dimokidis, Nadia Kontogeorgi, Denise Nikolakou. The music is composed by 10-year-old composer and piano soloist Stelios Kerasidis, and is kindly provided by the composer and Minos EMI, a Universal Music Company. The titles and post production were edited by I.M. Christodoulou. The Festival cordially thanks all the filmmakers who willingly provided their films. A production of the Cultural Organization –Drama’s Short Film Festival. You can watch the film “INTERNAL – Reflection” at the following link: THE FESTIVAL PLATFORM Those who wish to attend the 46th DISFF online, should visit the festival platform https://www.dramafilmfestival.gr/online-festival/ (they can also access it via the website https://www.dramafilmfestival.gr from the link online festival) and follow the instructions. The films will be available from 9/4. Admission is FREE for all online festival content including the seven (7) competition sections. The award-winning films will remain available on the platform until September 11. GREEK COMPETITION The National Competition Programme, with Yannis Sakaridis as head programmer, features 35 films directed by 26 men and 13 women. You will find the list here: https://www.dramafilmfestival.gr/festival/greek-competition/ Dozens of popular actors star in the films, which this year surprise with their theme and aesthetics. Indicatively we mention: Antonis Tsiotsiopoulos (with a record number of participations), Romanna Lobach, Efthalia Papakosta, Argyris Pandazaras, Homer Poulakis, Andreas Konstantinou, Elena Topalidou, Kostas Vassardanis, Vassilis Koutsogiannis, Sofia Kokkali, Haris Fragoulis, Penelope Tsilika, Yiannis Papadopoulos, Ivonni Maltezou, Sofia Seirli, Despina Kourti, Giannis Tsortekis, Karafil Shena, Christos Sugaris, Giannis Anastasakis, Dimitris Kapetanakos, Smaragda Smyrnaiou and Dimitra Vlagopoulou, who has just returned from Locarno after receiving the award for best acting performance in the film “Animal” by Sofia Exarchou. Also appearing: Aris Servetalis, Nikolakis Zeginoglou, Alexandros Logothetis, Angeliki Papathemeli, Katerina Zisoudi, Thanos Tokakis, Aris Troupakis, Katerina Misichroni, Panagos Ioakeim and many others. New directors, who are going to be discussed, are competing, as well as several festival’s familiar faces who have been distinguished in the past and have even won the Golden Dionysus -such as Neritan Zinxhiria and Manolis Mavris. There is also a comeback to the genre of the short form by directors who have long since moved on to feature films, such as Alexandros Voulgaris (The Boy), Panagiotis Fafoutis and Giorgos Servetas. In addition, this year, we will also see some young filmmakers who are following in the artistic footsteps of their fathers, forming however their own personal style (as Alexander Voulgaris has been doing from his first steps): from Nikolas Kouloglou and Antigoni Kapaka, to Phoebus Imellos and Nick J. Pelecanos, son of the famous writer George Pelecanos, who even co-wrote the script of his son’s English-language film. There will also be some well-known directors who play or appear as actors: from Fotos Lambrinos (in a leading role), to Giannis Soldatos and Giorgos Fourtounis. But also actors making their debut as directors, such as Aeneas Tsamatis and Katerina Mavrogeorgis, or theatre directors, such as Martha Bouziouri. The writer and screenwriter Kallia Papadaki also makes her debut as a director – and speaking of writers, we will see a film based on a short story by Giorgos Skabardonis, another one based on a screenplay by Konstantinos Tzamiotis, and another inspired by an article by Stathis Tsagarousianos. The exploration of sexuality, erotic relationships between women, the “first time”, as well as separation, occupy an important part of this year’s films. Family relationships, especially the son-mother relationship, friendships that are tested, loss and coping with grief, childhood memories and childhood trauma continue to inspire short film directors once again; as do the burning social issues that plague modern Greece: racism, suicides, seas washing up the bodies of immigrants, women’s trafficking, femicide, police violence, obscurantism and bigotry, terrorism, prison. The Calvary of today’s young actors trying to survive is also present and period films, even of the Civil War era, are not absent, while comedies a la Greek remain scarce. INTERNATIONAL COMPETITION The Festival, which this year marks 29 years since its internationalisation, will screen 20 films from all over the world (from Canada to China, and from Australia to Tanzania). You will find the full list here: https://www.dramafilmfestival.gr/festival/international-competition/ This year, the International Programme, with Yorgos Zois as head programmer, features five (5) Greek films that are worthy competitors of international festival highlights: Light from Light, signed by Neritan Zinxhiria, is a film that premiered at the International Film Festival of Rotterdam and takes us on a journey to the mystical atmosphere of Mount Athos. Nikolas Kouloglou’s Super is about a love with unexpected aspects, in a supermarket. Unorthodox by Konstantinos Antonopoulos with the (anti-)hero being a heretic Forerunner, forgotten by the Byzantine authorities, who tries to survive by appealing to the kindness of strangers. A satirical stop motion animation, Ready by Eirini Vianelli, which introduces us to the unknown world of the Greek Parliament and its employees. And also Midnight Skin by award-winning director Manolis Mavris, with Romanna Lobach in a surprising role – a film that comes to us from the Cannes Film Festival Critics’ Week. Same Old, a Canadian realistic drama set in New York, is also coming from Cannes, while the French, disarmingly human drama Les chenilles – which won the Berlin Golden Bear – is coming from Berlinale. The programme also includes an imaginative short documentary from Tanzania, Apostles of Cinema, which brings us into contact with the country’s unique film culture, as well as poetic documentaries from Spain, such as the International Film Festival of Rotterdam’s favourite Aqueronte, and some moving premieres such as Open House and Hold On For Dear Life. THE OTHER FIVE COMPETITIVE PROGRAMMES: On the Festival’s website https://www.dramafilmfestival.gr you will find all the films participating in the competitive sections of the Festival along with the texts accompanying them. Here you will get an idea: INTERNATIONAL STUDENT COMPETITION PROGRAMME https://www.dramafilmfestival.gr/festival/international-student-competition/ Fourteen (14) films will be screened, including two (2) Greek films, in which animals dominate this year: lizards, cows, fish, sea urchins, and their relationship with humans. Lots of love, but also violence. In addition, we will see films about the much-discussed diversity and human sexuality in its various manifestations. Other entries head down more timeless paths, subject wise, talking about burning political issues, while others are about human relationships and their difficulty. Head Programmer of the International Student Competition Programme: Thanasis Neofotistos NATIONAL STUDENT COMPETITION PROGRAMME https://www.dramafilmfestival.gr/national-student-competition/ The programme includes 25 films from eleven (11) educational institutions in Greece and abroad; public and private, of undergraduate and postgraduate education. Among them are fiction, documentary and animation films. They represent almost every technical and aesthetic approach to audiovisual storytelling, while they cover a particularly wide range of themes – stories of relationships, identity, inclusion and isolation, social criticism and self-criticism, trauma management, personal and social responsibility. The film Justis by Aggelos Barai and Nikitas Sifonios, an interview with the father of Nikos Sambanis, who was shot dead after a police chase, will be screened out of competition, bringing to the fore the tragic consequences of prejudice and racism towards a vulnerable social group. Head Programmer: Panagiotis Iosifelis SHORT AND GREEN https://www.dramafilmfestival.gr/short–and–green/ Fifteen (15) films, which stood out from the total number of submissions to the Festival, constitute -each with its own form, visual perspective and approach to the thematic axis (environment) that intersects the specific programme- a chain of stimuli and concerns, attempting, not to wag a finger at the viewer, but to take the viewer on a less ordinary cinematic journey, and implant a small seed of redefining his or her relationship with the natural environment. The Greek entry, Eirini Tzoulia’s Lumen, takes us to Mati, on 23 July 2018 – the site of the second deadliest fire in the history of the 21st century… Head Programmer: Vasilis Terzopoulos KIDDO https://www.dramafilmfestival.gr/festival/kiddo/ Kiddo, the new section of the festival, features fourteen (14) films – including two (2) Greek films made by young people and children. Films that address issues such as racism, diversity, life motivation in young people, animal rights and the environment. An ambitious programme that we hope and believe will flourish and develop into an important programme for the children competing and for the children of the city of Drama who will attend. Head Programmer: Elena Mavridou INTERNATIONAL ANIMATION COMPETITION PROGRAMME https://www.dramafilmfestival.gr/animation/ Seventeen (17) animation films will be screened, including four (4) Greek ones, created with a variety of techniques and aesthetic trends, in genres ranging from fiction to experimental animation and documentary. Films that delve into human relationships, highlighting various aspects such as loneliness, old age and the exploration of sexuality, as well as films that delve into the relationship between man and his environment. Head Programmer: Spyros Siakas THE JURY COMMITTEES OF 46th DISFF * The jury of the National Competition Programme consists of: Lefteris Charitos (President), director, Alexia Roider, artistic director of the Cyprus International Short Film Festival, Menos Deliotzakis, director, Alexandra Matthaiou, director/screenwriter, and Asimina Proedrou, director/screenwriter. The jury of the International Competition Programme consists of: Eva Stefani (President), director, Philip Ilson, artistic director of the London Film Festival, and Marie–Pauline Mollaret, head of the short film selection segment of the Cannes Film Festival/ film critic. The jury of the International Student Competition Programme consists of: Florian Fernandez–Canto, coordinator of the Cannes Court Métrage Rendez-vous Industry, Anne Gaschutz, artistic director of the Filmfest Dresden and Thanos Tokakis, director/actor. The jury of the National Student Competition Programme consists of: Kyriakos Aggelakos (President), director/producer/screenwriter, Electra Venaki, editor, head of the Digital Lab of the Greek Film Archive, and Maria Komninou, Chairperson of the Board of Directors of the Greek Film Archive, Emeritus Professor of the National and Kapodistrian University of Athens, lecturer in the Postgraduate Programme “Cultural and Film Studies”. The jury of the Short and Green Programme consists of: Yorgos Goussis (President), director, Sofia Stavrianidou, head of the Greek Film Festival Berlin and Natasha Christia, curator, writer and educator in the field of artistic photography. The jury of the Αnimation Competition Programme consists of: Jutta Wille, director of AG Kurzfilm/producer, Alekos Papadatos, animator /director and Anthi Samardzidou, cartoonist/ illustrator. The jury of KIDDO consists of children and teenagers aged 11-18 years old: Petros Georgiadis, Tatiana Mavridou, Anna Panagiotopoulou, Christos Sapanidis and Vasiliki Stephanidou. 10ο DRAMA PITCHING LAB / FORUM For the tenth year, as part of DISFF’s active Educational Programme led by Barbara Dukas, a pitching workshop (6-8 September) and a forum (9 September) will be held. Within the framework of the DRAMA LAB Educational Platform, the Drama International Short Film Festival organizes a workshop of pitching techniques (Pitching Lab) every year, which is completed with the presentation of the selected projects to potential financiers, producers, festival directors and industry experts (Pitching Forum). Young filmmakers, screenwriters and producers from all over the world, whose projects are selected each year, participate in the Pitching Lab & Forum during DISFF, receiving further advice on the development of their projects and the completion of their original idea into a short film (fiction, documentary, animation, etc.) At the end of the Pitching Forum, and with the cooperation of DISFF HUB, participants are given the opportunity to organise one-to-one meetings with potential financiers and stakeholders for their project. Cash prizes are offered by Finos Film and the Greek Film Centre (EKK). This year, twelve (12) projects (including 4 Greek projects) have been selected and will be presented at the Pitching Forum on Saturday, 9 September (11.30 am). In addition, another eight (8) Greek projects will participate in a separate pitching workshop at the Festival’s traditional event at the Greek Film Archive at the end of October. The PITCHING LAB team: Varvara Douka, Georgina Kakoudaki, John Stephens, Stathis Paraskevopoulos † (1963 – 2023). Here you will find the projects participating in this year’s workshop: https://www.dramafilmfestival.gr/festival/pitching-lab/ THE NEWLY ESTABLISHED SHORT FILM HUB The very ambitious Short Film Hub, with Yanna Sarri in charge, has its premiere this year. Through discussions and panels, the aim is for young filmmakers to form ties with recognized professionals in the film industry in order to learn the immense possibilities of their art, promote a film project, develop a script and create a network of contacts. The Short Film Hub activities are spread throughout the Festival. Every day, at 11:00, at the open-air cinema Alexandros, the “Ask the Directors” open to the public discussions with the competing directors will be held, while at the same time, the DIRECTOR’S CUT: A Cinema of Stills workshop led by Natasha Christia will also take place, focusing on the integration of photography in cinematic theory and practice. The successful Pitching Lab/Forum activities, which is celebrating its tenth anniversary, and its collaboration with Torino Short Film Lab (TSFM Talent Development Workshop will take place on September 5-8 and TSFM Pitching on September 9, 10 am) will be continued, while Meet the Experts – daily meetings with professionals who will be in Drama, will be held for the first time this year. Meet the GFC (Greek Film Centre) The series of informative meetings Meet the GFC, which will be held for the first time this year within the Agora segment, will strengthen the long-standing strong bond between the Greek Film Centre (EKK) and the Drama Short Film Festival. From Tuesday (5/9) to Friday (8/9), executives from all the departments of the GFC will inform directors and producers on the possibilities and horizons offered through the Centre’s funding programmes and its international connections. Crew United Finally, we would like to add that the Drama Short Film Festival begins a new collaboration with Crew United, the top online platform for connecting audiovisual professionals in Europe, which started operating in Greece as Crew United Greece (https://www.crew–united.com/el/). The platform, which is now available in Greek, will be giving out three awards and will be presented at the Short Film Hub on Friday, 8 September. See the detailed programme of the SFH here: https://www.dramafilmfestival.gr/short-film-hub/ CINEMATHERAPY The Cinematherapy programme, inspired by the integrative psychotherapist Denis Nikolakou, continues, reinforced, at the 46th DISFF. Thematic axis of the Cinematherapy 2023 programme: “Human Relationships” (https://www.dramafilmfestival.gr/cinema-therapy/) As Denis Nikolakou notes, “The Cinematherapy 2023 programme is centred upon the theme of Human Relations, their fluidity and rearrangement in the 21st century, as well as the various forms that assemble their structure. More specifically, the discussions of this year’s Cinematherapy edition will revolve around the very structure of human relations during these past years, both on a personal and family level. To what extent have our relations been affected by the economic crisis, the pandemic, and socio-political developments? In what ways are their form and our values being shaped in our days?” In this context, on Friday 8/9 (20:00) at open air cinema Alexandros the film “Womb” by Themos Skandamis will be screened. A middle-aged man (Antonis Tsiotsiopoulos), on a break from a typical day, is talking to his mother on the phone when a stranger (Aris Troupakis) appears and announces some unexpected and terrible news that will change him and his sense of reality comically and tragically. On Saturday 9/9 (20:00) at the open-air cinema Alexandros the film “The Crossing” (Aeneas Tsamatis – Katerina Mavrogeorgis) will be presented. A railway crossing in the middle of nowhere. Two guards: solitary Yiannis who never leaves his post and cool Antonis who goes with the rhythm of the landscape. Every once in a while, a voice announces the passing of a train. The two guards manually lower the bars. Nothing seems to stir their daily routine until love charges in, crushing all certainties. On Thursday 7/9 (20:30) at the Cyclops Cultural Centre, the opening of the “Cinematherapy for young people 18 to 30 years old” programme will take place along with the first meeting with Denis Nikolakou and the participants. The implementation of the programme is carried out under the auspices and funding of the Ministry of Culture. There is no financial burden for the participants. This new activity, addressed for the first time to this age group, aims to create 5 mixed groups, which will meet on a weekly basis. The programme, which will be implemented in person and digitally (zoom), will last until 30/12/2023. OTHER ACTIVITIES: The parallel events of the 46th DISFF include: PAST, PRESENT and FUTURE: Ukrainian Queer Shorts (Olympia, Sunday 10 September, 17:00). A tribute to Ukrainian queer short films produced in 2022-23 by the first LGBTQIA+ film festival of Ukraine SUNNY BUNNY. Greek participation: On This Wondrous Sea by Kalliopi Legaki – a documentary about the important LGBTQ+ activist Maria Cyber. Focus on Germany (Alexandros, Friday 8 και Saturday 9 September, 20:00) Two programmes in cooperation with the AG Kurzfilm – German Short Film Association: Short Export -Made in Germany 2023 and Emerging Artists – Contemporary Experimental Films and Video Art by Upcoming Artists from Germany. LAGFF Travels to Drama in collaboration with the Los Angeles Greek Film Festival (Cyclops Garden, Tuesday 5 September, 20:30). After the successful collaboration of Drama Travels to Los Angeles Greek Film Festival, it is time for LAGFF to return the visit. A unique opportunity for Greeks of the Diaspora to participate in the great celebration of filmmakers in Drama. La Animaciόn Iberoamericana (Cyclops Garden, Tuesday 5 September, 20:30) Two animation projects from Portugal and Spain in collaboration with Animasyros 2023 International Animation Festival, the Cervantes Institute and the Animac Festival. Filmmaking workshop (Cyclops Garden, Wednesday 6 September, 20:30) The six (6) short films created by residents of Drama, in the framework of the month-long workshop held this year in the city, will be screened. Book Presentations (Alexandros, Friday 8 September, 18:00) presented and curated by the Drama-born poet Polyna G. Bana. The following books will be presented: “Her Transformation” by Amanda Michalopoulou and “Sun with bayonets” by George Skabardonis. Cine-inclusion in class, educational activity for our little friends in collaboration with the National Centre of Audiovisual Media and Communication (EKOME) (Wednesday 6 September, Municipal Music School of Drama, 18.00). An experiential workshop based on EKOME’s guide to inclusive film literacy and aimed at primary school children aged 7 – 12 years old. Green Debate (Cyclops Cultural Centre, Tuesday 5 September, 18.30) Open debate (in Greek) with the participation of academics and representatives of environmental organizations of Drama, on the topic “PEOPLE-Environment-CULTURE. In cooperation with Europe Direct Eastern Macedonia – Thrace. Speakers: Kostas Vidakis, Georgios Tsantopoulos, Georgios Paraskeviotis, Stella Andriopoulou. The event will be moderated by Vasileios Terzopoulos, Head programmer in the Short & Green Programme. At the same time and on the same day, in the park of Agia Varvara, the Greek Scouts, in cooperation with Europe Direct Eastern Macedonia and Thrace, will hold children’s experiential activities on the environment for children 6-12 years old (no pre-registration required). The award-winning films of the festival will be screened on Monday afternoon 11 September (18.00), at OLYMPIA Cinema. TICKETS For pre-booking tickets here: APPOINTMENT (ALSO) AT THE GREEK FILM ARCHIVE IN OCTOBER See you in Drama, but also in Athens, on 26-29 October, at the Greek Film Archive, where the entire National Competition Programme of the Festival will be presented and a pitching workshop will be held. The programme The Drama Festival Travels will continue next season to even more destinations, highlighting the dynamics of Greek cinema in Greece and abroad. PHOTOGRAPHIC MATERIAL Here, you can select the photos you want from all sections: https://drive.google.com/drive/folders/1vdnsCp3Bli5Iu9gLTK95puCU-ejMETPs And here from the Festival’s new visual identity: https://drive.google.com/drive/u/0/folders/15KvOIYH-YFnCMr5GaBk3s3X6BLrcWbaZ THE SPONSORS AND SUPPORTERS OF THIS YEAR’S DRAMA FESTIVAL The Drama Festival is a Cultural Organization of the Municipality of Drama and is co-funded by the Ministry of Culture & Sports, the Region of Eastern Macedonia & Thrace and the Municipality of Drama. We thank the sponsors and supporters of DISFF: Hellenic Parliament Grand Sponsors ΕΚΟΜΕ Greek Film Center RAYCAP CYCLOPS GREEN PIXEL Sponsors ERT Finos Film Onassis Culture COSMOTE TV TV5 MONDE MUSOU CREATIVE EUROPE MEDIA DESK – GREECE METROPOLITAN COLLEGE ANT1 Script School TELMACO – AVID STEFILM DIAL RADIATOR IOANNIDIS BROS – SUZUKI FISCHER WINES OF DRAMA Hariskos Greek Spirits Media Sponsors ΕRΤ, ΕRΤ3, Deftero Programme 103.7, The Voice of Greece, ΕΡΤ3 102 Fm, ΕRΤ3 95.8 FM, ERΤ Kavala, ΕRΤ Serres Television Station of the Hellenic Parliament Real Fm 97.8 Real.gr Αthens 9.84 Sto Kokkino 91.4 I Efimerida ton Synacton Athinorama tvxs.gr skywalker Partners Εuropean Film Academy Fipresci Torino Short Film Market Thessaloniki International Film Festival Olympia International Film Festival for children and young people Hellenic Open University University of West Attica Ionian University Neaniko Plano Consulat General de France, French Institut of Greece & French Institut of Thessaloniki Instituto Cervantes Animac Kurzfilm Festival Hamburg AG Kurzfilm German Films Animasyros Los Angeles Greek Film Festival Kyiv International Film Festival Molodist – Sunny Bunny Greek Association of Film Clubs Greek Association of Film Critics Greek Union of Film, Television & Audiovisual Technicians GSC Directorate of Primary Education of Drama Directorate of Primary Education of Serres Crew United Europe Direct Eastern Macedonia – Thrace
18075	yago	0	31	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	en	Here Comes the 28th Chicago International Film Festival	https://i0.wp.com/chicag…=368%2C116&ssl=1	https://i0.wp.com/chicag…=368%2C116&ssl=1	[ "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-1.png?fit=358%2C79&ssl=1", "https://i0.wp.com/chicagoreader.com/wp-content/uploads/2021/07/reader-logo-79-white-1.png?fit=358%2C79&ssl=1", "https://www.facebook.com/tr?id=2967168196628692&ev=PageView&noscript=1&cd%5Bpage_title%5D=Here+Comes+the+28th+Chicago+International+Film+Festival&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=https%3A%2F%2Fchicagoreader.com%2Farts-culture%2Fhere-comes-the-28th-chicago-international-film-festival&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=10529276" ]	[]	[]	[ "" ]	null	[ "Zbigniew Banas", "Meredith Brody", "Andy Klein", "Wendy Lidell", "Patrick Z. McGavin", "David Overbey", "Gerald Peary", "Reece Pendelton", "Ray Pride", "Jonathan Rosenbaum" ]	1992-10-08T09:00:00+00:00	The Films: Week One	en	https://chicagoreader.co…o-icon-32x32.png	Chicago Reader	https://chicagoreader.com/arts-culture/here-comes-the-28th-chicago-international-film-festival/	FRIDAY, OCTOBER 9 Dream of Light This Spanish film by Victor Erice will inevitably be compared to La belle noiseuse, Jacques Rivette’s masterpiece in which Michel Piccoli impersonates a painter who exhaustively sketches Emmanuelle Beart as she tirelessly bends her nude body into evermore tortuous poses over four hours (two hours in the television version). Erice’s film follows his friend the Spanish realist painter Antonio Lopez as he tortuously (under a canopy in rain, laying boards over the mud when the rain stops) paints a beloved quince tree in his backyard, discarding one painting, starting another, as he tries to capture the elusive quality of Spain’s late-summer light (the original title translates to “Sun on the Quince Tree”). All the while he converses with artist friends, the builders next door, visiting collectors, and family about the work at hand. The art of the film gets inextricably mixed up with the painter’s art, the delicious languorous rhythm of the cutting confounded with the painter’s delicate brushwork. just as the inexplicable touches of white paint that Lopez carefully daubs day after day on the canvas eventually resolve into a coherent pattern of light and shadow, the film’s vagrant bits of information magically add up in the end to a consideration of life and love and beauty. Quite a lot for two hours and 18 minutes–there’s even a surprise in store, as the painter gets painted himself, and Erice moves us out into the velvet dusk of Madrid. It’s an extraordinary film. (MB) (Pipers Alley, 7:00) Roy Rogers–King of the Cowboys Dutch filmmaker Thys Ockersen previously made adulatory documentaries about American B-movie directors like Sam Fuller. On this trip to the USA he goes after aging six-gun hero Roy Rogers. But before he gets to the ailing cowpoke in California, the peripatetic director attends a creaky B-cowboy-movie convention in Ohio and then rambles about rural America seeking out Rogers lore. It’s thin stuff, a fanzinelike road movie. The film’s payoff is a genial encounter at last with the ever-regal King of the Cowboys, who, on his sickbed, proves a sharpshooter in answering the soft, soft questions put to him. That’s all, folks: idolization of Hollywood without a trace of irony. (GP) (Pipers Alley, 7:00) The Lost Language of Cranes Nigel Finch made this adaptation for British television, transposing David Leavitt’s first novel from New York to London. The move works surprisingly well: lack of communication and sexual repression are right at home with the British couple Rose and Owen Benjamin (beautifully portrayed by Eileen Atkins–her lips were never thinner–and the tragically pale Brian Cox), whose tense, bloodless marriage might have gone on unexamined forever but for their son’s announcement that he is gay. It seems that he has fallen in love with an expatriate American who was raised by a gay couple (John Schlesinger and Rene Auberjonois in delicious cameos) after his parents died in a car crash. Something akin to a car crash results in the Benjamin household, too. Screened on PBS in an altered version (some language was cut–the lost language of The Lost Language of Cranes–and new love scenes were shot with actors in underwear rather than nude), this small but solid movie deserves a wide audience and a life on the big screen. (MB) (Music Box, 7:00) Happy Birthday! This is German director Doris Dorrie’s best film since her 1985 art-house hit Men, although she’s made several films in the intervening years, including the unreleased American coproduction Him and Me, in which a man and his talking penis are the main characters. Cheekiness is typical of Dorrie’s approach to comedy, and the viewer’s perception of inappropriateness or borderline offensiveness of her subject matter is a necessary component of the black humor. This film, originally titled Happy Birthday, Turk!, is a very black comedy in which streetwise Kemal Kayankaya, a Turkish-German private eye who speaks not a word of Turkish, is hired by a mysterious and beautiful Turkish woman to investigate the death of her father and find her missing husband. Part detective story, the film also makes much satirically of Kemal’s uphill struggle against second-class citizenship. Dorrie has always had a problem with endings, and hers are usually off-putting in a way that serves to nullify the comedy. In this way a shockingly savage beating near the end of Happy Birthday! abruptly changes the tone of the film, although Dorrie does succeed in bringing off a reasonably apt, if rather lame, ending. (Scharres) (Pipers Alley, 7:15) Mozart Quarter Jean-Pierre Bekolo’s comedy-fantasy from Cameroon follows a young girl named Chef de Quartier who is transformed into a man called Montype by a witch after betraying too much curiosity for her age. He/she promptly joins a boys’ gang and starts romancing the daughter of a neighborhood cop. The plot carries a few coincidental echoes of George Axelrod’s play Goodbye Charlie, but what’s most notable about this first feature is how much it owes to the films of Spike Lee and other recent African American directors, a fact it briefly acknowledges in the dialogue. One can find the implications of this influence disquieting, but Bekolo’s deft handling of his actors still makes this a charmer. (JR) (Pipers Alley, 7:15) Friends and Enemies This first feature by Andrew Frank tells the story of four friends from a tightly knit Italian American community in New York whose friendship is put to the test when one of them kills a man in a drunken rage behind a neighborhood bar. The friends, who are also witnesses to the crime, help dispose of the evidence and create an alibi only to find their friendship turn to hatred when each one begins to suspect the others of cracking under police questioning. Any hope of rescuing the film from predictability is dashed by some painfully awkward acting; the attempt at genuine neighborhood banter between friends is executed with all the authenticity of a beer commercial. Perhaps the film’s only redeeming performance comes from Roger Rignack, who, as one of the friends, serves as the film’s moral center, although one has to wait until the last half hour of the film to see anything of substance from him. (Pendleton) (Pipers Alley, 9:00) Luminous Moss A Japanese author doing research for a new novel comes across the story of a strange incident that took place during the waning days of World War II. As seen in a flashback, a small Japanese naval ship on a routine supply mission runs aground during a winter storm. The four survivors are forced to take refuge in a small cave and wait out the brutal winter before they can venture out for help. When one of the four men dies of frostbite, the captain decides that the survivors must resort to cannibalism in order to stay alive. The film centers mainly on the ethical and moral dilemmas the remaining three men face as they struggle to live with–and possibly die by–the individual choices they make. Veteran director Kei Kumai does best when directly addressing the issues of guilt and what it means to retain one’s humanity under such circumstances. However, the thematic link between the main story and that of the author ends up undermining the often eerie atmosphere and proves to be a distraction. The result is a rather flat rendering of what might have been a more consistently effective film. (Pendleton) (Pipers Alley, 9:00) Sweet Emma, Dear Bobe After the histrionics of Mephisto and the tightlipped pageantry of Colonel Redl, Istvan Szabo’s latest film is a curiously understated, almost contemplative, and never condescending little film about little people leading little lives. Two friends from the country, Emma and Bobe, teach Russian and share confidences, adventures, and a room in a drab teachers’ dorm in Budapest. But the abrupt overthrow of communism leaves them awash in a sea of bureaucratic uncertainty, where changes in power can mean changes in language. When Russian is suddenly dropped from the required curriculum, the women, in a frantic game of catch-up, study English in the evening so they can teach what they’ve learned to their classes the next morning. No longer secure within the old system and ill-equipped to profit from the new, they moonlight at odd jobs and snatch at dead-end relationships, trying desperately to carve out a life, until even their friendship can’t sustain them. (RS) (Music Box, 9:00) Crystal Nights If Tonia Marketaki’s Crystal Nights never quite manages to make its obsessions ours, it at least convinces us that they belong to someone. This film is a dream or a nightmare of obsession–of obsessional love, obsessional denial, and obsessional displacement. A German matron living in 1940s Greece who’s mystically, even satanically, linked to a darker Teutonic past, falls in love with a much younger Jew. Through time, betrayal, and death and reincarnation, she finds herself–or maybe it isn’t her–reliving the impossibility of that love. While the imagery is strange, even distasteful at times, a real visual imagination is at work here. Yet despite the subtle shifts from black and white to color and the well-crafted slow-motion dawnings of desire, this movie’s too long and too weird to make sense. The more the characters incant in German and stare at murky sacrificial murals, the more ancient Greek it all seems–ruled by the blood madness of a Phaedra or Medea but not, unfortunately, blessed with their clarity. (RS) (Pipers Alley, 9:30) The Footstep Man This New Zealand-produced feature by Leon Narbey is a competent anecdote about a sound-effects man (Steven Grives) who brings, along with his sack of shoes and miscellaneous noisemakers, a little mental instability to the job of laying in the sound effects for a spurious biopic of Toulouse-Lautrec. The wan script never gets too deeply into this sweaty man, but it’s interesting to see a story about a craftsman, rather than the standard-issue “artist” (read writer or director) becoming haunted by his creation. Narbey and cowriter Martin Edmond’s ideas outstrip the movie’s achievement, but there’s a fascinating notion burled in the sound man’s growing obsession with a doomed prostitute in the lengthy film-within-the-film, as he produces a series of creaks, rustles, and footsteps that become the proof of the movie character’s every on-screen motion. (Pride) (Pipers Alley, 9:30) Vegas in Space The title of Phillip R. Ford’s American independent feature may sound like a Don Rickles routine, but actually it’s a “sci-fi, musical drag queen extravaganza” with camp and kitsch trimmings. (Music Box, 11:00) SATURDAY OCTOBER 10 Homework This clever, gimmicky 1991 Mexican film unfolds in real time: in the opening shot, a 40ish student (Maria Rojo) hides a camera in her apartment (providing our point of view) as preparation for a date with a former lover (Jose Alonso), whom she intends to seduce on video for a school project. In the manner of Hitchcock’s Rope, the movie pretends to have been shot in one long take; in reality there are several clever diversions–e.g., the lover accidentally drapes his jacket over the camera–to mask the reel changes. Writer/director Jaime Humberto Hermosillo is fond of this device: he used it a year earlier in Bathroom Mirror and has repeated it since in Forbidden Homework (both also on the festival schedule). The plot takes several turns, as the victim progresses from innocent to outraged to complicit . . . and beyond. The always sly, slick, and wicked Hermosillo is working in much shallower waters here than in his devastating 1984 Dona Herlinda and Her Son. But he rings enough delightful changes on his one-note theme to make it an enjoyable romp, and he wisely keeps it well under 90 minutes. (AK) (Pipers Alley, 1:00) The Footstep Man See listing under Friday, October 9. (Pipers Alley, 1:00) Roy Rogers–King of the Cowboys See listing under Friday, October 9. (Pipers Alley, 1:00) The Lost Language of Cranes See listing under Friday, October 9. (Music Box, 1: 00) The Seedling Shyam Benegal, one of the festival jurors this year, made over 30 documentaries and 600 commercials before trying his first feature film in 1974. The first in a six-film series of Benegal works at the festival, The Seedling transcends the cinematic cliches of its day. Benegal displays a rewarding grasp of visual design and social dynamics that eclipses the last efforts of Satyajit Ray, the Indian director best known to American moviegoers. In The Seedling a powerful landowner forces his insolent son Surya, played by Anant Nag, to oversee the family farm instead of going to college. Surya spurns caste niceties in the countryside, but his iconoclasm proves opportunistic when his servant’s pregnancy doesn’t serve his domestic agenda. Benegal handles the cultural contradictions of family, gender, and power in modern India with precise moral insight and dramatic sophistication, and his camera movement and compositional style are highly refreshing compared to the dry, boxy look of Ray’s films. (Stamets) (Pipers Alley, 1:30) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 3:00) Crystal Nights See listing under Friday, October 9. (Pipers Alley, 3:00) Luminous Moss See listing under Friday, October 9. (Pipers Alley, 3:00) Short Documentaries From the U.S., John Keitel’s An All American Story and Michael Moore’s Pets or Meat: The Return to Flint (a mini-sequel to Roger & Me), Debbie Shuter’s Beigels Already from the UK, Genevieve Mersch’s The Red Bridge from Belgium, and Leonie Dickinson’s Tram Ways from Australia. (Music Box, 3:00) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 5:00) From Hollywood to Hanoi Tiana Thi Thanh Nga’s documentary has an identity crisis, but since identity is central to this partially autobiographical film it’s not surprising that the Vietnamese American filmmaker has tried to cover a lot in 80 minutes. Most of the film is shot in Vietnam, where Nga goes against her family’s wishes to look for lost relatives and to discover her own feelings about the country of her birth, which her family fled in 1966. She focuses on herself and her large family and their relationship to Vietnam, but she also deals with the plight of children fathered by American GIs and the cultural identity of Asian Americans in general. The My Lai massacre, Agent Orange, North Vietnam versus South Vietnam, and familial responsibility also receive serious screen time. Ultimately this complex mix works, exploring the divided loyalties and painful unresolved issues a Vietnamese American must live with. Nga balances the images of pain and joy in her trip effectively, though her monotonously cheerful, chirpy narration sometimes gets in the way of the images. (Scharres) (Music Box, 5:00) Acting It Out Sonke Wortmann’s German feature, declared the best first feature at the Montreal film festival, is about three aspiring actors in their 20s preparing in Munich for an audition in Berlin. (Pipers Alley, 5:15) Venice/Venice Henry Jaglom has made a very personal series of films over the last 20 years. They are idiosyncratic, coming from Jaglom’s own obsessions and his acute observations of everyday incidents and behavior. His first–and arguably his best–film, A Safe Place (1971), was a multileveled tale of modern city life, delightful, witty, with a sly performance by Orson Welles and a cunningly hilarious one by the magnificent Tuesday Weld. For a while he managed to push his own experiences into a seemingly more objective, fictional form that allowed him a safe space to operate in. With each film, however, we have been forced to look more and more directly into Jaglom’s own navel, not always a pretty sight. With Venice/Venice the embarrassment quotient has risen above the level of acceptance. Here Jaglom the director allows Jaglom the person to drone on and on about the director’s place in the American cinema (an important one insofar as he remains independent, original, and an often healthy antidote to mainstream cliche, but probably not as significant as Jaglom maintains). Then Jaglom the writer/director has a very attractive French woman fall madly, passionately, obsessively in love with Jaglom the person/actor. The seemingly improvised dialogue, the contrived situations, and the actions of the characters simply make one cringe and wish Jaglom had at least cast the film differently so that the gap between what his ego tells him is probable and what we see might not be so wide. (DO) (Pipers Alley, 5:15) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:30) Love in the Time of Hysteria Alfonso Cuaron’s Mexican safe-sex farce about a modern-day Don Juan; known in Mexico as Solo con tu pareja. (Pipers Alley, 7:00) Sofie Liv Ullmann makes a formidable debut as coscreenwriter and director of this rich, passionate philosophical tale of a young Jewish woman (Karen-Lise Mynster) growing up in Copenhagen at the end of the 19th century. Will Sofie run away with the great love of her life, a Christian painter with a burning soul, or marry a likable dullard, who placates her religious family because he is an Orthodox Jew? Ullmann lets her tale unfold in a deliberate, leisurely, contemplative manner, over several decades of births and deaths, bar mitzvahs, and kosher meals. Erland Josephson, Ullmann’s perennial costar in Ingmar Bergman films, steals the movie in a remarkable performance as Sofie’s Orthodox father. This piece of deft story telling captured the jury prize at the 16th Montreal film festival in September. (GP) (Music Box, 7:00) Equinox Like his mentor Robert Altman, Alan Rudolph is an actor’s director with a penchant for ensemble casts. In Equinox the cast is led by Matthew Modine, who plays twins separated at birth and representing the equal portions of good and evil suggested by the title. Modine’s impressive performance, his best since Full Metal Jacket, rivals that of Jeremy Irons in Dead Ringers. Unfortunately, Lara Flynn Boyle is no Genevieve Bujold. The story concerns the discovery of a blind trust fund established at birth for the unknowing twins, and a journalist’s efforts to identify them as the beneficiaries. The narrative is unisatisfying both dramatically and spiritually but individual scenes can be savored as the work of a true virtuoso. (WL) (Pipers Alley, 7:15) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 7:30) Benny’s Video Although difficult to watch and even more difficult to like, Benny’s Video commands respect for its intellectually refined and uncompromisingly bleak vision of a complacent consumer society numb to all feeling. Fourteen-year-old Benny comes from a family rich in material possessions, but emotionally impoverished and noncommunicative. His relation to the outside world is mediated entirely by technology: even the view from his shuttered bedroom window appears on a video monitor. Benny’s alienation is so grave that he commits a heinous act, captured on videotape, just to “see what it’s like.” When his parents see the tape, their reaction is equally chilling. They express no shock, no outrage, no moral judgment; their only concern is to return to the status quo of their comfortable lives. Austrian director Michael Haneke (The Seventh Continent) considers the film part of “a report on the progressive emotional glaciation of my country.” He lays out his thesis with objective camera work and low-key performances from the three central players, never indulging viewers in seductive techniques or telling them what to think. This cool treatment of an inherently hot topic should make it one of the most discussed films at the festival. (AS) (Pipers Alley, 7:30) Warsaw: Year 5703 There must have been good reasons for bringing this small-scale wartime story of Jewish survival to the screen, but the resulting tepid drama makes one wonder what they were. Magnetic Julie Delpy and wooden Lambert Wilson star as a pair of escapees from the Warsaw ghetto who find shelter in an apartment belonging to a sympathetic Polish woman (Hanna Schygulla). Forced by circumstances into uncomfortable role-playing, the couple finds itself partaking in a love triangle that is as potentially destructive as the oppression raging outside the apartment’s walls. Shot mainly in dark, somber tones, Warsaw: Year 5703 (the title refers to the Jewish numbering of the year 1943) turns the apartment into a microcosm that collapses under the weight of escalating intimate tensions. Yet the ensuing drama never quite catches fire: there is too much predictability and redundancy to engulf the viewer in emotion. What might have worked well on stage resonates here with a distant feeling of deja vu. The relative lack of chemistry among the principal players further dilutes what historically must have consisted of a series of agonizing choices. (ZB) (Pipers Alley, 9:00) The Boys From St. Petri Soren Kragh-Jacobsen’s The Boys From St. Petri is an elaborately mounted but forgettable movie directed toward adolescents about the origins of the Danish resistance against Nazi occupation. Set in the summer of 1942, it follows a clique of high school seniors (almost all potential Calvin Klein models) who join a clever working-class boy in staging a series of pranks. Their success encourages them to bolder acts of sabotage, which eventually lead to the bombing of a train and their capture. While there’s an attempt to portray how individual loyalties and motivations lead to political actions, most of the script consists of shorthand cliches instead of drama. Several devices fall flat, including a pretentious Last Supper tableau before their final act and a student production of Hamlet with the inevitable foregrounding of the line “Something is rotten in the state of Denmark.” The movie’s lasting impression lies in its pretty faces, lovely glades, handsome interiors, and the honeyed light that drenches everything. (Pride) (Pipers Alley, 9:30) Luna Park This electrifying second feature by Pavel Lounguine, director of Taxi Blues, charts a vertiginous roller coaster ride toward national identity quite different from the “liberation from communism” that’s the West’s only perception of Russia’s fall from grace. And a wild ride it is. It opens with a scene of extraordinary, virtuoso violence–a bloody head-on, hand-to-hand collision of skinheads and police–and ends with a quiet train excursion through verdant countryside with no particular destination. Our hero, Andrei, is one of the leaders of a neo-Nazi group headquartered in an old amusement park and dedicated to purifying Mother Russia by ridding her of the taint of Jews, homosexuals, and other undesirables. But when Andrei’s angry search for his hitherto unknown and unexpectedly Jewish father leads him into the heart of that darkness, it is only to discover an infuriatingly innocuous and quite likable bunch of eccentrics puttering around an apartment, good-naturedly nattering about prostate problems, or inviting him to impromptu music recitals and thrown-together meals. Of course it helps to be able to rush through those incredible rabbit-warren Moscow apartments, with their innumerable rooms, odd twists and turns, and always unexpected contents. But what is truly extraordinary in Luna Park is the sheer vitality of Lounguine’s camera no matter what it’s recording, a vitality capable of encompassing the most disparate human possibilities. (RS) (Pipers Alley, 9:30) On Earth as in Heaven The premise of Marion Hansel’s film is simple: all the babies about to be born decide they don’t want to be born. As in many SF films of the 50s, the press, the scientists, the doctors–even the expectant mothers deny the evidence, unable to accept the obvious. Yet the reasons for the revolt are as clear as the televised images of violence against innocent children that the fetuses, through the bodies of their mothers, witness each day. The future of the human race comes to rest upon one woman–a Spanish journalist living in France, whose encounter with a nice-but-married man has resulted in a child she’s determined to keep. Her quest to understand the babies’ choosing death over life and her search for an argument to persuade her child to choose life is at the center of a film that, perhaps honestly, asks eternal questions about bringing a child into a far-from-perfect world. But no film exists in a void, and in a time when abortion clinics are bombed, images of talking fetuses can’t be construed as born-again innocence. (RS) (Pipers Alley, 9:30) Amazing Grace Amos Gutman’s feature seems less a consideration of a homosexual relationship between two young Tel Aviv men than a particularly sad, cruel, and desperate portrait of alienation and loss. It’s studded with provocative themes of intense gay longing, rejection, freedom, and desire, but it lacks the concentration, energy, and drive to fully sustain them. Gutman, production designer Shmuel Ma’oz, and cinematographer Amnon Zalayit do a wonderful job of expressing the entrapment and claustrophobic conditions of a gay underground that’s been destroyed by AIDS, as captured in the tentative, doom-laden affair between the naive and innocent Jonathan (Gal Hoyberger) and the cynical, HIV-positive Thomas (Sharon Alexander). The central relationship lacks definition, and the film quickly devolves into a series of less interesting subplots, various family dynamics, and secondary characters rather than leading to any discoveries. Amazing Grace, with its bad-taste decor, revelry in kitsch, and sublime contempt for the heterosexual structure, is like a John Waters film without the jokes. For better or worse, it’s very much a film about Jewish mothers, pitched between camp farce and the far more serious pain and injury produced by the sons’ sexual identities (and inevitable lack of children). Gutman’s direct, natural style serves his actors well, and there are isolated moments of terror and pain, though the film lacks the dramatic clarity to reach actual gravity or, for that matter, grace. (PZM) (Music Box, 10:00) Vegas in Space See listing under Friday, October 9. (Music Box, midnight) SUNDAY, OCTOBER 11 Crystal Nights See listing under Friday, October 9. (Pipers Alley, 1:00) Sweet Emma, Dear Bobe See listing under Friday, October 9. (Pipers Alley, 1:00) Warsaw: Year 5703 See listing under Saturday, October 10. (Pipers Alley, 1:00) Mussolini: The Last 600 Days In this age of instant communication it doesn’t happen often that new documentary footage surfaces suddenly, especially that dealing with a period as thoroughly researched as World War II. But miles of stock footage on the last two years of Mussolini’s reign were recently discovered by the Italian Istituto Luce. Shot between October 1943 and May 1945 and never publicly shown, the material provides a fascinating look into the atmosphere of wartime Italy and the uneasiness that stemmed from the clash between the country’s perceived historical purpose and the desire for peace. The film alternates briskly between the big picture of Mussolini’s political dealings and their effects on the proud but confused Italian population, neither deifying nor condemning the man who single-handedly charted the course of his nation. Of particular historic interest is newsreel footage that sheds new light on the complex relationship between Italy and Germany. From a purely cinematic standpoint, there is nothing that necessitates watching Mussolini: The Last 600 Days on the big screen. The film could function just as well–if not better–within the more intimate format of television, but is there a station with enough programming inspiration to devote some of its precious airtime to a foreign documentary, even one as excellent as this? (ZB) (Pipers Alley, 1:00) Deadly Currents Back and forth, back and forth, Canadian documentarian Simcha Jacobovici moves his camera between impassioned, intractable Israelis and Palestinians to take one of the most thorough, and thoroughly depressing, looks to date at the debacle in the Middle East. Both sides are totally right and righteous. Both sides are totally wrong. Nobody gives an inch, and the ancient territorial fight goes on. Deadly Currents was handsomely shot in 35-millimeter, which helps the film go beyond the hobbled look of the usual well-intentioned 16-millimeter documentary. Also, Jacobovici, a Toronto Jew, manages to shoot things Jews rarely see, including secret meetings of veiled intifada leaders and a horrifying raid on an Arab marketplace in retaliation for the kidnapping and assassination of an alleged Israeli spy. “I wanted to show the legitimate concerns of both sides,” Jacobovici has said of his genuinely important film. “And I wanted to tell those who weren’t directly involved to cool it. Don’t take sides too quickly. It’s more complex than you think.” (GP) (Music Box, 1:30) Friends and Enemies See listing under Friday, October 9. (Pipers Alley, 3:00) Luna Park See listing under Saturday, October 10. (Pipers Alley, 3:00) The Sergeant Exhausted after fighting for eight years in the Iran-Iraq war, a man returns home to face a smaller war in his hometown. This time the enemy is a fellow citizen who will stop at nothing to take his land from him. At this critical juncture his Russian-born wife conveniently leaves him to go with her mother to join relatives in Soviet Azerbaijan. In his 14th commercial feature, director Masud Kimia’ie barely criticizes the corruption of the antirevolutionary factions within Iran, focusing instead on his usual themes of heroism, male bonding, and the separation of men and women. (As in his Snake Fang, shown at last year’s festival, there are unexplained instances of paranoid behavior in the hero.) Made in postrevolutionary Iran, The Sergeant excludes sex but makes much of violence. It resorts to sentimental, extended dramatic pauses at emotional moments, and its stereotypical characters and unconvincing symbolism provide a shallow image of the conditions of Iran after the war. (MSV) (Pipers Alley, 3:15) Dream of Light See listing under Friday, October 9. (Pipers Alley, 3:30) Sofie See listing under Saturday, October 10. (Music Box, 3:30) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 5:00) Happy Birthday! See listing under Friday, October 9. (Pipers Alley, 5:00) The Boys From St. Petri See listing under Saturday, October 10. (Pipers Alley, 5:30) Love in the Time of Hysteria See listing under Saturday, October 10. (Music Box, 6:30) Rich in Love Many of the people who brought you Driving Miss Daisy–director Bruce Beresford, screenwriter Alfred Uhry, and producers Richard and Lili Zanuck–have conspired on this light drama about Jill Clayburgh leaving her family (including Albert Finney) and striking out on her own. With Kyle MacLachlan, Piper Laurie, and Alfre Woodard. (Pipers Alley, 7:00) Goldberg Variations Ferenc Grunwalsky’s Goldberg Variations is a grim, frantic nightmare of the emotional chaos experienced by a husband and wife the day after their teenage son’s funeral. The visual style is unhinged from the start, with canted, grainy shots of their grimy apartment, unexpected dissolves within scenes, zooms from close-up to closer up, and many nearly abstract compositions. There’s less a linear narrative than a series of painfully emotional vignettes. Blaming himself for his son’s suicide and having no answers, the husband, too, wants to die; the wife, sharing his pain, has no compunctions about killing him. Grunwalsky’s shifting visual grammar is a turbulent complement to the emotional disorder of the bereaved parents. As the film progresses, his images are rent by shards of harsh light, with elongated shadows torturing the battered apartment walls, and the camera itself blinded by lens flare. Light becomes a killing thing, a bleaching emblem of madness. The sound track adds to the chaos: Bach’s Goldberg Variations (performed by Marta Kurtag) drop in at odd moments, paired with wails like a more hysterical version of Glenn Gould’s keenings over his version of the Variations. This alternates with grubby, hyperventilating musique concrete of urban and industrial din, gossiping voices, the hum of wind, and the tearing of flesh. (Pride) (Pipers Alley, 7:00) The Churning The founding of a farmers’ cooperative in a remote Indian village, as dramatized by the leader of India’s socially conscious cinema, Shyam Benegal. The 1976 film, which stars Smita Patil and Girish Karnad, was financed on the contributions of 500,000 Indian farmers. (Dave Kehr) (Pipers Alley, 7:00) Dark of Noon After an extended period of what appeared to be creative fatigue, Raul Ruiz is back with his most sumptuous and conceivably most accessible movie to date, filmed in Portugal on a budget of roughly $4 million–all of which shows on the screen. The dialogue is in French and English; the cast includes John Hurt, David Warner, Didier Bourdon, and Lorraine Evanoff. While I’d hate to stake my life on an accurate plot synopsis, the story, which periodically resembles a gothic novel, concerns a French doctor (Bourdon) who “has two passions–miracles and foreign languages.” Arriving in a Portuguese village to claim a family fortune, he finds a profusion of dogs, crutches planted everywhere like gateposts, a mysterious marquis (Hurt), an artificial limb manufacturer (Hurt again), a painter fond of burying people alive (Warner), and a little boy who constantly performs miracles, to the consternation of the local priest. The special effects are gorgeous, and the director’s usual metaphysical quirkiness and irreverent humor lead to many of his best formal shock tactics–for example, suddenly turning the camera sideways when the mood suits him. As usual, Ruiz goes well beyond surrealism and magical realism into a realm of philosophical play more conducive to spectacle than to story, though this feature has a much cleaner narrative than most of his other works. How the New York film festival could have passed over this film after opting to show one of Ruiz’s very worst–The Golden Boat, apparently for the sole reason that it was made in New York–is one of those questions of cosmic injustice that defy explanation. (JR) (Pipers Alley, 7:30) Venice/Venice See listing under Saturday, October 10. (Music Box, 8:30) Equinox See listing under Saturday, October 10. (Pipers Alley, 9:00) Acting It Out See listing under Saturday, October 10. (Pipers Alley, 9:30) Homework See listing under Saturday, October 10. (Pipers Alley, 9:30) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:30) MONDAY, OCTOBER 12 Deadly Currents See listing under Sunday, October 11. (Pipers Alley, 5:00) Mussolini: The Last 600 Days See listing under Sunday, October 11. (Pipers Alley, 5:00) Homework See listing under Saturday, October 10. (Pipers Alley, 5:00) Student Program I Shorts by film students from the Massachusetts College of Art, New York University, the University of Iowa, the American Film Institute, the Art Institute of Chicago, AFTRS-Australia, the Munich Film & TV School, and the University of Southern California. (Music Box, 5:00) Mozart Quarter See listing under Friday, October 9. (Pipers Alley, 5:15) The Boon A condemnation of village superstition by “new wave” Indian filmmaker Shyam Benegal. A young Brahmin leaves his wife to go on a religious quest; he encounters a holy man, who gives him a magic root, and returns to his village to take up the position of spiritual leader. All goes well until a goddess appears in his dreams and commands him to rid his village of the spiritually impure (1977). (Dave Kehr) (Pipers Alley, 7:00) The Art of Animation Animated shorts by Tim Webb, Peter Lord, Geoff Dunbar, Daniel Greaves, Richard Goleszowski, and Paul Berry from the UK; Jerzy Kucia from Poland; Christopher Hinton and Craig Welch from Canada; and Howard E. Baker and Matt O’Callaghan from the U.S. (Pipers Alley, 7:00) From Hollywood to Hanoi See listing under Saturday, October 10. (Music Box, 7:00) Back to the USSR Aficionados of the truly strange may enjoy this bizarre black comedy from Finland, which appropriates vampire-film conventions to satirize the collapse of communism. All others should take warning. The drunken lout Reima, the last official of the defunct Finnish Communist Party and caretaker of the People’s House, tries to commit suicide. He’s stiff dangling from the rope that failed to break his neck when Vladimir, a Lenin look-alike, walks in seeking a room. Learning that Vladimir is a vampire, Reima plots revenge on his scornful neighbors, but the unfailingly polite Vladimir lacks a certain bite. An uneasy mixture of the grotesque and clever political commentary, Jari Halonen’s Back to the USSR has enough spurting bodily fluids to alienate serious-minded viewers, though it would require a faster pace and some flying body parts to satisfy the midnight-movie crowd. (AS) (Pipers Alley, 7:15) On Earth as In Heaven See listing under Saturday, October 10. (Pipers Alley, 7:15) Being at Home With Claude This is a film that is promoted with adjectives like “brutal,” “shocking,” “harrowing,” and “soul-stripping,” which are conveniently repeated in the press kit. It is, however, one of those earnestly conceived adaptations, all stupendous performance and self-important suspense with little lasting emotional resonance. Directed by Canadian Jean Beaudin, adapted from an original play by Rene-Daniel Dubois, and starring Quebec’s hottest young actor, Roy Dupuis, the action consists almost entirely of a police inspector interrogating a male prostitute who has savagely murdered a client. The film uses flashbacks to cinematically, open up what is essentially a one-set, one-act monologue. The suspense centers around discovering why the sensitive but world-weary Yves has killed the bookish, bisexual university student who adored him. Dupuis’ performance is the kind of tour de force that is fascinating to watch under any circumstances, and yet its escalating passion seems too precisely calculated to be moving. Sad to say, the dark-wood decor of the interrogation room leaves a more indelible impression. (Scharres) (Music Box, 9:00) Amazing Grace See listing under Saturday, October 10. (Pipers Alley, 9:15) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 9:15) Il Capitano The title sounds Italian, but this is a Swedish-Danish-Finnish coproduction by the much-praised Swedish director Jan Troell (The Emigrants, The New Land). Based on a true story about two loners who commit three gratuitous murders, it was voted the best Swedish film of last year by the Swedish Association of Film Critics. (Pipers Alley, 9:30) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 9:30) TUESDAY, OCTOBER 13 My Dear Tom Mix is an unrelentingly gentle tale of two elderly dreamers whose paths cross in a small town in Mexico in the 30s. Joaquina, played by Ana Ofelia Murguia, is a lifelong fan of silent movie star and save-the-day cowboy character Tom Mix. She cherishes every one of his heroic episodes, sending him letters laced with tactical tips for catching the bad guys. But Joaquina’s devotion slips into delusion when Domingo (Federico Luppi), a handsome white-haired stranger in a white hat, comes to town on a white horse and finds work as the projectionist at the local cinema. Hiding out in the projection booth while bandits shoot up the town, the star-crossed couple find their matching fantasies come true in an adventure suitable for a matinee, topped off with a ride-into-the-sunset finale. Unlike Buster Keaton’s 1924 film Sherlock, Jr., in which there’s a surreal edge to a sentimental adventure about a projectionist who gets mixed up in the on-screen action, director Carlos Garcia Agraz plays it straight and sweet in My Dear Tom Mix, with just a touch of quixotic camp. (Stamets) (Pipers Alley, 5:00) The Sergeant See listing under Sunday, October 11. (Pipers Alley, 5:00) The Role The Indian film industry of the 30s and 40s is the setting for Shyam Benegal’s 1977 melodrama about a poor girl’s rise to stardom and her problems with a weak husband and a possessive lover. The film is based on the biography of Hansa Wadkar, the “Joan Crawford of India.” With Smita Patil and Anant Nag. (Dave Kehr) (Pipers Alley, 5:00) Dark of Noon See listing under Sunday, October 11. (Pipers Alley, 5:00) Short Documentaries See listing under Saturday, October 10. (Music Box, 5:00) Il Capitano See listing under Monday, October 12. (Pipers Alley, 7:00) Visions of Light: The Art of Cinematography Just when you thought there was nothing left for talking heads to say about movies, here’s a first-rate visit with many of the best cinematographers in the business–John Bailey, Vilmos Zsigmond, Laszlo Kovacs, Conrad Hall, the late Nestor Almendros, Gordon Willis, Haskell Wexler, Vittorio Storaro, and Sven Nykvist, among others–talking with rare insight and perception about their craft (and discussing some of their predecessors, such as Billy Bitzer and Gregg Toland). The filmmakers, Arnold Glassman, Todd McCarthy, and Stuart Samuels, are smart enough not only to listen to what these artists have to say, but also to come up with the best clips from the best prints available to illustrate their comments. It’s a pity that they’ve basically restricted their inquiry to the U.S. industry–but not surprising considering that the American Film Institute, which coproduced this movie, differs from its counterparts elsewhere in the world by limiting most of its effort to preserving and promoting local mogul interests, foreign work be damned. (Typically, the many non-American cinematographers here are highlighted almost exclusively for their American work.) But the uncommon virtue of this documentary is that it teaches us a great deal about things we think we already know. Why, for instance, was the lighting so low in the Godfather films? You might be surprised. (JR) (Pipers Alley, 7:00) Immaculate Conception Written, directed, and produced by Pakistani expatriate Jamil Dehlavi, Immaculate Conception offers one of the most perceptive glimpses ever into the clashing values of Western and Eastern cultures. Set in Karachi in 1988 amid historical events that included the death of Pakistan’s president General Zia, the subsequent election of Benazir Bhutto, and the controversy generated by the publication of The Satanic Verses, the film follows a stunning array of characters: fundamentalists, a group of eunuchs, a Yale-educated local woman, and numerous Westerners who call Pakistan home. At the center of the story stand an English environmentalist and his Jewish American wife, whose inability to conceive a child draws both closer to the mystical fringes of the Muslim faith. An accomplished, if controversial, filmmaker, Oxford-educated Dehlavi knows enough about both the East and the West to craft believable layers of cultural conflict without taking sides. So while the Westerners–as expected–appear to be somewhat arrogant and exploitative, it is quite surprising to see many of the Pakistanis depicted as cunning, opportunistic, and down-deep hypocritically materialistic. And yet the inherent moral complexity and ambiguity written into the roles make the characters more convincing. Apart from his educational prowess, Dehlavi proves to be a master storyteller, skillfully interweaving the plot’s several interdependent threads. His fourth feature to date is a real eyeopener, to say the least. (ZB) (Music Box, 7:00) Dust of Angels This first feature by Hsu Hsiao-ming was produced by the great Taiwanese director Hou Hsiao-hsien, whose influence is evident in the visual style, primarily in the long takes. But Hsu, who shows considerable talent, has also been influenced by the violent gangster genre, and he joins young Hong Kong directors Wong Kar-wai and Lawrence Ah Mon in working toward a stylized romantic realism. Dust of Angels beautifully evokes the profound visual contrasts of the Taiwanese landscape, simultaneously not-of-this-century rural and grimly industrial, which become an offhand metaphor for deep economic and generational divisions. And the gun-toting teenagers of the story strike a chilling note as they casually deal drugs, weapons, and death. But Hsu seems unable to decide whether he wants to film action and high drama or follow his mentor’s exquisitely observational mode–two mutually exclusive ways of seeing the world. The film has been reedited since its Western debut at Cannes last May and is far more cohesive. Well worth seeing. (Scharres) (Pipers Alley, 7:15) Goldberg Variations See listing under Sunday, October 11. (Pipers Alley, 8:00) Forbidden Homework Jaime Humberto Hermosillo’s riff on the familiar themes of voyeurism, incest, and the omnipresence of video seems shallow and jejune only two years removed from his virtually identical Homework. Santiago (Esteban Soberanes), a bright, enthusiastic film student, enlists the help of Virginia (Maria Rojo), a radiant middle-aged actress, to complete his senior project. His assignment is to make a film composed in a single, uninterrupted take. While the two discuss the form and shape of the proposed narrative, Santiago surreptitiously records their discussions with the intention of passing off this footage as the finished work. The conversation inevitably moves to their shared past, where key details emerge, principally Santiago’s raging obsession for Virginia set off by their brief, intense liaison two years earlier. Hermosillo’s initial withholding of crucial exposition produces a series of genuine revelations and discoveries, but he can’t bring these shards and vignettes to a satisfying resolution. Almost the entire story unfolds on a cramped apartment roof, and the confinement and alienation produce all the wrong effects, oppression and stasis rather than liberation or freedom. Technically the film is dull, especially Alex Phillips’s flat cinematography. On the other hand the luminous Maria Rojo (Danzon) is an astonishing actress whose intricate and deft line readings and body language are breathtaking. She belongs in a better movie. (PZM) (Pipers Alley, 9:00) Being at Home With Claude See listing under Monday, October 12. (Pipers Alley, 9:15) Back to the USSR See listing under Monday, October 12. (Music Box, 9:15) Candyman Bernard Rose’s American debut is adapted from executive producer Clive Barker’s short story The Forbidden, transposing the narrative from Liverpool to Chicago. Virginia Madsen plays a UIC doctoral candidate obsessed with the unsolved murder of a Cabrini-Green woman, considered the handiwork of “Candyman,” a mythological 19th-century black serial killer. When Madsen unleashes his spirit, he commits a series of sadistic murders and frames Madsen for the crimes, including the kidnapping of a young child. It’s a stylistically impressive film, with some dazzling uses of color, framing, decor, and striking overhead shots to convey discord and tension. But Rose is far less expressive in shaping the narrative: the pacing is off, and he’s unable to create terror through characters or situations, relying instead on repulsive forms of violence and mutilation. Rose, who also wrote the script, demonizes Cabrini-Green in a particularly brutal, ugly way without any effort at actually getting inside the heads of any nonwhite characters. The housing project is used metaphorically to represent white society’s greatest fears. Though the film falls because the conceptualization of Candyman (played by the gifted Tony Todd) is so thin and psychologically bereft of ideas, the real subtext seems to be the threat posed to repressed, orderly (i.e., white) society by an outsize, feverish black sexuality–ideas one wishes we’d gotten rid of with D.W. Griffith. The interesting Philip Glass score is used to dubious ends. (PZM) (Pipers Alley, 9:30) WEDNESDAY, OCTOBER 14 Il Capitano See listing under Monday, October 12. (Pipers Alley, 5:00) Possessed Indian superstar Shashi Kapoor as a Muslim nobleman who falls in love with the daughter of a British soldier during the first years of English rule in India. While his friends plan revolt, Kapoor retreats into a world of passive sentimentality. Shyam Benegal directed (1978). (Dave Kehr) (Pipers Alley, 5:00) Back to the USSR See listing under Monday, October 12. (Pipers Alley, 5:00) Being at Home With Claude See listing under Monday, October 12. (Music Box, 5:00) Hugh Hefner: Once Upon a Time The world premiere of this feature-length documentary produced by David Lynch and Mark Frost, who had done a half-hour feature on Hefner for their short-lived series American Chronicles. Robert Heath directed; this screening will be preceded by a champagne reception, and Hefner himself will be present. (Pipers Alley, 7:00) Short Program III If you’re wondering what happened to Short Program II, not to worry; it’ll be showing next week, along with Short Program IV. This selection consists of two short films from Canada (Salome Breziner’s Blue and Anna Bourque’s Lovely Boys), one from Australia (Stavros Efthymiou’s Road to Alice), and six from the U.S. (Bill Morrison’s Footprints, John Ebbert’s New Valley, Charles Merzbacher’s Subway Map, Douglas Kunin’s Twist of Fate, Huck Botko’s Until There Are None, and Kelly Baker’s You’ll Change). (Music Box, 7:00) Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 7:30) My Dear Tom Mix See listing under Tuesday, October 13. (Pipers Alley, 7:30) Visions of Light: The Art of Cinematography See listing under Tuesday, October 13. (Pipers Alley, 8:00) Bathroom Mirror The first feature of Mexican filmmaker Jaime Humberto Hermosillo to use a single camera setup for the duration of the entire film. In this case, the camera is placed behind the mirror in a middle-class family’s bathroom. (Music Box, 9:00) Benny’s Video See listing under Saturday, October 10. (Pipers Alley, 9:30) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 9:45) The Border This Slavic Romeo and Juliet story shows the complexity of the inter-ethnic hatreds long extant in Yugoslavia. In the Vojvodina territory on the Yugoslav-Hungarian border, the period between 1945 and 1948 saw a shifting of nationalities and allegiances as the government brought in Serbian “freedom fighters” to claim the property of repatriated minorities. When the Topics, a family of Bosnian Serbs, move into a primarily Croatian village, a forbidden romance grows between the oldest son and his beautiful but war-scarred neighbor. As the winds of change follow the winds of war, blowing hardship on Serb and Croat alike, the families of the young lovers finally accept their common humanity, but only after irreversible tragedy. The themes of Zoran Masirevic’s debut film, made in 1990, seem particularly poignant in light of current events. Sadly, the lesson that it offers has gone unheeded. (AS) (Pipers Alley, 9:45) THURSDAY, OCTOBER 15 Immaculate Conception See listing under Tuesday, October 13. (Pipers Alley, 5:00) The Machine Age Shyam Benegal’s Indian film is an update of the Mahabhatata, transposing the story of two warring families to the newly industrialized India of the 1950s. The Puranchads and the Khubchands are the owners of opposing industrial empires, linked by blood and divided by competition for the same markets. With Shashi Kapoor (1981). (Dave Kehr) (Pipers Alley, 5:00) Dust of Angels See listing under Tuesday, October 13. (Pipers Alley, 5:00) Bathroom Mirror See listing under Wednesday, October 14. (Pipers Alley, 5:15) Especially on Sunday Four episodes make up this Italian composite film, all penned by Antonioni’s ace screenwriter Tonino Guerra (L’avventura, La notte), but only three survived the cut for the American release. None of these decidedly lightweight short films comes off as significant. The wry first episode, uniting Cinema Paradiso director Giuseppe Tornatore and star Philippe Noiret, is certainly the most crowd-pleasing, though Roger Corman and Vincent Price could have done the same Poe-like comedy in their sleep: a grouchy cobbler is followed about by a mongrel dog with a blue spot on its head. The cobbler disowns it, denies it, even shoots it, and the dog keeps coming back for more, even from beyond the grave. The second episode, directed by Giuseppe Bertolucci, is dull and decadent, with Bruno Ganz stopped on the road and cloyingly played with by a tiresome incestuous brother-sister team. The sister is pouty Ornella Muti of Swann’s Way fame. The third episode, directed by Marco Tullio Giordaria, is the most psychologically compelling: an old woman confesses to her priest that she obsessively watches her son and daughter-in-law make love night after night. (GP) (Pipers Alley, 7:00) The Land Behind the Rainbow An autobiographical first feature by German filmmaker Herwig Kipping, set in a village in East Germany in the 5Os and focusing in part on a dash of social views between himself as a child and his father and grandfather. (Pipers Alley, 7:00) The Magical World of Chuck Jones After a celebration of ace Warners animation director Chuck Jones’s 80th birthday, complete with cake, the world premiere of a feature-length tribute to Jones directed by TV veteran George Daugherty will be shown. This tribute includes dips from many of Jones’s masterworks (including What’s Opera, Doc? and Duck Dodgers in the 24th and a Half Century) and comments from George Lucas, Steven Spielberg, Fritz Frelong, Ray Bradbury, Whoopi Goldberg, Leonard Maltin, Ron Howard, and Matt Groening, among others. (Music Box, 7:00) Hyenas Since his extraordinary first feature Touki Bouki (1973)–the first and perhaps only experimental feature in African cinema–Senegalese filmmaker Djibril Diop Mambety has survived mainly as a stage and film actor, and expectations about his second feature have naturally run high. My first response to Hyenas was that it’s a safer film than its predecessor, but on further reflection I find it in many ways a more considered and mature one, with ironies that may turn out to be even deadlier. This is an African adaptation of Friedrich Durrenmatt’s famous German play The Visit (also filmed, rather unsatisfactorily, by Bernhard Wicki with Ingrid Bergman and Anthony Quinn in the mid-60s): A wealthy, aging woman returns to the impoverished village she left many years before and offers a fortune to the people there if they will murder a local shopkeeper who seduced, impregnated, and abandoned her when she was 16. At first the villagers disdainfully reject her offer, but then they decide they’re at least entitled to purchase the shopkeeper’s goods on credit, and then their taste for luxuries starts to grow–clearly a comic allegory about contemporary colonialism, consumerism, and what they have to do with each other. Mambety shows an able hand in managing his talented cast and cuts quite a commanding figure himself when he appears in a pivotal small role. (JR) (Pipers Alley, 7:30) Actress (also known as Center Stage.) A masterpiece by Stanley Kwan, the greatest Hong Kong film I’ve seen. The story of silent film actress Ruan Ling Yu (1910-1935), known as the Garbo of Chinese cinema, it combines documentary with period re-creation, biopic glamor with profound curiosity, and ravishing historical clips with color simulations of the same sequences being shot–all to explore a past that seems more complex, mysterious, and sexy than the present. Maggie Cheung won a well-deserved best actress prize at Berlin for her classy performance in the title role, and a large part of what Kwan does as a director is to create a kind of nimbus around her poise and grace. (If I had to pick a Hollywood equivalent, I’d opt for George Cukor.) Kwan also creates a labyrinth of questions around who Ruan was and why she committed suicide–a labyrinth both physical (with beautifully ambiguous uses of black-and-white movie sets) and metaphysical–and keeps these questions perpetually open. You should be prepared for a picture that lasts 146 minutes and invites you to relish every one of them–not only the stylish beauty of an imagined Shanghai film world of the 30s, but also the flat abrasiveness of Kwan chatting with Cheung on video about what all this means and coming up with damn little. Any historical movie worth its salt historicizes the present along with the past, and this movie is partly and implicitly about our inadequacy next to those potent clips of Ruan Ling Yu herself (JR) (Pipers Alley, 8:00) The Border See listing under Wednesday, October 14. (Pipers Alley, 9:15) *Gas Food Lodging Nora (Brooke Adams) is a hard-luck waitress at the Pull-Off Plaza Truck Stop in Laramie, New Mexico, with two teenage daughters to reckon with: dreamy Shade (Fairuza Balk), who spends her days at the Bijou enraptured by Mexican melodramas, and devil-may-care Trudi (Ione Skye), who squanders her nights with men in the backseats of trucks and automobiles. All three pine for good relationships and the good life. Allison Anders’s first feature is warm, poignant, and sensitively directed–a “women’s film” in the best sense, with intelligence and heart. Fairuza Balk is a find as the teenage ingenue, and glamorous Brooke Adams settles into a mature “mom” role with grace. This screening is a first peek at what could prove to be this year’s best-loved American independent film. (GP) (Music Box, 9:15) Gun Crazy Tamra Davis’s film is not really a remake of the 1949 Joseph H. Lewis cult classic, but there are parallels and connections. Both are youth exploitation films about misfits with guns moving through a sinister and dark America. The first half of the new film works wonderfully well. Living in a trailer with her lecherous stepfather (the marvelously low-life Joe Dallesandro), Anita, the 17-year-old town slut (played by the exploitation queen of the 90s, Drew Barrymore, who gives little in the way of performance but a good deal in the way of sleazy presence), brings her ex-con pen pal Howard to town. He gets a job by claiming to be reborn. The town religious cult master may or may not be a phony, and Howard’s conversion may or may not be cynical. This portrait of backwoods America is hilarious and trenchant. When Anita has to shoot her stepfather, the two lovers are forced to run. At this point the film should explode as violence meets violence on the road in the States. Alas, the two settle into a house in the suburbs and the film deflates. (DO) (Pipers Alley, 9:30) Forbidden Homework See listing under Tuesday, October 13. (Pipers Alley, 9:30)
18075	yago	3	64	https://dokumen.pub/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.html	en	New Approaches to Cinematic Space [1 ed.] 1138604445, 9781138604445	https://dokumen.pub/img/…781138604445.jpg	https://dokumen.pub/img/…781138604445.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/cinematic-thinking-philosophical-approaches-to-the-new-cinema-9781503626973.jpg", "https://dokumen.pub/img/200x200/screening-twilight-critical-approaches-to-a-cinematic-phenomenon-9780755694679-9781780766669.jpg", "https://dokumen.pub/img/200x200/thick-space-approaches-to-metropolitanism-1-aufl-9783839420430.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-security-and-development-9789812306142.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-synthetic-organic-chemistry-9783036590202.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-latin-american-history-9781477300855.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-scientific-realism-9783110664737-9783110662467.jpg", "https://dokumen.pub/img/200x200/old-space-vs-new-space.jpg", "https://dokumen.pub/img/200x200/modeling-and-optimization-in-space-engineering-new-concepts-and-approaches-3031248112-9783031248115.jpg", "https://dokumen.pub/img/200x200/cinematic-appeals-the-experience-of-new-movie-technologies-9780231535786.jpg", "https://dokumen.pub/img/200x200/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	New Approaches to Cinematic Space aims to discuss the process of creation of cinematic spaces through moving images and...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/new-approaches-to-cinematic-space-1nbsped-1138604445-9781138604445.html	Table of contents : Contents List of Figures and Maps Acknowledgements Introduction: Screen is the Place • Filipa Rosário and Iván Villarmea Álvarez Part 1: Urban Spaces 1.1 Memoryscapes: Mapping Urban Space through Amateur Film Archives • Paolo Simoni 1.2 Social Space, Architecture and the Crisis: Neo-noir Aesthetics in Contemporary Greek Cinema • Anna Poupou Part 2: Architectural Spaces 2.1 The Architectural Space Generated by Staircases in Alfred Hitchcock’s Films • María Novela de Aragón 2.2 Stranger than Paradise – Realities of Cinema, Architectural Imageries, Circa 1956 • Francisco Ferreira Part 3: Genre Spaces 3.1 Empire of Catalandia: Science Fiction as the Cinematic Space of the Anthropocene • Maurizia Natali 3.2 The Urban and the Domestic: Spaces of American Film Noir • Sérgio Dias Branco 3.3 Film Noir and the Folding of America: A Reading of Out of the Past (1947) and Impact (1949) • Jeffrey Childs Part 4: Spectral Spaces 4.1 Blinking Spaces in Contemporary Psychogeographical Documentaries • Iván Villarmea Álvarez 4.2 On the ‘Ghosts’ of Piramida: Ruins, Memory and Music • José Duarte 4.3 Remembering a Fabricated City: Visiting Terezín in Daniel Blaufuks’s As if... • Sandra Camacho Part 5: Heterotopic Spaces 5.1 On Location: Kiarostami’s Landscapes and Cinematic Value • Maria Irene Aparício 5.2 Mapping Heterotopias in Colombian Documentary Film • Maria Luna 5.3 Cinematographic Missions to the Portuguese Territory (1917–1918) • Paulo Cunha Part 6: Phenomenology of Space 6.1 The Viewer’s Embodiment into Cinematic Space: Notes on a ‘Space-Image’ Cinema • Antoine Gaudin 6.2 Towards the Spatial Affectivities of Colour: The Blue Bedroom in Yasujirō Ozu’s An Autumn Afternoon • Sander Hölsgens 6.3 Cinema, Allospaces and the Unfilmable • Bruno Surace 6.4 Framing Doors, Opening Up Spaces: Cristi Puiu and His Cruel Phenomenology of Space • Zsolt Gyenge List of Contributors Index Citation preview
18075	yago	0	66	https://issuu.com/kurzfilmtagewin/docs/2017_katalog_issuu	en	Catalogue – 21st Internationale Kurzfilmtage Winterthur (2017)	https://image.isu.pub/17…6/jpg/page_1.jpg	https://image.isu.pub/17…6/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/kurzfilmtagewin/photo_large.jpg", "https://image.isu.pub/240409113928-2c93a94ad153488bb2741a3bafdfbf1b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240326124012-63321d3d731ca411a3357e616d29a611/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230328130811-5623c0c51bd9cc40ccd9805eda14a048/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230328131147-40c854a8af0dd4a0012b50b091020126/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/220405073629-363825a75adddbcd450dbf1368923a9c/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211109111338-af15253715e487d7a192cfd213a35bce/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211109150359-b145d69918719c1890c6c2c0edbe18a7/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211007134735-3f01c4593c24b3928a48bb387d8794b3/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2017-11-01T00:00:00+00:00	Read Catalogue – 21st Internationale Kurzfilmtage Winterthur (2017) by Internationale Kurzfilmtage Winterthur on Issuu and browse thousands of othe...	en	/favicon.ico	Issuu	https://issuu.com/kurzfilmtagewin/docs/2017_katalog_issuu	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.
18075	yago	2	74	https://campcrystal.com/history/	en	Camp Crystal Lake	https://campcrystal.com/…Camp-Crystal.jpg	https://campcrystal.com/…Camp-Crystal.jpg	[ "https://www.facebook.com/tr?id=506101256686106&ev=PageView&noscript=1", "https://campcrystal.com/wp-content/uploads/2017/10/cropped-smalllogo.png", "https://campcrystal.com/wp-content/uploads/2017/10/cropped-smalllogo.png", "https://campcrystal.com/wp-content/uploads/2020/05/Summer-Camp-Overview-Of-Camp-Crystal.jpg", "https://campcrystal.com/wp-content/uploads/2020/05/ACA-Logo-300x124.png", "https://campcrystal.com/wp-content/uploads/2020/05/ACA-Logo-300x124.png" ]	[]	[]	[ "" ]	null	[ "Landon Strack" ]	2020-05-10T02:58:44+00:00	Explore the storied legacy of the founding of Camp Crystal Lake in 1948, and the cherished camp traditions that last to this day.	en	https://campcrystal.com/…t-copy-32x32.png	Camp Crystal Lake	https://campcrystal.com/history/	Camp Crystal Lake, as a major educational asset of the School Board of Alachua County, was acquired through the foresight and initiative of former County School Superintendent Howard W. Bishop. Before it could be purchased, a legal barrier had to be overcome. As Camp Crystal Lake was located in Clay County, outside the jurisdiction of the Alachua County School Board, a Supreme Court ruling was considered essential. Accordingly, in August 1947, the Board filed its petition to determine whether it had authority to purchase land outside Alachua County for educational purposes. Upon receiving an affirmative decision from the Florida Supreme Court, in June 1948, the Board of Public Instruction purchased the Crystal Lake site, formerly known as the Keystone Heights Air Base. The Board obtained the 140 acres and 28 buildings from the War Assets Administration at an educational discount of 95%, thanks to the camp’s preferred classification as a necessary adjunct to the educational program. The Camp went into operation in the Fall of 1948 with Janet Wells as the first camp director. Since that time, camp has upgraded and modernized, but several of the original buildings and traditions still stand. The building that once served as the officers' club is now the camp Rec Hall, where we continue the tradition of holding a dance on Thursday nights. The airfield is still used for civil aviation and maintained by the city of Keystone Heights. Today, we see over 1,000 campers during the summer for residential and adventure camp, provide educational field trips for all 2nd and 5th graders in Alachua County’s public schools, and provide a space for weekend rental groups September-April. “Never was so much accomplished by so few... Never was so much obtained for so little. Certainly, considering the per capita expenditure against the physical value of Camp Crystal Lake, and it's fine educational accomplishments for Alachua County schoolchildren, the Alachua County Board of Public Instruction holds in its hands a bargain rarely, if ever, equaled in the history of Florida education. In a finer sense, it might be considered a lasting obligation to hold this valuable asset in trust for the children of Alachua County." - Dr. Frank E. Philpott in School Camping in Florida (1958)
18075	yago	1	21	https://lsa.umich.edu/modgreek/news-events/all-events/past-event-highlights.html	en	U-M LSA Modern Greek	https://lsa.umich.edu/mo…mage-servlet.jpg	https://lsa.umich.edu/mo…mage-servlet.jpg	[ "https://lsa.umich.edu/modgreek/news-events/all-events/item.pagemap.cse_image[0].src", "https://lsa.umich.edu/content/dam/michigan-lsa/admin/logos/modgreek-logo.png", "https://lsa.umich.edu/modgreek/news-events/all-events/item.pagemap.cse_image[0].src", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Pallas_poster-05.jpg.transform/bigfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Areta%20Zhulla%20Poster.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/PosterMG_Chinese.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Calendar%20Image%2C%20Pallas.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Kalyvas.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Kaldellis%20Poster.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/poster_Meditopos_Nov13.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Final%20Antigone%20Poster.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Publication1_MailChimp.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Poster_Loules.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Agapitos.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/KerryTownPosterFinal_web.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Chinese%20Greek%20Poster%20Web.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Palikari_website.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/pallas-2015-poster_web.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/MariaKakavouliaPosterWeb.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/pallas-2014-website2.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/SmyrnaPoster_website.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Bakken%20Poster_website.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/MarkJansePoster_website.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Dimitris_Poster_website1.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/CavafyWebPhoto_Final5.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Stathas_Web3.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Sam%20Karres%20Publicity4.jpg.transform/lilfree/image..jpg", "https://lsa.umich.edu/content/dam/modgreek-assets/modgreek-images/Cavafy_Poster1.jpg.transform/regfree/image..jpg", "https://lsa.umich.edu/content/dam/michigan-lsa/admin/logos/lsa-logo.png" ]	[]	[]	[ "" ]	null	[]	null		en	/etc/designs/michigan-lsa/favicon.png		https://lsa.umich.edu/modgreek/news-events/all-events/past-event-highlights.html	Areta Zhulla Plays Greek Composers, Accompanied by Dr. Andrew Lenhart May 29, 2016, Stamps Auditorium A concert to honor the work of violinist Georgios Demertzis and to benefit the an arts program and festival in Greece. Areta Zhulla, a world-class violinist and Lincoln Center Chamber Musician, is the recipient of the Motsenigos National Prize, a top distinction in Greece, and of the Vergotis scholarship at Julliard. She was spotted by Itzhak Perlman when she was about thirteen, and he brought her from Thessaloniki, Greece to study with him. Dr. Lenhart is a UM and Juilliard graduate. Come enjoy these wonderful musicians. We would love to see you and your loved ones and friends there. The lovers of classical music or everything Greek will not be disappointed. The Modern Greek Program was pleased to co-sponsor this Greek cultural event, organized by Iambus Music, a non-profit serving Hellenic music and Greek classical musicians by increasing their exposure in the USA and the world. Poster History and Culture in Chinese and Greek Film Presenters: Jing Zhang, New College of Florida & Vassiliki Rapti, Harvard University Thursday, March 31, 2016 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. Watch Rapti Lecture / Watch Zhang Lecture Screenings April 1, 2016 / History and Culture in Chinese and Greek Film 6:00 - 8:10 pm : Dearest (2014) Directed by Peter Chen. 130 min. Following years of unrelenting search, Tian Wenjun and ex-wife Lu Xiaojuan finally locate their abducted son in a remote village. After the boy was violently taken away from the village, the abductor's widow Li Hongqin- the boy's foster mother - also loses her foster daughter to a state-owned orphanage in Shenzhen Heartbroken, Li goes on a lone but determined journey to get her daughter back. The movie was based on a real life story of a father who used social media to find his missing boy. Courtesy of Wikipedia. https://goo.gl/T5vreq 8:10 - 9:10 pm: The Aegean in the Words of the Poets (2003) Directed by Loukia Rikaki. 61 min. A cinematic voyage based on the words of travel writers and poets from around the world who visited and wrote about the Aegean archipelago over the centuries. Images from most of the Aegean islands and the sea that links them. These texts blend poems and records of journeys from most of the writers who visited the Aegean over the centuries, and who felt compelled to share the emotions the archipelago inspired in them. We are confronted with vivid descriptions of those same emotions which the Aegean triggers in visitors today. Apart from their literary revelations, these texts weave a complex tissue of travellers' impressions of the Aegean over the centuries. Different opinions ,meanings and formats blend into a common experience of the archipelago through several languages. Courtesy of International Documentary film Festival Amsterdam. https://goo.gl/MfJHKX Poster Greece & Eurozone: Where to? February 9, 2016 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 Watch Lecture Visually Demolished and Textually Reconstructed: The Middle Ages in Contemporary Crime Fiction October 12, 2015 1636 International Institute/SSWB, 1080 S. University 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. Panagiotis A. Agapitos is professor of Byzantine literature at the University of Cyprus. His research interests focus on textual and literary criticism, with an emphasis on Byzantine rhetoric and its performance, poetics, erotic fiction, and the representation of death in Byzantine literature. Beyond his scholarly papers, he has published Narrative Structure in the Byzantine Vernacular Romances (Munich 1991); Theodoros Metochites on Greek Philosophy and Ancient History (Gothenburg 1996); the first critical edition of the thirteenth-century verse romance Livistros and Rhodamne (Athens 2006); and, most recently, Between History and Fiction: Medieval Narratives between History and Fiction: From the Centre to the Periphery of Europe, 1100-1400 (Copenhagen 2012), edited with L. B. Mortensen. He is currently preparing an English translation with introduction and notes of Livistros and Rodamne for Translated Texts for Byzantinists (Liverpool University Press), and a study on the periodization of Byzantine literature. Parallel to his scholarly activities, he is a writer of historical crime fiction, having published sofar three novels set in 9th-century Byzantium. Sponsors: CES, Department of Classical Studies, Department of Comparative Literature, Modern Greek Program Watch Lecture Manos Hadjidakis -- A New Generation of Musicians Pay Tribute to the Composer April 18, 2015 Kerrytown Concert House, 415 N. 4th Ave, Ann Arbor, MI, 48104 A concert generously sponsored by the Modern Greek Program — University of Michigan The Greek composer Manos Hadjidakis (1925 - 1994) is beloved worldwide for his compositions, which range from classical music to folk music to film music. His most famous composition, 1960’s Never On A Sunday, was composed for the film of the same title, and garnered him an Academy Award for Best Original Song. That song would go on to be his most famous, and would become the definitive sound of Greek music to an international audience for generations to come. But he wrote prolifically, both in Greece and in America, where he lived 1966 to 1972. Hadjidakis was deeply influenced by the American culture he loved — the cities, the life, the music, the artists. In turn, American musicians performed, adapted, and popularized his music through movies, musicals, concerts, and records. Today, twenty years after his death, a new generation is re-discovering his work, approaching it in innovative and exciting ways. This special concert will present the new Hadjidakis of the 21st century, who is still inviting us all to go with him "for a walk on the moon.” Composer, pianist, and improvising musician Michael Malis spearheaded this concert in a program that provided new adaptations of some of Hadjidakis’ best known compositions, as well as some of his lesser-known gems. Malis, who is of Greek-American descent, brought a unique perspective to this music. The program was diverse, featuring a range of instrumentations, from solo piano to chamber ensembles. Malis was joined by special guests, including flutist Ellie Falaris Ganelin, the founder of the Greek Chamber Music Project, as well as cellist Abby Alwin, an improvising musician with a deep affinity for Greek music. Also featured on the program was Ann Arbor’s own OrnämatiK, a “Balkan funk band” featuring popular area musicians. Well known for their legendary festive performances around Ann Arbor, Southeastern Michigan, and across the Midwest, OrnämatiK consistently delights dancers and audiences alike. More Information How Greek was El Greco? January 22, 2015, Michigan Union 13th Annual Dimitris & Irmgard Pallas Modern Greek Lecture 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. Program / Watch Lecture Fact of Fiction: What More Do We Know about American Involvement in the 1967 Greek Military Coup? 12th Annual Dimitris & Irmgard Pallas Modern Greek Lecture March 26, 2014, Michigan Union, Anderson Room Speaker: Neovi Karakatsanis, Indiana University South Bend A lack of scholarly and journalistic objectivity has long been a stumbling block in our understanding of the Greek military dictatorship of 1967–74. In Greece, one of the most commonly held beliefs is that the United States was actively involved in launching and maintaining in power the Colonels’ regime. Given the close relationship between the U.S. government and the Greek right (including the Greek military establishment) during the 1940s–1960s, one can easily understand the origin and plausibility of this perception. However, despite the nearly universal Greek acceptance of U.S. involvement, little to no evidence has been provided in either the scholarly or popular literature to substantiate (or refute) this claim. This presentation will attempt to do just that: by calling attention to recently declassified State Department, U.S. Embassy and National Security Council files, as well as documents from the British Foreign Office, Karakatsanis will analyze and assess the U.S. perspective and its reaction to the Colonels’ coup of 1967. Highlighting the complex, contradictory nature of the U.S.-Greek relationship, this presentation sets forth a nuanced understanding of the actors, strategies and interests involved in the run up and immediate aftermath of the colonels’ 1967 coup. Neovi M. Karakatsanis is a Professor of Political Science at Indiana University South Bend, where she has taught since 1998. She has written on the Greek transition to democracy, the southern European welfare state, Greek unemployment, and the issue of women migrants and attitudes towards migration in Greece. Poster ° Photos
18075	yago	3	38	https://www.answers.com/general-arts-and-entertainment/Why_are_the_tanks_of_some_large_transformers_corrugated	en	Why are the tanks of some large transformers corrugated?	https://st.answers.com/h…nswers_Blue.jpeg	https://st.answers.com/h…nswers_Blue.jpeg	[ "https://www.answers.com/icons/hamburgerMenuIcon.svg", "https://www.answers.com/icons/searchGlassWhiteIcon.svg", "https://www.answers.com/images/logos/answers-logo-white-updated.svg", "https://www.answers.com/icons/searchIcon.svg", "https://www.answers.com/icons/searchGlassWhiteIcon.svg", "https://www.answers.com/icons/notificationBellIcon.svg", "https://www.answers.com/icons/coinIcon.svg", "https://www.answers.com/images/avatars/default.png", "https://www.answers.com/icons/copyTextIcon.svg", "https://www.answers.com/images/avatars/default.png", "https://www.answers.com/images/avatars/default.png", "https://www.answers.com/icons/sendIcon.svg", "https://www.answers.com/icons/coinIcon.svg", "https://www.answers.com/icons/searchIcon.svg", "https://st.answers.com/html_test_assets/imp_-_pixel.png?campaign=1106", "https://www.answers.com/icons/searchIcon.svg", "https://st.answers.com/html_test_assets/imp_-_pixel.png?campaign=1083", "https://st.answers.com/logos/logo-answers-white.png" ]	[]	[]	[ "" ]	null	[]	null	the transformer tanks are corrugated so as to get greater heat radiation area without increasing the cubical capacity of tank.	en	/favicon.ico	Answers	https://www.answers.com/general-arts-and-entertainment/Why_are_the_tanks_of_some_large_transformers_corrugated	How many Transformers movies are there? There is only 3 transformers movies Some people think theres a Transformers 4 but there isn't there is only 3. Some people think the transformer games are sequels but they arent. Will jolt be in transformers 3? there are many pictures off him but some people say hes not but i really think he is so just keep a look out for him in transformers 3
18075	yago	2	23	https://www.crystalage.com/crystal_information/crystal_history/	en	History of Crystals and Healing	https://www.crystalage.com/img/favicon.ico	https://www.crystalage.com/img/favicon.ico	[ "https://www.crystalage.com/assets/img/branding/brand-logo-2.png", "https://www.crystalage.com/assets/img/branding/brand-logo-mobile.png", "https://www.crystalage.com/img/info_images/Amulet.jpg", "https://www.crystalage.com/img/info_images/ist2_3644477_egyptian_gods[1].jpg", "https://www.crystalage.com/img/info_images/ist2_2176126_religious_icons[1].jpg", "https://www.crystalage.com/img/info_images/ist2_2362315_zuni_feet[1].jpg", "https://www.crystalage.com/img/products/120_fossilised-shark-tooth-extra-large_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-67mm_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-61mm_16.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-66mm_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-35mm_16.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-35mm_9.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-56mm_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-otodus-shark-tooth-large_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-otodus-shark-tooth-medium_5.jpg", "https://www.crystalage.com/img/products/120_crow-shark-corax-tooth-large_9.jpg", "https://www.crystalage.com/img/products/120_crow-shark-corax-tooth-small_2.jpg", "https://www.crystalage.com/img/products/120_fossilised-megalodon-tooth-65mm_26.jpg", "https://www.crystalage.com/img/products/120_fossilised-shark-tooth-small_3.jpg", "https://www.crystalage.com/img/products/120_fossilised-shark-tooth-on-matrix_7.jpg", "https://www.crystalage.com/img/products/120_petrified-wood-polished-tile-148mm_5.jpg", "https://www.crystalage.com/img/products/120_petrified-wood-polished-tile-133mm_2.jpg", "https://www.crystalage.com/img/products/120_petrified-wood-polished-tile-145mm_2.jpg", "https://www.crystalage.com/img/products/120_petrified-wood-polished-tile-154mm_5.jpg", "https://www.crystalage.com/assets/img/card-logos/visa.svg", "https://www.crystalage.com/assets/img/card-logos/mastercard.svg", "https://www.crystalage.com/assets/img/card-logos/paypal.svg", "https://www.crystalage.com/assets/img/flags/united-kingdom.svg", "https://www.crystalage.com/assets/img/flags/european-union.svg", "https://www.crystalage.com/assets/img/flags/united-states.svg" ]	[]	[]	[ "crystals", "minerals", "geodes", "amethyst", "fossils" ]	null	[]	null	A Brief History of Crystals and Healing	en	/img/favicon.ico		null	The oldest amulets are of Baltic amber, some from as long as 30,000 years ago and amber beads were discovered in Britain from 10,000 years ago, the end of the last ice age. The distance they travelled to reach Britain shows their value to the people of that time. Jet was also popular and jet beads, bracelets and necklaces have been discovered in Palaeolithic gravesites in Switzerland and Belgium. There have been malachite mines in Sinai since 4000 BC. Amulets were banned by the Christian church in 355 AD, but gemstones continued to play an important role, with sapphire being the favoured gem for ecclesiastical rings in the 12th century. Marbodus, the Bishop of Rennes in the 11th century, claimed that agate would make the wearer more agreeable, persuasive and in favour of God. There were also many symbolic references, such as the carbuncle representing Christ's sacrifice. The first historical references to the use of crystals come from ancient the Ancient Sumerians, who included crystals in magic formulas. The Ancient Egyptians used lapis lazuli, turquoise, carnelian, emerald and clear quartz in their jewellery. They also carved grave amulets of the same gems. The Ancient Egyptians used stones primarily for protection and health. Chrysolite (later translated as both topaz and peridot) was used to combat night terrors and purge evil spirits. Egyptians also used crystals cosmetically. Galena (lead ore) was ground to a powder and used as the eye shadow known as kohl. Malachite was used in a similar manner. Green stones in general were used to signify the heart of the deceased and were included in burials. Green stones were used in a similar way at a later period in Ancient Mexico. The Ancient Greeks attributed a number of properties to crystals and many names we use today are of Greek origin. The word 'crystal' comes from the Greek word for ice, as it was believed that clear quartz was water that had frozen so deeply that it would always remain solid. The word amethyst means 'not drunken' and was worn as an amulet to prevent both drunkenness and hangovers. Hematite comes from the word for blood, because of the red colouration produced when it oxidises. Hematite is an iron ore and the ancient Greeks associated iron with Aries, the god of war. Greek soldiers would rub hematite over their bodies before battle, perportedly to make themselves invulnerable. Greek sailors also wore a variety of amulets to keep them safe at sea. Jade was highly valued in ancient China and some Chinese written characters represent jade beads. Musical instruments in the form of chimes were made from jade and around 1000 years ago Chinese emperors were sometimes buried in jade armour. There are burials with jade masks from around the same period in Mexico. Jade was recognised as a kidney healing stone both in China and South America. More recently - dating from around 250 years ago - the Maoris of New Zealand wore jade pendants representing the ancestor spirits, which were passed down many generations through the male line. The tradition of green stones being lucky continues in parts of New Zealand to this day. Crystals and gemstones have played a part in all religions. They are mentioned throughout the Bible, in the Koran and many other religious texts. The origin of birthstones is the breastplate of Aaron, or the "High Priest's Breastplate", as mentioned in the book of Exodus. In the Koran, the 4th Heaven is composed of carbuncle (garnet). The Kalpa Tree, which represents an offering to the gods in Hinduism, is said to be made entirely of precious stone and a Buddhist text from the 7th century describes a diamond throne situated near the Tree of Knowledge (the neem tree under which Siddhartha meditated). On this throne a thousand Kalpa Buddhas reposed. The Kalpa Sutra, in Jainism, speaks of Harinegamesi the divine commander of the foot troops who seized 14 precious stones, cleansed them of their lesser qualities and retained only their finest essence to aid his transformations. There is also an ancient sacred lapidary treatise, the Ratnapariksha of Buddhabhatta. Some sources state that it is Hindu but it is most likely Buddhist. The date is uncertain, but it is probably from the 6th Century. In this treatise diamonds figure highly, as the king of gemstones and are ranked according to caste. The Sanskrit word for diamond, vajra, is also the word for the Hindu goddess Indra's thunderbolt and diamonds are often associated with thunder. The ruby was also highly revered. It represented an inextinguishable flame, and was purported to preserve both the physical and mental health of the wearer. The treatise lists many other gemstones and their properties. In Europe, from the 11th century through the Renaissance a number of medical treatises appeared extolling the virtues of precious and semi-precious stones in the treatment of certain ailments. Typically stones were used alongside herbal remedies. Authors included Hildegard von Binghen, Arnoldus Saxo, and John Mandeville. There are also references to stones with particular qualities of strength or protection. In 1232 Hubert de Burgh, the chief justicular of Henry III, was accused of stealing a gem from the king's treasury which would make the wearer invincible and giving it to Llewellyn, the King of Wales and Henry's enemy. It was also believed that gemstones were corrupted by the original sins of Adam, could possibly be inhabited by demons, or if handled by a sinner, their virtues would depart. Therefore, they should be sanctified and consecrated before wearing. There is an echo of this belief today in the cleansing and programming of crystals before use in crystal healing. During the Renaissance the tradition of using precious stones in healing was still accepted, but the enquiring minds of the period sought to find out how the process actually worked and give it a more scientific explanation. In 1609 Anselmus de Boot, court physician to Rudolf II of Germany, suggested that any virtue a gemstone has is due to the presence of good or bad angels. The good angels would confer a special grace to the gems, but the bad angels would tempt people into believing in the stone itself, and not in God's gifts bestowed on it. He goes on to name certain stones as helpful, and put other's qualities down simply to superstition. Later in the same century, Thomas Nicols expressed in his 'Faithful Lapidary' that gems, as inanimate objects, could not possess the effects claimed in the past. Thus, in the Age of Enlightenment, the use of precious stones for healing and protection began to fall from favour in Europe. In the early part of the 19th century, a number of interesting experiments were conducted to demonstrate the effects of stones on subjects who believed themselves to be clairvoyant. In one case, the subject claimed to feel not only physical and emotional changes when touched with various stones, but also to experience smells and tastes. Although no longer in use medicinally, gemstones continued to hold meaning. Until recently, jet was popularly worn by those in mourning, and garnet was often worn in times of war. There is a tradition in a local family here in southwest England: every female descendent wears an antique moonstone necklace for her wedding, which has been in the family for generations. It was only recently that one family member realised this was a fertility symbol. Many tribal cultures have continued the use of gemstones in healing until very recently, if not through to the present day. The Zuni tribe in New Mexico make stone fetishes, which represent animal spirits. These were ceremonially 'fed' on powdered turquoise and ground maize. Beautiful inlaid fetishes are still made to sell, and are very collectable artefacts or sculptures, although the spiritual practise surrounding them is no longer much in use. Other Native American tribes still hold precious stones, especially turquoise, sacred. Both Aborigines and Maoris have traditions regarding stones and healing or spiritual practise, some of which they share with the rest of the world, while some knowledge still kept private within their communities. It is interesting to note that there are many examples of gemstones meaning similar things to different cultures, even when there has been absolutely no interaction between these cultures, and no opportunity for crossover. Jade was considered to be a kidney healing stone by the ancient Chinese, and also Aztec and Mayan civilisations, turquoise has been worn to give strength and health all over the world, and jaspers have almost always conferred both strength and calm.
18075	yago	3	80	https://embassynews.net/tag/migration/	en	migration	https://embassynews.net/…ament-debate.jpg	https://embassynews.net/…ament-debate.jpg	[ "http://embassynews.net/wp-content/uploads/2015/11/Logo-final-with-Beta-2.11.2015_350pzx.jpg", "http://embassynews.net/wp-content/uploads/2017/05/ShippingENG728x90-1.jpg", "https://embassynews.net/wp-content/uploads/2016/12/European-Parliament-debate.jpg", "https://embassynews.net/wp-content/uploads/2016/05/This-is-exile.jpg", "https://embassynews.net/wp-content/uploads/2016/05/america-america-1.png", "https://embassynews.net/wp-content/uploads/2016/05/america-america-1.png", "https://embassynews.net/wp-content/uploads/2016/04/Hellenic-US-alumni-association.jpg", "https://embassynews.net/wp-content/uploads/2015/11/UNHCR_embassynews.net_-800x445.jpg", "https://embassynews.net/wp-content/uploads/2016/04/flags.jpg", "https://embassynews.net/wp-content/uploads/2016/04/Higginbottom_press_conf.jpg", "https://embassynews.net/wp-content/uploads/2016/03/phone-home-800x445.jpg", "https://embassynews.net/wp-content/uploads/2016/03/UNHCRA.Zavallis.jpg", "https://embassynews.net/wp-content/uploads/2016/06/Jørn-Eugene-Gjelstad_Ambassador-Norway_embassynews-390x205.jpg", "http://embassynews.net/wp-content/uploads/2017/05/Shipping-ENG350x250.jpg", "http://embassynews.net/wp-content/uploads/2017/05/ShippingENG728x90-1.jpg" ]	[]	[]	[ "european union", "brexit", "russia", "refugee crisis", "migration", "greek film archive", "films", "greek film archives", "hellenic u.s. alumni association", "embassy of the u.s.", "hellenic u.s. alumni association", "greece", "slovenia", "cyprus", "jordan", "1st trilateral political consultations", "terrorism", "heather higginbottom", "lesvos", "phone home", "refugees", "germany", "uk", "finland" ]	null	[]	2016-12-14T22:49:05+00:00	Political group leaders on Wednesday discussed how to relieve the humanitarian tragedy in Aleppo, sanctions against Russia and ways to boost European defence capacities ahead of the European Summit.	en	http://embassynews.net/wp-content/uploads/2015/10/EN1-56314a0ev1_site_icon.png		https://embassynews.net/tag/migration/	Political group leaders on Wednesday discussed how to relieve the humanitarian tragedy in Aleppo, sanctions against Russia and ways to boost European defence capacities ahead of the European Summit. Read more A selection of films attempting to document and explore the many aspects of the refugee crisis. Read more The Greek Film Archives, in collaboration with the Attica Prefecture and the Greek Film Center, presents a film tribute to migration. Read more The Greek Film Archives, in collaboration with the Attica Prefecture and the Greek Film Center, presents a film tribute to migration. Read more Among the issues discussed was the current status of the refugee/migration crisis, its implications on Europe and the various effects the crisis has had, especially for people in Greece. Read more The Slovenian assistance to Greece will include beds, blankets, a first aid tent, heaters, sleeping mats and sleeping bags, raincoats, rubber boots and baby dippers. Read more The Permanent Secretary of the Ministry of Foreign Affairs of Cyprus, Ambassador Alexandros N. Zenon, hosted a meeting with his counterparts from Jordan and Greece. Read more The U.S. will provide an additional 20 million dollars for protection, shelter, food and other life saving assistance to the most vulnerable refugees and migrants throughout Europe. Read more Phone Home creators initiated a series of theatre workshops in Greece, Germany and the U.K. in collaboration with migrant communities, NGOs and refugee support groups. Read more Finland is prepared to deploy several dozen experts to Greece to assist in the implementation of the agreement between the EU and Turkey. Read more The Ambassador of Norway in Athens, His Excellency Jørn Eugene Gjelstad, spoke to EmbassyNews.net and commented on the current developments in Greek and European politics, the economy and the refugee crisis.
18075	yago	1	37	https://www.flickr.com/photos/tags/Tobias%2520Lang/	en	Tobias%20Lang photos on Flickr	https://combo.staticflickr.com/pw/favicon.ico	https://combo.staticflickr.com/pw/favicon.ico	[]	[]	[]	[ "" ]	null	[ "Flickr" ]	2024-08-23T14:59:28.543000+00:00	Flickr photos, groups, and tags related to the "Tobias%20Lang" Flickr tag.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/tags/Tobias%20Lang/
18075	yago	2	19	https://www.facebook.com/crystalnightsmusic/	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	[ "https://facebook.com/security/hsts-pixel.gif" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico		https://www.facebook.com/login/
18075	yago	0	57	https://fullwatch.com.tr/people/801747/tonia-marketaki	en	Tonia Marketaki	https://fullwatch.com.tr…icon-144x144.png	https://fullwatch.com.tr…icon-144x144.png	[]	[]	[]	[ "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	0	16	https://luciarikaki.gr/front/article/474	en	Lucia Rikaki			[]	[]	[]	[ "" ]	null	[ "Stavros Angelis" ]	null		en	/favicon.ico		null
18075	yago	0	36	https://www.academia.edu/20052930/_Ancient_Myth_and_Drama_in_Greek_Cinema_An_Overall_Approach_1930_2012_Logeion_%25CE%259B%25CE%25BF%25CE%25B3%25CE%25B5%25E1%25BF%2596%25CE%25BF%25CE%25BD_%25CF%2584%25CF%2587_3_2013_%25CE%25A4%25CE%25BC%25CE%25AE%25CE%25BC%25CE%25B1_%25CE%2598%25CE%25B5%25CE%25B1%25CF%2584%25CF%2581%25CE%25B9%25CE%25BA%25CF%258E%25CE%25BD_%25CE%25A3%25CF%2580%25CE%25BF%25CF%2585%25CE%25B4%25CF%258E%25CE%25BD_%25CE%25A0%25CE%25B1%25CE%25BD%25CE%25B5%25CF%2580%25CE%25B9%25CF%2583%25CF%2584%25CE%25B7%25CE%25BC%25CE%25AF%25CE%25BF%25CF%2585_%25CE%25A0%25CE%25B1%25CF%2584%25CF%2581%25CF%258E%25CE%25BD_%25CE%25BA%25CE%25B1%25CE%25B9_%25CE%25A0%25CE%25B1%25CE%25BD%25CE%25B5%25CF%2580%25CE%25B9%25CF%2583%25CF%2584%25CE%25B7%25CE%25BC%25CE%25B9%25CE%25B1%25CE%25BA%25CE%25AD%25CF%2582_%25CE%25B5%25CE%25BA%25CE%25B4%25CF%258C%25CF%2583%25CE%25B5%25CE%25B9%25CF%2582_%25CE%259A%25CF%2581%25CE%25AE%25CF%2584%25CE%25B7%25CF%2582_191_233	en	«Ancient Myth and Drama in Greek Cinema. An Overall Approach (1930-2012)», Logeion / Λογεῖον, τχ. 3 (2013), Τμήμα Θεατρικών Σπουδών Πανεπιστημίου Πατρών και Πανεπιστημιακές εκδόσεις Κρήτης, 191-233.	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/40979392/mini_magick20180818-3447-1tgk794.png?1534646295", "https://0.academia-photos.com/41013188/13811214/92140393/s65_konstantinos.kyriakos.jpeg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Konstantinos Kyriakos", "upatras.academia.edu" ]	2016-01-06T00:00:00	«Ancient Myth and Drama in Greek Cinema. An Overall Approach (1930-2012)», Logeion / Λογεῖον, τχ. 3 (2013), Τμήμα Θεατρικών Σπουδών Πανεπιστημίου Πατρών και Πανεπιστημιακές εκδόσεις Κρήτης, 191-233.				https://www.academia.edu/20052930/_Ancient_Myth_and_Drama_in_Greek_Cinema_An_Overall_Approach_1930_2012_Logeion_%CE%9B%CE%BF%CE%B3%CE%B5%E1%BF%96%CE%BF%CE%BD_%CF%84%CF%87_3_2013_%CE%A4%CE%BC%CE%AE%CE%BC%CE%B1_%CE%98%CE%B5%CE%B1%CF%84%CF%81%CE%B9%CE%BA%CF%8E%CE%BD_%CE%A3%CF%80%CE%BF%CF%85%CE%B4%CF%8E%CE%BD_%CE%A0%CE%B1%CE%BD%CE%B5%CF%80%CE%B9%CF%83%CF%84%CE%B7%CE%BC%CE%AF%CE%BF%CF%85_%CE%A0%CE%B1%CF%84%CF%81%CF%8E%CE%BD_%CE%BA%CE%B1%CE%B9_%CE%A0%CE%B1%CE%BD%CE%B5%CF%80%CE%B9%CF%83%CF%84%CE%B7%CE%BC%CE%B9%CE%B1%CE%BA%CE%AD%CF%82_%CE%B5%CE%BA%CE%B4%CF%8C%CF%83%CE%B5%CE%B9%CF%82_%CE%9A%CF%81%CE%AE%CF%84%CE%B7%CF%82_191_233	Most productions of ancient drama in modern Greece were held primarily in the restored open-air theatres of antiquity: initially at Delphi and Epidaurus, and later at Philippi, Thasos, Dodoni, etc. It was the existence of these theatres precisely that gave Greek directors, actors, set and costume designers the opportunity to work systematically on the site where these enduring masterpieces of the ancient dramatic poets were first played. This essay is the English translation of a research paper published in Greek in the exhibition catalogue Ελληνες σκηνογράφοι – ενδυματολόγοι και αρχαίο δράμα (Greek Set-Costume Designers and Ancient Drama)1 which was edited by the author. The essay focuses on the creators, milestones, problems and achievements of set and costume design for the production of ancient drama from 1919 to the end of 20th century. Essential issues are touched upon regarding the tradition, originality and vanguard. The English tranlation is more richly illustrated than the original Greek paper. 1 The touring exhibition Ελληνες σκηνογράφοι – ενδυματολόγοι και αρχαίο δράμα (Greek Set-Costume Designers and Ancient Drama), curated by the H. Fessas-Emmanouil, was organised by the Department of Theatre Studies of the University of Athens (UOA) and the Greek Ministry of Culture. It took place in March-April 1999 at the UOA Kostis Palamas Building and then toured cities in Greece and the Balkans. The topic of the exhibition and of the exhibition catalogue was the adventure of the “look” of Greek productions of ancient drama from 1919 to the end of 20th century, presented through the work of 54 set and costume designers. Α part of the original material of the exhibition and of the exhibition catalogue was the product of primary sources research of 30 undergraduate and postgraduate students of the UOA Department of Theatre Studies. _______________________________________________________________________ Th e present book follows my published history of Greek cinema in an attempt at a closer look at certain filmmakers whose work I briefly analysed there. Each chapter delineates their persistent concern for a cinematic visuality of the lived experience, accented by the social imaginary of Greek culture through the transcultural narrative codes and transnational modes of representation provided by the global medium of cinema. What we are interested in here is not only what made the cinematic ‘product’ possible but how it achieved its accepted form so that its industry could become viable. The work of Michael Cacoyannis, Nikos Koundouros, Yannis Dalianidis, Theo Angelopoulos, Antouaneta Angelidi and Yorgos Lanthimos is presented analytically its historical development (some of them it is their presentation in English). After being awarded an Oscar for his work as artistic director on the film Zorba the Greek, the Greek painter and set designer Vassilis Fotopoulos decided to put himself behind the camera and recreate the ancient myth of The Atridae in his home country. Despite the censorship and the restrictions imposed by the Regime of the Colonels, Fotopoulos' film Orestes was able to be filmed without any complications and would become a valiant allegation for freedom and world peace. From the perspective of the new American concept of underground film and of the hippy culture that was prevalent at the time, Fotopoulos produced a very personal reinterpretation of the ancient myth, updating and modernizing it. His film is today considered a strong example of the reception and transmission of Greek Mythology, highly worthy of in-depth analysis.
18075	yago	3	0	https://en.wikipedia.org/wiki/Tonia_Marketaki	en	Tonia Marketaki	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-08-16T08:54:28+00:00		en	/static/apple-touch/wikipedia.png		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]
18075	yago	3	75	https://www.yumpu.com/en/document/view/14614070/greek-cinema-hellenic-university-club-of-southern-california	en	Greek Cinema - Hellenic University Club of Southern California	https://www.yumpu.com/en…ook/14614070.jpg	https://www.yumpu.com/en…ook/14614070.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/14614070/1/500x640/greek-cinema-hellenic-university-club-of-southern-california.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://img.yumpu.com/48416803/1/190x245/greek-cinema-100-years-of-film-history-1900-2000-hellenic-.jpg?quality=85", "https://img.yumpu.com/40777394/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/38784327/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/38784317/1/190x245/flier-and-synopsis.jpg?quality=85", "https://img.yumpu.com/11379532/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://img.yumpu.com/6511030/1/190x245/greek-cinema-hellenic-university-club-of-southern-california.jpg?quality=85", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "huc.org", "giorgos", "produced", "nikos", "kostas", "yannis", "demetris", "participated", "festival", "christos", "vasilis", "cinema", "hellenic", "southern", "huc.org" ]	null	[ "Yumpu.com" ]	null	Greek Cinema - Hellenic University Club of Southern California	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/14614070/greek-cinema-hellenic-university-club-of-southern-california	Page 2 and 3: © Copyright 2012, Trifon Tzavalas Page 5: ACKNOWLEDGMENT FOREWORD CONTENTS VO Page 9: FOREWORD This work surveys the gene Page 12 and 13: made for the Overseas Branch of the Page 14 and 15: lish version the narrator was Aldus Page 16 and 17: lization), To Perivoli Tou Laou Mas Page 18 and 19: Tou Polemou (The Refugees of The Wa Page 20 and 21: photography and cameraman was Takis Page 22 and 23: In the year 1967, of the twenty-eig Page 24 and 25: large fortune he visited in 1868 th Page 26 and 27: val for short movies, a total of th Page 28 and 29: documentary by a “New Director. Page 30 and 31: lic Award” for the worst movie wa Page 32 and 33: against the ruthless invaders who s Page 35 and 36: HISTORY OF DOCUMENTARIES 1976-2000 Page 37 and 38: Noteworthy in 1982 is the feature d Page 39 and 40: To Onomamou Ene Anna (My name is An Page 41 and 42: uses the technique of animation to Page 43: tablishment of the Greek Film Cente Page 46 and 47: daily activities of Karystos in the Page 48 and 49: 1: Kerkira (Corfu); (short document Page 50 and 51: Photography/ Cameraman/ Editor: Rou Page 52 and 53: sos Koundouros; Editor: Roussos Kou Page 54 and 55: Producer: Carl Forman; Director: Ni Page 56 and 57: "Your Twinkling Eyes" and "Serenade Page 58 and 59: documentary about the city of Naupl Page 60 and 61: Narrator: Takis Natsoulis. A politi Page 62 and 63: opoulos; Music: Evgenia Hatzikou. ( Page 64 and 65: aphy/Cameraman: Vasilis Maros; Edit Page 66 and 67: the town of Lagada and Saint Helen. Page 68 and 69: 20: The Audition (short movie); Pro Page 70 and 71: Paul"; Directors: Eraklis Papadakis Page 72 and 73: tors/Scriptwriters: Demetris (Takis Page 74 and 75: lis Siropoulos; Sound Recording: Gi Page 76 and 77: Panayiotopoulos; Director of Photog Page 78 and 79: as; Director of Photography/Cameram Page 80 and 81: and Information; Director/Scriptwri Page 82 and 83: in newspapers, government statistic Page 84 and 85: tor of Photography/ Cameraman: Eric Page 86 and 87: 1: Enas Iros Me To Mnimoskopio (Gri Page 88 and 89: 19: Itan Mera Giortis (It Was a Day Page 90 and 91: los Kazan, Kate Imbrohori. (35 mm, Page 92 and 93: om Hurt Mother by Pink Floyd. (35 m Page 94 and 95: ic Group Kino; Director of Photogra Page 96 and 97: Scriptwriter/ Director of Photograp Page 98 and 99: panikolaou; Music: Fivos Ekonomidis Page 100 and 101: Kelaidonis. Its subject is how a mo Page 102 and 103: Margkas; Editors: Lakis Papastathis Page 104 and 105: Editor: Theodoros Adamopoulos. It i Page 106 and 107: tos Magkos; Assistant Director: Gio Page 108 and 109: 28: Ta Farmaka (The Drugs); (color) Page 110 and 111: tor of Photography/Cameraman/ Edito Page 112 and 113: poulos. Tells the story of a desert Page 114 and 115: Raftopoulos; Sound Recording: Chara Page 116 and 117: 29: E Endos Ton Tichon (Those insid Page 118 and 119: of an army sergeant and a girl in t Page 120 and 121: 71: Psevesthisis (Illusions); (shor Page 122 and 123: 15: Panayis Lelonis (color); (short Page 124 and 125: 36: O Hthesinos Fovos (Yesterday’ Page 126 and 127: Eleftherios Pavlopoulos; Editor: Yi Page 128 and 129: tor/Scriptwriter: Demetris Sofianop Page 130 and 131: of Photography/ Cameraman: Giorgos Page 132 and 133: 48: Anastenarides (Fire-Walkers); ( Page 134 and 135: 69: Also Sprach Amerika (I Also Spe Page 136 and 137: 5: Anogia 79 (color); (short docume Page 138 and 139: 22: O Tihos (The Wall); (short movi Page 140 and 141: duced by Anticancer Institute; Dire Page 142 and 143: Athanasios Arvanitis; Narrator: Dem Page 144 and 145: tography/Cameraman/Editor: Sakis Ma Page 146 and 147: duced by Cine video and Channel 4; Page 148 and 149: vayias; Commentator: Dionisis Kaska Page 150 and 151: 49: Dimosia Erga Stin Ellada (Publi Page 152 and 153: 70: Tris Amarties (Three Sins); (sh Page 154 and 155: Cameraman: Philippos Koutsaftis; Ed Page 156 and 157: emembers things from her childhood. Page 158 and 159: 52: Post Restant Omonia (Hold the M Page 160 and 161: Produced by Ministry of Culture; Di Page 162 and 163: 25: Nellys (color); (short document Page 164 and 165: tary): Produced by Greek Film Cente Page 166 and 167: 5: Surrealistic Happening (color); Page 168 and 169: Babounis, Nikos Kamtsis. The life o Page 170 and 171: 43: Diasosi Akropolis (Preservation Page 172 and 173: Demetris Arvanitis; Editor: Yianna Page 174 and 175: Yannis Lapatas; Director of Photogr Page 176 and 177: 8: Osia Maria E Egiptia (Saint Mary Page 178 and 179: tombstones of the First Cemetery of Page 180 and 181: of Ptolemaic influence in the ruins Page 182 and 183: tion; Director: Demetris Vernikos. Page 184 and 185: 81: Kafenion To Ariston (Best Cafe) Page 186 and 187: pakas; Editor: Christos Sadatsoglou Page 188 and 189: gos Hondrokostas; Director of Photo Page 190 and 191: tography/ Cameraman/Editor: Alexis Page 192 and 193: 42: Eva (color); (short movie); Pro Page 194 and 195: 59: Schedio Documenter (Sketch Docu Page 196 and 197: las; Scriptwriters: Takis Demetrako Page 198 and 199: (short movie); Producer/ Director/S Page 200 and 201: madios Apostolopoulos, Nikodimos Bi Page 202 and 203: Cameraman: Takis Venetsanakos; Edit Page 204 and 205: Recording: Dinos Kittou and Antonis Page 206 and 207: Christos Gartaganis and Lambros Kou Page 208 and 209: 81: O Epomenos Tou Proegoumenou (Th Page 210 and 211: tography/ Cameraman/ Editor: Panayi Page 212 and 213: tor: Panos Kaloudas; Director of Ph Page 214 and 215: TAP; Director/ Scriptwriter: Tasos Page 216 and 217: Greek Film Center and Egokeros; Dir Page 218 and 219: 64: Strogillo (Circular); (color); Page 220 and 221: is; Set Designer: Tasos Zaferopoulo Page 222 and 223: Poulidis; Editor: Filitsa Anagnoste Page 224 and 225: 121: Labyrinth, (color); (short doc Page 226 and 227: Death in Folk-Songs); (color); (sho Page 228 and 229: das. Examines the mysteries and str Page 230 and 231: ing: Panos Petronikolas; Starring: Page 232 and 233: The story is an adaptation from a s Page 234 and 235: satire on a political speech and th Page 236 and 237: in Mount Lykaion near Olympia. (16 Page 238 and 239: 122: Pat, (color); (short movie); P Page 240 and 241: 9: Pedikes Anamnisis: Ta Vivlia Tis Page 242 and 243: searching for the old, lost cinema. Page 244 and 245: the folklore traditions of goblins. Page 246 and 247: 64: To Hnoudi Tis Nihtas (The Night Page 248 and 249: tris Niahas. It refers to the relat Page 250 and 251: Alekos Dragonas. The young heroine Page 252 and 253: 113: Nihterini Vardia (Night Shift) Page 254 and 255: 133: Logiki Ton Thimaton (Victim’ Page 256 and 257: 152: Triti Stasi Pangratiou (Pangra Page 258 and 259: investing in an industrial town. Wi Page 260 and 261: About the reaction of people if the Page 262 and 263: 43: Spitakia Elafrou Tipou (Small H Page 264 and 265: 61: Movie Love (color); (short movi Page 266 and 267: Psihogios, Yannis Spiliopoulos, Dia Page 268 and 269: lou; Set Designer/Costumes: Anna Ma Page 270 and 271: Klaus Naumann; Editor: Andreas Tres Page 272 and 273: the eyes of the poet Egonopoulos. ( Page 274 and 275: 70: Andapokrisi (Response); (color) Page 276 and 277: Extracts of Yannis Christou archive Page 278 and 279: Perkunder; Starring: Nathalie Stein Page 280 and 281: space in their home is too small fo Page 282 and 283: pen to a woman when she is just goi Page 284 and 285: Starring: Christos Kikidis. A psych Page 286 and 287: 81: Mia Periergi Tenia (A Strange M Page 288 and 289: Production Manager: Kleoni Flessa; Page 290 and 291: come to Athens with tools only thei Page 292 and 293: ie); Produced by I.A.T.C., Buchares Page 294 and 295: otsis; Starring: Mirtio Alikaki, An Page 296 and 297: Tarnanas; Sound Recording: Yannis K Page 298 and 299: chase him, but he is not willing to Page 300 and 301: 4: Meri -Amen (Anazitisi Se Tria Me Page 302 and 303: characters who hang out at the main Page 304 and 305: aphy/Cameraman: Platon Andronidis; Page 306 and 307: Photography/Cameraman: Odysseas Pav Page 308 and 309: love. But they got lost in the crow Page 310 and 311: Ioannidis; Sound Recording: Doros E Page 312 and 313: 86: Ekogeniaki Photography (Family Page 314 and 315: 108: Gospel According to a Child (s Page 316 and 317: Henning Harms; Starring: H. Lehner, Page 318 and 319: aphy/Cameraman: Petros Koumoundouro Page 320 and 321: Demetris Schostakowitch. A person s Page 322 and 323: Director of Photography/ Cameraman: Page 324 and 325: 76: Castrato (color); (short movie) Page 326 and 327: School; Director/Scriptwriter/Direc Page 328 and 329: and a young girl arrive in Athens f Page 330 and 331: Gimosoulis and Athina Sakellariou; Page 332 and 333: Katerina Maragoudaki; Editor: Ioann Page 334 and 335: yone strives for survival. (16 mm, Page 336 and 337: 63: Mia Mikri Istoria Gia To Yelio Page 338 and 339: Skarmoutsos; Director of Photograph Page 340 and 341: tography/Editor: Vasiliki Katsarou; Page 342 and 343: her. The slovenly and sad looking w Page 344 and 345: guage...Dionisios Solomos); (color) Page 346 and 347: les in his relationship with girl. Page 348 and 349: adafillidis); Director/ Scriptwrite Page 350 and 351: 51: Aqua Vitae (color); (short movi Page 352 and 353: hou; Supporting Cast: Antonis Chari Page 354 and 355: padakis; Music: Harris Elektron; St Page 356 and 357: Nikos Leros; Director/Scriptwriter: Page 358 and 359: Spiliopoulou; Set Designer: Demetri Page 360 and 361: Abato, Kerry Johnston, Dick Stampol Page 362 and 363: Andreas Tarnanas; Starring: Vivi Pa Page 364 and 365: lou; Starring: Evangelos Mourikis, Page 366 and 367: Periplus; Producer: Thanos Lambropo Page 368 and 369: aphy/Cameraman: Giorgos Frentzos; E Page 370 and 371: Richards, Barbara-Ann Winter. A lad Page 372 and 373: 41: Odos Sofokleous (Sophocleous St Page 374 and 375: 56: Nausea (color); (short movie); Page 376 and 377: 1961 Short Movies, Feature and Shor Page 378 and 379: 5: Anamnisis Apo Tin Ellada (Memori Page 380 and 381: 8: Anamoni (Waiting); (short movie) Page 382 and 383: participated in the Melbourne and B Page 384 and 385: 1: Ta Engenia (The Opening Night); Page 386 and 387: 9: Politia (City); (short documenta Page 388 and 389: 17: Yia Liges Mono Parastasis (For Page 390 and 391: 2: E Grammi (The Line); (short movi Page 392 and 393: Cinema Critics Award (Forum of Youn Page 394 and 395: 1: Karaghiozis (feature documentary Page 396 and 397: New Delhi, and Paris (A Greek Direc Page 398 and 399: 21: Mia Zoe Se Thimame Na Fevyis (M Page 400 and 401: 11: O Giorgos Apo Ta Sotirianika (G Page 402 and 403: has; participated in the 12th Stude Page 404 and 405: 9: Zahos O Mazohas (Zahos the Masoc Page 406 and 407: 16: To Orama (The Vision); (short d Page 408 and 409: Best Short Movie with Theme: To Die Page 410 and 411: To Elliniko Kinoumeno Shedio (The G Page 412 and 413: 8: Lesbos 1980 (short documentary); Page 414 and 415: in the Sofia Film Festival and rece Page 416 and 417: 10: Aftos Pou Perisozi To Metalo So Page 418 and 419: Eki Perpatise O Christos (Jesus Wal Page 420 and 421: 12: Post Restant -Omonia (Hold the Page 422 and 423: 11: Alli Mia Mera (One More Day); ( Page 424 and 425: the Festival of Cinema Schools of M Page 426 and 427: 2: Axelere (short documentary); Dir Page 428 and 429: 20: Eva (short movie); Director: Ma Page 430 and 431: 7: Persephone (short movie); Direct Page 432 and 433: Brussels Imaginary Cinema Film Fest Page 434 and 435: 6: Ke Egeneto Fos (And It Became Li Page 436 and 437: PEKK Award (Pan-Hellenic Cinema Cri Page 438 and 439: 1: Santorini (short documentary); D Page 440 and 441: 30: Ta Mousika Organa Tis Elladas ( Page 442 and 443: 16: Min Taezete Tin Arkouda (Do Not Page 444 and 445: 22: El Barti (short documentary); D Page 446 and 447: 35: E Peripetia Enos Vlemmatos (The Page 448 and 449: 40: Erotiki Istoria (A Love Story); Page 450 and 451: 14: Ta Marmara (The Marbles); (shor Page 452 and 453: 1: To Kinigi Tis Papias (Duck Hunti Page 454 and 455: 3: Paralisia (Profligacy); (short m Page 456 and 457: 23: Tunnel (short documentary); Dir Page 458 and 459: Foundation Award, Cine Eagle Award, Page 460 and 461: 3: E Agapimene (The Beloved Ones); Page 462 and 463: the Best Documentary Award. It also Page 464 and 465: 2: Eros Iros (Love Hero); (short mo Page 466 and 467: lou received the Best Film Award by Page 468 and 469: 2: Sta Prosopa Tis Anatolis Kimate Page 470 and 471: 9: Aron! Aron! (Let’s go); (short Page 472 and 473: Provence (France), Film Festivals. Page 474 and 475: 7: To Schedio (The Sketch - release Page 476 and 477: 3: Alexandroupolis (short documenta Page 478 and 479: 4: Genesis; (short movie); Director Page 480 and 481: Festival, (Grimstad, Norway), Sao P Page 482 and 483: 6: O Danny Mails Fevgi Apo to Spiti Page 484 and 485: Wilhelm -Murnau Award, in Wiesbaden Page 486 and 487: 1: Ela Na Sou Po (Come over to Tell Page 488 and 489: 3: O Elios Ekeye Poli (The Sun Was Page 490 and 491: eceived Cine Gold Eagle Award. In D Page 492 and 493: 490 Page 494 and 495: 1988: A Day Shooting Women (short m Page 496 and 497: Kostas Maheras 1995: Imerologio Kat Page 498 and 499: 496
18075	yago	2	39	https://www.timessquarenyc.org/times-square-new-years-eve/nye-history-times-square-ball	en	NYE History & Times Square Ball	https://www.timessquaren…ye-2024-logo.png		[ "https://www.timessquarenyc.org/sites/all/themes/times_square/logo.png", "https://www.timessquarenyc.org/sites/all/themes/times_square/logo.png", "https://www.timessquarenyc.org/sites/all/themes/times_square/images/search-magnifyingGlass-pink.png", "https://www.timessquarenyc.org/sites/default/files/nye-2024-logo.png", "https://www.timessquarenyc.org/sites/default/files/logo-Planet-Fitness-2022.png", "https://www.timessquarenyc.org/sites/default/files/logo-Carnival-Cruise-nye-2022.jpg", "https://www.timessquarenyc.org/sites/default/files/logo-fontainebleau-lv-312x156.png", "https://www.timessquarenyc.org/sites/default/files/logo-Kay-Jewelers.png", "https://www.timessquarenyc.org/sites/default/files/Kia-logo-2021-white-on-black.jpg", "https://www.timessquarenyc.org/sites/default/files/NYE_logo_SAFA.png" ]	[ "https://www.youtube.com/embed/bfGkzDZWt-c?rel=0" ]	[]	[ "" ]	null	[]	2017-05-10T13:26:00-04:00	ABOUT THE NEW YEAR'S EVE BALLEach year, millions of eyes from all over the world are focused on the sparkling Waterford Crystal Times Square New Year's Eve Ball.	en	https://www.timessquarenyc.org/sites/all/themes/times_square/favicon.ico		https://www.timessquarenyc.org/times-square-new-years-eve/nye-history-times-square-ball	ABOUT THE NEW YEAR'S EVE BALL Each year, millions of eyes from all over the world are focused on the sparkling Waterford Crystal Times Square New Year's Eve Ball. At 11:59 p.m., the Ball begins its descent as millions of voices unite to countdown the final seconds of the year, and celebrate the beginning of a new year full of hopes, challenges, changes and dreams. BALL FUN FACTS The Ball is a geodesic sphere, 12 feet in diameter, and weighs 11,875 pounds. The Ball is covered with a total of 2,688 crystal triangles that vary in size, and range in length from 4 ¾ inches to 5 ¾ inches per side. Each crystal triangle has a special sparkling pattern. 192 crystal triangles are the Gift of Love design of overlapping hearts entwined together symbolizing love for family and friends. 192 are the Gift of Wisdom design of a central wheel with wedge cut petals of knowledge growing ever forward. 192 are the Gift of Happiness design of a sunburst of bright cuts radiating outward like a beautiful sunny day brings warm smiles and happiness. 192 are the Gift of Goodwill design of three pineapples signifying the traditional symbol of hospitality and goodwill. 192 are the Gift of Harmony design of small rosette cuts flowing into each other in beautiful harmony. 192 are the Gift of Serenity design of butterflies flying peacefully above a crystal meadow capturing the spirit of serenity. 192 are the Gift of Kindness design of a circle of rosettes symbolizing unity with the fronds reaching out in an expression of kindness. 192 are the Gift Of Wonder design of a faceted starburst inspiring our sense of wonder. 192 are the Gift of Fortitude design of diamond cuts on either side of a crystal pillar to represent the inner attributes of resolve, courage and spirit necessary to triumph over adversity. The remaining 960 Gift of Imagination triangles are a series of intricate wedge cuts that are mirrored reflections of each other inspiring our imagination. The 2,688 crystal triangles are bolted to 672 LED modules which are attached to the aluminum frame of the Ball. The Ball is illuminated by 32,256 LEDs (light emitting diodes). Each LED module contains 48 LEDs — 12 red, 12 blue, 12 green, and 12 white for a total of 8,064 of each color. The Ball is capable of displaying a palette of more than 16 million vibrant colors and billions of patterns that creates a spectacular kaleidoscope effect atop One Times Square. HISTORY OF THE NEW YEAR'S EVE BALL Revelers began celebrating New Year's Eve in Times Square as early as 1904, but it was in 1907 that the New Year's Eve Ball made its maiden descent from the flagpole atop One Times Square. Seven versions of the Ball have been designed to signal the New Year. The first New Year's Eve Ball, made of iron and wood and adorned with one hundred 25-watt light bulbs, was 5 feet in diameter and weighed 700 pounds. It was built by a young immigrant metalworker named Jacob Starr, and for most of the twentieth century the company he founded, sign maker Artkraft Strauss, was responsible for lowering the Ball. As part of the 1907-1908 festivities, waiters in the fabled "lobster palaces" and other deluxe eateries in hotels surrounding Times Square were supplied with battery-powered top hats emblazoned with the numbers "1908" fashioned of tiny light bulbs. At the stroke of midnight, they all "flipped their lids" and the year on their foreheads lit up in conjunction with the numbers "1908" on the parapet of the Times Tower lighting up to signal the arrival of the new year. The Ball has been lowered every year since 1907, with the exceptions of 1942 and 1943, when the ceremony was suspended due to the wartime "dimout" of lights in New York City. Nevertheless, the crowds still gathered in Times Square in those years and greeted the New Year with a minute of silence followed by the ringing of chimes from sound trucks parked at the base of the tower—a harkening-back to the earlier celebrations at Trinity Church, where crowds would gather to "ring out the old, ring in the new." In 1920, a 400 pound Ball made entirely of wrought iron replaced the original. In 1955, the iron Ball was replaced with an aluminum Ball weighing a mere 150 pounds. This aluminum Ball remained unchanged until the 1980s, when red light bulbs and the addition of a green stem converted the Ball into an apple for the "I Love New York" marketing campaign from 1981 until 1988. After seven years, the traditional glowing white Ball with white light bulbs and without the green stem returned to brightly light the sky above Times Square. In 1995, the Ball was upgraded with aluminum skin, rhinestones, strobes, and computer controls, but the aluminum Ball was lowered for the last time in 1998. For Times Square 2000, the millennium celebration at the Crossroads of the World, the New Year's Eve Ball was completely redesigned by Waterford Crystal and Philips Lighting. The crystal Ball combined the latest in lighting technology with the most traditional of materials, reminding us of our past as we gazed into the future and the beginning of a new millennium. In 2007, for the 100th anniversary of the Times Square Ball Drop tradition, Waterford Crystal and Philips Lighting crafted a spectacular new LED crystal Ball. The incandescent and halogen bulbs of the past century were replaced by state-of-the-art Philips Luxeon LED lighting technology that dramatically increased the brightness and color capabilities of the Ball. The beauty and energy efficiency of the Centennial Ball inspired the building owners of One Times Square to build the permanent Big Ball weighing nearly six tons and twelve feet in diameter. The 2,688 Waterford Crystal triangles are illuminated by 32,256 Philips Luxeon LEDs. This Big Times Square New Year's Eve Ball is now a year-round attraction sparkling above Times Square in full public view January through December. ABOUT "TIME-BALLS" The actual notion of a ball "dropping" to signal the passage of time dates back long before New Year's Eve was ever celebrated in Times Square. The first "time-ball" was installed atop England's Royal Observatory at Greenwich in 1833. This ball would drop at one o'clock every afternoon, allowing the captains of nearby ships to precisely set their chronometers (a vital navigational instrument). Around 150 public time-balls are believed to have been installed around the world after the success at Greenwich, though few survive and still work. The tradition is carried on today in places like the United States Naval Observatory in Washington, DC, where a time-ball descends from a flagpole at noon each day - and of course, once a year in Times Square, where it marks the stroke of midnight not for a few ships' captains, but for over one billion people watching worldwide. HISTORY OF NEW YEAR'S EVE Click here for a photo collection of Times Square New Year's Eve over the decades, presented in partnership with the New York Times. New York in 1904 was a city on the verge of tremendous changes - and, not surprisingly, many of those changes had their genesis in the bustling energy and thronged streets of Times Square. Two innovations that would completely transform the Crossroads of the World debuted in 1904: the opening of the city's first subway line, and the first-ever celebration of New Year's Eve in Times Square. This inaugural bash commemorated the official opening of the new headquarters of The New York Times. The newspaper's owner, German Jewish immigrant Adolph Ochs, had successfully lobbied the city to rename Longacre Square, the district surrounding his paper's new home, in honor of the famous publication (a contemporary article in The New York Times credited Interborough Rapid Transit Company President August Belmont for suggesting the change to the Rapid Transit Commission). The impressive Times Tower, marooned on a tiny triangle of land at the intersection of 7th Avenue, Broadway and 42nd Street, was at the time Manhattan's second-tallest building — the tallest if measured from the bottom of its four massive sub-basements, built to handle the heavyweight demands of The Times' up-to-date printing equipment. The building was the focus of an unprecedented New Year's Eve celebration. Ochs spared no expense to ensure a party for the ages. An all-day street festival culminated in a fireworks display set off from the base of the tower, and at midnight the joyful sound of cheering, rattles and noisemakers from the over 200,000 attendees could be heard, it was said, from as far away as Croton-on-Hudson, thirty miles north along the Hudson River. The New York Times' description of the occasion paints a rapturous picture: "From base to dome the giant structure was alight — a torch to usher in the newborn year..." The night was such a rousing success that Times Square instantly replaced Lower Manhattan's Trinity Church as "the" place in New York City to ring in the New Year. Before long, this party of parties would capture the imagination of the nation, and the world. Two years later, the city banned the fireworks display — but Ochs was undaunted. He arranged to have a large, illuminated seven-hundred-pound iron and wood ball lowered from the tower flagpole precisely at midnight to signal the end of 1907 and the beginning of 1908. On that occasion, and for almost a century thereafter, Times Square sign maker Artkraft Strauss was responsible for the ball-lowering. In 1914, The New York Times outgrew Times Tower and relocated to 229 West 43rd Street. By then, New Year's Eve in Times Square was already a permanent part of our cultural fabric. In 1942 and 1943, the glowing Ball was temporarily retired due to the wartime "dimout" of lights in New York City. The crowds who still gathered in Times Square in those years greeted the New Year with a minute of silence followed by chimes ringing out from sound trucks parked at the base of the Times Tower. The New York Times retained ownership of the Tower until 1961, when it was sold to developer Douglas Leigh, who was also the designer and deal-maker behind many of the spectacular signs in Times Square, including the famous Camel billboard that blew water-vapor "smoke rings" over the street. Mr. Leigh stripped the building down to its steel frame, then re-clad it in white marble as the headquarters for Allied Chemical Corporation. Today, New Year's Eve in Times Square is a bona fide international phenomenon. Each year, hundreds of thousands of people still gather around the Tower, now known as One Times Square, and wait for hours in the cold of a New York winter for the famous Ball-lowering ceremony. Thanks to satellite technology, a worldwide audience estimated at over one billion people watch the ceremony each year. The lowering of the Ball has become the world's symbolic welcome to the New Year.
18075	yago	3	22	https://www.academia.edu/76630881/Our_Town_in_the_Cinema_The_Greek_Experience_under_Baudrillards_Gaze	en	Our Town in the Cinema: The Greek Experience under Baudrillard's Gaze	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/84274987/mini_magick20220416-15199-1l4a0rh.png?1650129030", "https://0.academia-photos.com/1445569/2636664/3064528/s65_ioannis.rentzos.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Ioannis Rentzos", "independent.academia.edu" ]	2022-04-16T00:00:00	The golden era of Greek cinema lasted 20 years from 1955-1975. In this period the vast majority of Greek films were filmed in Athens. Greek provinces are only represented as anonymous villages. Cities or towns are almost completely neglected. Action				https://www.academia.edu/76630881/Our_Town_in_the_Cinema_The_Greek_Experience_under_Baudrillards_Gaze	‘White City’, Christian’s documentary commissioned by the Greek National Tourism Organisation, emphasises thebright sun and the bright marble so as to rebrand the Greek capital as a modern tourist utopia. The cinematic portrayal of modern Athens in touristic films offers a rich cultural database for drawing conclusions about film-induced tourism and city branding policies for the metropolis of the future. Investigating the processes involved in reinventing identities for historical cities, via the moving image, for the tourist, lies at the very heart of this paper’s aims. This analysis proposes a toolkit for tracing transformations that have to do with the shifting mentality of thetimes: moving from culture to recreation. Architecture portrayed in touristic films provides a familiar backdrop for the international audience and propagandises national continuity. Christian’s film is used advisedly as it proposes acritical reconsideration of policy-making for the branding of historic cities and mature destinations. This article studies the representation of modern space and the evolution of cinematic narration within the narrow context of feature films produced in Greece in the 1920s and 1930s, in order to examine the construction of filmic narrative space and the influences, affinities and imitations between the Greek films and their international models. The purpose of this study is to describe and interpret the unstable, uneven, fragmented and sporadic expressions of cinematic depictions of modern urban space in Greece. This examination will focus on the mapping of the locations and the implications of urban space in the organisation of the narration in order to propose a typology of depictions of the Athenian modernity in the 1920s and 1930s, providing an introduction on the Athenian urbanism and describing the radical architectural and social mutations and the ideological reorientations that transformed the Athenian cityscape in terms of class, ethnicity, social mobility and geography. In this context, this essay attempts to answer the following questions: which of these transformations are visible in the feature films of the 1920s and 1930s? How specific film genres generate urban iconographies in this corpus? How do all these urban themes or spatial motifs reflect the passage from the amateur and non-professional production of the 1920s to the more canonical, stereotyped and, more or less, 'classical' narration, that follows the examples of mainstream cinema regarding city representations?
18075	yago	0	77	http://hellenandchaos.blogspot.com/2010/08/hyper-anthropoid-form-of-universal.html	en	G.H.REES/GR.PLANET.R Andromedan PortalTrue Geostrategics and Astrostrategics: HYPER	https://blogger.googleus…-no-nu/n-s-o.jpg	https://blogger.googleus…-no-nu/n-s-o.jpg	[ "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg228lYjaISRBlCjdZ4dRUmMa3xdYwj1P523qFNVKkAoA4wy-JO09ViyVvie_LmyNIU6twvl6_Rage0VpKERrgvwcp24oN-QAnf0NaoYT9I5JKGq5rZJ2TlmjKdo65eWhVEDsoTAoJPw0K8/s400/n-s-o.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://resources.blogblog.com/img/blank.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "http://resources.blogblog.com/img/blank.gif", "https://www.paypalobjects.com/WEBSCR-640-20110401-1/en_US/i/scr/pixel.gif", "http://4.bp.blogspot.com/-dmTrZreJsq8/USksTjnOMuI/AAAAAAAAAIE/tgtosro1dlc/s1600/image2.jpg", "http://3.bp.blogspot.com/_xiGOMVbKvy0/Sv1RzxswJYI/AAAAAAAABmc/YDjQqKe8WF4/S240/OEAemblem.jpg", "http://3.bp.blogspot.com/--f1aL_Mjx3Y/USVyYRiDh7I/AAAAAAAAAFU/3qembnyykvk/s1600/andromedaFR.jpg", "http://1.bp.blogspot.com/-zw4uSwDo0s4/USci4W3K60I/AAAAAAAAAGI/yEmyje3kXGk/s240/Persee.jpg", "http://1.bp.blogspot.com/_yD3U4SR92gM/THFC0slPdGI/AAAAAAAAAKs/DzD2oxeFg-I/s400/n-s-o.jpg", "http://3.bp.blogspot.com/_yD3U4SR92gM/S0UDzpy5tOI/AAAAAAAAAGM/WgfjdGkFHxM/s400/KIONAS-EPSILON.jpg", "http://2.bp.blogspot.com/_yD3U4SR92gM/S0WcSVBJ-bI/AAAAAAAAAGk/iazJQHXb2gg/s400/spiral.jpg", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vfnLVh4bjmtb11hABupLUWMLtgC26-Kxy_jbfUoyx9ekbDr8o3y0ZYHRqOLVRLFNQSQq2F8PruaonZln4QrhDF3NrRKMrXCaW4LOi7YkM4LA=s16-w16-h16", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uOD4j_0g949gJT2jQEvTVrGnuZ08GVa64BFCu-CIBsbQ1CCo1DNXS6gNRlEZkToe62FDTM9abTeMlKsSUu_PN2SnraQca95hv8xCUBNWs=s16-w16-h16", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sI3lBFHZ_EaDgOC0BPlMwQE0myaWdHGMEBdRLlJaYAtMW6dlpnF4efP_rrFQSAkCXXn4WcWwnkSWjsym-_Gi-y-5gurMWSVngjW_yUVMh4UP4=s16-w16-h16", "http://c.statcounter.com/5302534/0/37b0c0a0/0/" ]	[]	[]	[ "" ]	null	[]	null	This infomation is published worldwide for the first time in History after 13.500 years of Dragonian ruthless mind control propaganda. trans...		http://hellenandchaos.blogspot.com/favicon.ico		http://hellenandchaos.blogspot.com/2010/08/hyper-anthropoid-form-of-universal.html
18075	yago	2	81	https://buyfashiongoods.com/dublin-crystal-night-carafe-16-oz/	en	Dublin Crystal Night Carafe 16 oz	https://cdn11.bigcommerc….386.513.jpg?c=2	https://cdn11.bigcommerc….386.513.jpg?c=2	[ "https://www.facebook.com/tr?id=635670180183493&ev=PageView&noscript=1&a=plbigcommerce1.2&eid=store-8-prd-us-central1-183113574853", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/125x50/fashion-stylish-shop-buyfashiongoods.com_1718124103__70489.original.jpg", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/500x659/products/200/1128/3._Small_Crystal_Decanter_Dublin__31549.1548604277.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/50x50/products/200/1128/3._Small_Crystal_Decanter_Dublin__31549.1548604277.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/50x50/products/200/1130/Carafe_Crystal_Flask__70505.1548604297.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/50x50/products/200/1129/7._Crystal_Decanter_With_A_Glass__27023.1548604356.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/500x659/products/305/1669/Godinger_Crystal_Juice_Glasses__75402.1572747122.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/500x659/products/304/1666/Godinger_Crystal_Martini_Glasses__65153.1650155779.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/500x659/products/199/1252/00._Crystal_Coffee_Mugs_and_Crimer_Boat_Set_of_5__55168.1565063751.jpg?c=2", "https://cdn11.bigcommerce.com/s-9mnzpxwffi/images/stencil/500x659/products/474/2608/Lead_Free_Crystal_Drinking_Water_Glasses_Bohemia__64000.1619708378.jpg?c=2" ]	[]	[]	[ "Dublin Crystal Carafe", "Crystal Flask Jug", "Dublin Collection", "Crystal Night Carafe", "Small Decanter 16 oz", "bedside night water decanter", "barware", "glassware", "shannon godinger" ]	null	[]	null	The Dublin Crystal Night Carafe is the perfect companion for a peaceful bedtime routine! Enhance your water drinking experience with this elegant water carafe.	en	https://cdn11.bigcommerc…jpg?t=1611718498	FASHION & STYLISH SHOP	https://buyfashiongoods.com/dublin-crystal-night-carafe-16-oz/	This beautifully designed Dublin Crystal Night Carafe comes with a glass-cap for comfortable water drinking. The water carafe is timeless in design and elegant snugness in any room. Product Specifications:
18075	yago	1	40	https://www.flickr.com/photos/tags/Janet%2520Laura%2520Scott/	en	Janet%20Laura%20Scott photos on Flickr	https://combo.staticflickr.com/pw/favicon.ico	https://combo.staticflickr.com/pw/favicon.ico	[]	[]	[]	[ "" ]	null	[ "Flickr" ]	2024-08-23T14:59:28.812000+00:00	Flickr photos, groups, and tags related to the "Janet%20Laura%20Scott" Flickr tag.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/tags/Janet%20Laura%20Scott/
18075	yago	2	15	https://www.crystaltheatre.org/history	en	Crystal Theatre	https://static.wixstatic…249aee%7Emv2.png	https://static.wixstatic…249aee%7Emv2.png	[ "https://static.wixstatic.com/media/a32419_091808e573f441aaacf4d542b91ef6bf~mv2.png/v1/fill/w_302,h_96,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/Revised%20logo%202022-2023-03.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://static.wixstatic…8b557b%7Emv2.png	Crystal Theatre	https://www.crystaltheatre.org/history	A brief history of Crystal Theatre's 35-year legacy Crystal Theatre began under the auspices of the Norwalk Parks & Recreation Department in 1987 by founders Cheryl and Alexandrea Kemeny, David Jackins and Mariner Pezza. The founders pooled their experience as professional performers, teachers and artists to create a space open to all students who wished to participate, without special audition requirements. Thirty-five years and 35,000 students later, Crystal Theatre remains Norwalk’s “hidden gem” as it expands its offerings into community theatre with its newly formed subsidiary, Crystal Community Theatre. Many Crystal alumni have achieved professional music careers. They include Tony-award nominee Robin de Jesús (Camp, Rent, In The Heights, La Cage aux Folles, Wicked, The Boys in the Band, Tick Tick Boom), super musician Kyle Brenn (West Side Story, Sweeney Todd), the Labbadia Sisters (recording artists and songwriters), Brittany Uomoleale (Baron, Steppenwolf Theatre, Glow), Brennyn Lark (Les Miserables, The Marvelous Mrs. Maisel), Kyle Wrentz (The Lion King), Remy Zaken (Spring Awakening), Alexander Quiroga (Wicked), Dave Vogel (Chicago), and Tony-award-winning producer, Ben Simpson (Fun Home, The Band’s Visit, Hello, Dolly!). Crystal Theater has produced more than 54 world premieres of original works by its staff and students. The diverse subject matter ranges from historical dramas (Revolution Norwalk, 1777, Living the American Dream and Whistleville) to serious social issues (Without Passion or Prejudice, Coming Of Age and Pulaski Park Rules) to light-hearted comedies (Twelve Dancing Princesses, Goose Alley Gang) to holiday favorites (Save Santa’s Workshop, The Red Shoes) as well as student-written shows such as Kyle Brenn’s The Pirate Chamber and Silent Knight. Hungarian Nights received its world premiere in 2010 and toured Hungary in 2017 and 2019 including 3 performances at A.R.T. Theaters in NYC and exchange tour performances at the Duna Palota in Budapest and the Kultkikötő Outdoor Theater in Balatonfoldvar. Cheryl Kemeny’s musical, Mother Jones and the Children’s Crusade, was a Next Link selection at the New York Musical Festival in 2014 and performed to sold-out houses and wide acclaim. Through its subsidiary, Crystal Theatre Publishing, these musicals have been made available to other theater groups. Crystal shows have been performed everywhere from Harare, Zimbabwe to Hong Kong to Calgary, Canada.
18075	yago	1	17	https://www.scribd.com/doc/115451735/A-history-of-Greek-cinema	en	A History of Greek Cinema	https://imgv2-2-f.scribdassets.com/img/document/115451735/original/9d8cee22b1/1723927967?v=1	https://imgv2-2-f.scribdassets.com/img/document/115451735/original/9d8cee22b1/1723927967?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "ilnerosegugio" ]	null	A history of Greek cinema - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. Cinema	en	https://s-f.scribdassets.com/scribd.ico?1159636c6?v=5	Scribd	https://www.scribd.com/doc/115451735/A-history-of-Greek-cinema
18075	yago	1	2	https://letterboxd.com/film/crystal-nights/	en	Crystal Nights (1992)	https://a.ltrbxd.com/res…jpg?v=4861b85384	https://a.ltrbxd.com/res…jpg?v=4861b85384	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/GRC.adb4dac9.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/GRC.adb4dac9.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/twitter/1/5/4/6/0/5/shard/http___pbs.twimg.com_profile_images_549137961380376576_sdPOx_Xy-0-80-0-80-crop.jpg?v=3f65eafbad", "https://a.ltrbxd.com/resized/avatar/upload/3/2/1/2/0/7/7/shard/avtr-0-80-0-80-crop.jpg?v=f5ae505a2e", "https://a.ltrbxd.com/resized/avatar/upload/9/5/4/6/0/2/shard/avtr-0-80-0-80-crop.jpg?v=11a6628aa3", "https://a.ltrbxd.com/resized/avatar/upload/2/4/0/8/4/shard/avtr-0-80-0-80-crop.jpg?v=a2030fa5ad", "https://a.ltrbxd.com/resized/avatar/upload/3/8/2/1/1/1/shard/avtr-0-80-0-80-crop.jpg?v=0e5b46b791" ]	[]	[]	[ "" ]	null	[]	null	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.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		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.
18075	yago	2	54	https://worldbuilding.stackexchange.com/questions/222987/how-would-a-crystal-moon-interact-with-light-from-the-sun-would-a-crystal-moon	en	How would a crystal moon interact with light from the sun? Would a crystal moon reflect "too much" light for night time?	https://cdn.sstatic.net/…g?v=763f4decb9a7	https://cdn.sstatic.net/…g?v=763f4decb9a7	[ "https://cdn.sstatic.net/Sites/worldbuilding/Img/logo.svg?v=d2d8425207ea", "https://i.sstatic.net/vSJYZ.jpg?s=64", "https://i.sstatic.net/winQZ.png?s=64", "https://i.sstatic.net/OA5wI.png?s=64", "https://i.sstatic.net/rehQU.png", "https://i.sstatic.net/6kyf5.jpg?s=64", "https://i.sstatic.net/Tpu6Y.gif?s=64", "https://i.sstatic.net/It6kQ.jpg?s=64", "https://worldbuilding.stackexchange.com/posts/222987/ivc/33de?prg=59c9cd91-b7b1-47f0-8650-ebc433244c85" ]	[]	[]	[ "" ]	null	[]	2022-01-23T21:03:32	I have an earth-like planet in a fantasy setting with two moons, one of them made of crystal. It will be a fantasy crystal, properties TBD (probably by some of the answers to this question). My main	en	https://cdn.sstatic.net/Sites/worldbuilding/Img/favicon.ico?v=c5e8a29d34e3	Worldbuilding Stack Exchange	https://worldbuilding.stackexchange.com/questions/222987/how-would-a-crystal-moon-interact-with-light-from-the-sun-would-a-crystal-moon	Refraction/diffraction If you have a moon that consists of a single crystal, the sun may shine through as diffuse light during a solar eclipse. The crystal would show its color, like it does with the full moon, but there could be additional shades of different color, inside. To have this effect, the crystal should be high level of purity. A crystal moon polluted, or consisting of many crystals will not be translucent. Reflection Reflection will depend on type of gemstone the moon consists of. Color is most important, white will shine.. maybe too much. In any case, don't expect a shiny surface. An extremely hard stone like diamond could preserve its crystalline surface for some time, but in space, the issue is high energy particles. Diamonds cannot handle energetic protons. The shape will be preserved, though, resulting in square patterns shining through. Diamonds can have many colors, ruby's are red or blue. Inhabitants of the planet would enjoy their colored moon every month, shades seem to glow over its surface. The edge of craters are sharp, sometimes you see sparkles of light. It will be brighter than the moon, I guess.. Our moon reflects only about 3-12% of the sunlight. Planet Earth would reflect 20-26%, considerably more. Polished copper can do 70%, so you could expect a tenfold increase (or thereabout) of the moonlight, especially when the crystal is homogeneous and having a light color. Your Moon would look just like ours. Light only penetrates transparent/translucent materials up to a depth, which varies by material. Water is quite transparent for a few meters but even on the clearest lakes you can't see much deeper into them. Our atmosphere is perfectly transparent for more than a hundred kilometers, but when it gets thick you start losing some colors. This is why sunsets are reddish. Consider Jupiter. Its atmosphere is as transparent as ours. We can see a few hundred kilometers into it and then we just see red and brownish patterns. Solid crystals tend to be less transparent than gases. Add to that, any asteroids and comets impacting on that Moon will deposit non-transparent impurities on the lunar surface. It depends on the shape and material of the crystal, the more pure the crystal and the more transparent it will be, making it semi-invisible in the sky acting like a giant magnifying glass, burning people like ants. More realistically, it wont be pure and won't be of the perfect shape, reflecting a lot of light but not enough to burn someone alive, maybe just enough to give them cancer through excess radiation. Even more realistically, it will be covered in dust from million of years of meteorite impacts distrupting the surface, making it into a normal moon. There are planets made of ''diamonds'' in the real universe, and they don't look like clear crystals. Night will globally still exist It just may be a little brigther over the whole globe or there will be thin burning line somewhere and dark night at the rest. Or anything between including rainbow effects and such. But if it is the "moon" and not "co-planet", it means it is way smaller, than the earth - so it can get a way smaller angle of sun light (that means way less of sun energy) - an so even if it somehow reflect ALL of it to the earth, it still be way less, than Sun shine thru the day. So "day" and "night" would still be vissibly different on the globe globally. It may by possible (with some speacial cases) to have some area(s) on globe, which would be light at night as well as at day, if the moon would reflect large portion of its share of Sun light there, but it would be just about size of the moon (at 100% effectivity), with rest of globe in dark. Or the night may be little lighter globally, but not as much as at day. Anyway there is lot of stars at sky, so night is not totally dark anyway, it just may seem so to eyes, that are not sensitive enought. (And there is a problem with sensitivity range, if you want to see both under just stars and on full sunshine, so it is usually evolutionary impractical have such effective (and cost) eyes if you can cope some other way) Surface, refractive index, angle of incidence, transparency of the crystal, color of the crystal The amount of light received by the planet depends on type of surface, refractive index of crystal, angle of incidence of light, transparency of the crystal, color of the crystal etc. Rough surface If the surface is rough and unpolished, then reflection will be diffused. You will see a brighter moon but not very much (eye's response is logarithmic). Polished surface If the surface is smooth, polished, spherical and the crystal is transparent (like quartz, diamond, ice, sapphire), the moon will act like a big double-sided convex lens. Most of the light will pass through and little will be reflected. Light may disperse at certain angles of incidence (like in water droplets after rain causing a rainbow) and you may see rainbow like colors. Surface with large smooth planes If the surface of the moon is in the form of large smooth planes, then specular reflection, refraction, total internal refraction and dispersion will occur depending on the refractive index of the crystal and angle of incidence. You will see a multicolored glowing ball. Solar Eclipse When solar eclipse occurs, the sun will not be black but dimmed because light incident at angles greater than critical angles will have total internal reflection. Only light incident at angles less than critical angles will pass through.
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"https://www.nationalww2museum.org/sites/default/files/styles/wide_medium/public/2024-06/960x700_Event%20Header.jpg?h=0bec7728", "https://www.nationalww2museum.org/themes/nwwiim/images/loaders/placeholder.gif", "https://www.nationalww2museum.org/sites/default/files/styles/max_650x650/public/2024-07/8071BF04-F279-AF26-16FDF14C6C9D0971.jpg", "https://www.nationalww2museum.org/themes/nwwiim/images/loaders/placeholder.gif", "https://www.nationalww2museum.org/sites/default/files/styles/max_650x650/public/2024-07/J_Deblanc_Art.png" ]	[]	[]	[ "The Holocaust", "The Jenny Craig Institute for the Study of War and Democracy" ]	null	[ "kevindupuy" ]	2023-11-30T18:00:00	Kristallnacht, or the Night of Broken Glass, was the Nazi dictatorship’s declaration of war against German and Austrian Jews in November 1938.	en	/themes/nwwiim/favicon.ico	The National WWII Museum \| New Orleans	https://www.nationalww2museum.org/war/articles/night-broken-glass-never-be-forgotten	Top Photo: Vandalized storefront of a shop in Berlin owned by Jews, November 1938. National Archives and Records Administration, College Park, MD. Kristallnacht, or the Night of Broken Glass, was the Nazi dictatorship’s declaration of war against German and Austrian Jews and, implicitly, against Jews living anywhere in the world. Across Germany and German-annexed Austria on November 9–10, 1938, the Nazis staged spectacles of vengeance and degradation that shattered far more than glass. For Jewish communities, the extreme hatred unloosed on them made clear, for anyone with eyes to see, that this was a regime capable of anything. The Assassination of Ernst vom Rath The pretext for Kristallnacht did not take place, though, inside Greater Germany. It was the assassination in Paris of a German diplomat, Ernst vom Rath, someone virtually all of the world knew nothing about before November 1938, that supplied the excuse for the devastation. Neither was the assassin, Herschel Grynszpan, a person of stature. Only 17 years of age, Grynszpan was a young man and Polish Jew who had lived in the French capital apart from his family since 1936 and kept his head just above water financially. His decision to kill a German official had precious little to do with his tenuous circumstances in Paris. Rather, it was the despair that had built up over the situation of his family stranded on the border between Poland and Germany. The Grynszpans, like thousands of other Polish Jews, suffered from a long-running conflict between the Nazi state and the government of Poland over the status of Polish Jews living in Germany. In late March 1938, following Hitler’s annexation of Austria, the Polish Parliament (it is often forgotten how antisemitic the Polish state became in the 1930s) ratified a law making it easier to strip citizenship from citizens of Poland living outside the country. Berlin recognized what this meant for its own efforts to pressure Jews to leave Germany. In October 1938, another Polish measure canceled the passports of citizens abroad who did not receive authorization to reenter the country. Those affected only had a few weeks to secure the requisite paperwork. In response, the Nazi leadership, with SS leader Heinrich Himmler at the forefront, first expelled male Polish Jews in Germany. This was rapidly followed by similar orders for women and children. Those deported had little time to gather valuables. To carry out the measure, the SS transported these individuals and families to the border with Poland and tried to force them across, but Poland’s border security refused to allow them. As Saul Friedländer describes it, “for days, in pouring rain and without food or shelter, the deportees wandered between the two lines; most of them ended up in a Polish concentration camp near Zbąszyń. The rest were allowed to return to Germany.”[1] The Grynszpans had been inhabitants of the city Hannover in north-central Germany. Herschel’s sister Berta wrote to him that she had only been able to bring a small number of clothes from Hannover before the deportation and had no money when she and their mother and father arrived near Zbąszyń. Enraged, he dashed off a note to an uncle in Paris with these lines: “I have to protest in a way that the whole world hears my protest, and this I intend to do. I beg your forgiveness.”[2] On November 7, Grynszpan went to the German Embassy in Paris. Once inside, he requested to speak with an official. Shown to the office of vom Rath, Third Secretary, he drew the revolver he recently purchased and shot him five times. The gunshots did not kill the 29-year-old vom Rath right away. French police arrested Grynszpan, and he would remain in French custody until the German invasion of France in 1940. Once news of the shooting traveled back to Berlin, the Nazi regime exhibited restraint for a few days, something itself quite ominous. The quiet would not last long. Vom Rath succumbed to his wounds around 5:30 p.m. on the 9th. His death was a signal for the Nazis to exact revenge. November 9–10 was already a crucial date in the history of the National Socialist movement, a time of commemoration of the failed 1923 Beer Hall Putsch in Munich. Every place with a Jewish population was to feel their wrath. The Night of Broken Glass Propaganda Minister Joseph Goebbels, never short on the most venomous racism, took charge of the Third Reich’s response. Speaking to Nazi Party officials congregated in Munich to commemorate the Putsch, he indicated no police protection was to be given “the Jews” and they were to be left to the mercy of “spontaneous” acts of retribution by everyday Germans and Austrians. In reality, there was nothing spontaneous about the Night of Broken Glass. The Nazis carefully orchestrated this torrent of violence. Led by the SS, the elite Nazi organization, and the SA, the stormtroopers, the Hitler dictatorship dispensed a collective punishment on all Jews for the actions of Grynszpan. During the night of November 9–10, all the antisemitic poison poured out of the Nazi system. In the darkness of what must have seemed an endless night, Jewish property and lives experienced hell in countless villages, towns, and cities. On November 11, The New York Times chronicled exactly what happened as part of Kristallnacht in Munich. Kaufingerstraße, “one of Munich’s main streets,” the article relayed, “looked as if it had been raided by a bombing plane.[3] A half-dozen of the best shops were converted into wreckage overnight with plate-glass windows splintered on the pavement and shelves torn down, and goods lying broken and trampled on the floor.” The piece told of the torching of an Orthodox synagogue and an adjacent Jewish school and the burning of businesses owned by “Aryans” that had once been the property of Jews. The home of a Jewish manufacturer, Karl Boch, was set flame and he was arrested, as were the surgeons, Josef Rosenbaum, Alfred Haas, and M. Klar. The report mentioned that police had already taken into custody some 400 men and a half-dozen women. David Buffum, the US consul in the Saxon city of Leipzig, admired for its trade fairs and printing industry, produced a report about the violence there that was utilized during the Nuremberg Trials and is often anthologized.[4] There is good reason for the text’s ubiquity in the literature on Nazism. His report is a compendium of all-too-real nightmares. Buffum described the night of November 9–10 in Leipzig as “the most violent debacle the city had probably ever witnessed.”(106) He disputed the utterances of Goebbels, who praised the attacks on Jews as a “spontaneous wave of righteous indignation throughout Germany.”(106) These were thoroughly top-down assaults on Jewish bodies, property, and sites of community and culture, Buffum insisted. Though chilling, the details he recorded must not be forgotten: At 3 A.M. November 10, 1938 was unleashed a barrage of Nazi ferocity as had had no equal hitherto in Germany, or very likely anywhere else in the world. . . . Jewish dwellings were smashed into and contents demolished or looted. In one of the Jewish sections an eighteen-year-old boy was hurled from a three story window to land with both legs broken on a street littered with burning beds and other household furniture and effects from his family’s and other apartments.(107) Buffum felt confident enough in statements from a confidential source that the “debacle was executed by SS men and Storm Troopers not in uniform, each group having been provided with hammers, axes, crowbars, and incendiary bombs.”(107) Wishing for his superiors to understand that not all non-Jews knuckled under to this terror, Buffum passed on a story about three unnamed “Aryan professors” at the University of Jena arrested for speaking out against the anti-Jewish violence.(109) A SA report from Darmstadt confirms that Buffum was right to trust his source. The document details how “all the Jewish synagogues” within an area about 700 square miles south of Frankfurt am Main “are to be blown up or set on fire. Neighboring houses occupied by Aryan population may not be damaged. The action is to be carried out in civilian clothes. Rioting and plundering are to be prevented.”[5] In Frankfurt am Main itself, in Hesse, Jewish wine merchant Oskar Wiesengrund endured a revolting series of events. His son, the famed Marxist theorist Theodor W. Adorno, then living in New York City, detailed everything in a February 1939 letter to his friend and fellow Marxist critic, Walter Benjamin. “We did succeed,” Adorno related, “in getting my father out of prison, but he suffered further injury to his already bad eye during the pogrom; his offices were destroyed, and a short time afterwards he was deprived of all legal control over his property.”[6] His 73-year old mother, who was not Jewish, did not escape the upheaval. The Nazis held her for two days. Receiving vital assistance from friends in the United States, Adorno was lucky enough to get an entry visa for his parents to relocate to Cuba. From there they would make it to the United States. Adorno’s efforts to do something similar for Benjamin in the summer and fall of 1940, tragically, did not succeed. On the morning of November 10, Peter Fröhlich, a teenager from a Jewish family in Berlin, rode his bicycle and “pedaled through a city that seemed to have been visited by an army of vandals.”[7] During the night, his father had sought shelter with a dear friend, Emil Busse. Knowing his father was safe, Peter passed several specialty shops owned by Jews. “Their facades had been efficiently reduced to rubble, their huge display windows shattered, their mannequins and merchandise scattered on the sidewalk.”[8] When he laid eyes on his Uncle Samuel and Aunt Hede Fröhlich’s store selling women’s apparel on Olivaer Platz, the scale of the damage shocked Fröhlich. It looked “as though the store had been swept by a hurricane,” he recalled.[9] The Night of Broken Glass hastened the Fröhlichs’ decision to leave Germany. After they immigrated to the United States, Peter would forge an astonishing career as Peter Gay, a brilliant and influential historian of so many things the Nazis hated: the Enlightenment, the culture of the Weimar Republic, and Sigmund Freud and psychoanalysis. Similar, even bloodier, episodes played out throughout Greater Germany. Nazi thugs bludgeoned or shot Jews to death and administered beatings of individuals in front of their families. All of this carnage added up to a gruesome toll. Nearly 100 Jews were murdered, and many others took their own lives. Nazi security forces rounded up some 30,000 male Jews and shipped them to concentration camps at Sachsenhausen, Dachau, and Buchenwald. Incarceration in these camps was intended to intimidate Jews into emigrating (another wave of Jewish migration out of Germany did occur in the months after Kristallnacht). Roughly 250 synagogues in Germany and Austria burned. Innumerable cultural treasures were demolished. As the United States Holocaust Memorial Museum points out, President Franklin D. Roosevelt decried the Night of Broken Glass and recalled Hugh Wilson, the US ambassador to Germany.[10] Roosevelt largely acted alone, however. A continuation of appeasement, most governments did not do anything to question the savagery against Jews just witnessed in the Third Reich. Vichy authorities turned over Grynszpan to the Germans in 1940. Details of his time in Nazi hands are murky. Imprisoned in Berlin for a period, he was transferred to Sachsenhausen concentration camp. Goebbels made special plans for the young man. He wished to stage a show trial wherein he would try not only Grynszpan but indict Jews everywhere for their “crimes” against civilization. For decades, it was believed he did not survive World War II. In late 2016, Christa Prokisch, an Austrian archivist, and Armin Fuhrer, a German historian, claimed to have discovered in Vienna’s Jewish Museum a photograph from July 1946, almost certainly showing, they contend, a 25-year-old Grynszpan in a camp for displaced persons in Bamberg, Germany. The claim has ignited conversation about whether and how Grynszpan evaded death at the hands of the Nazis and what became of him after the war. War indeed soon blotted out Europe’s horizon, and the Night of Broken Glass would come to appear to many as the first act in a story of antisemitism and annihilation that surpassed everything previously recorded and transmitted.
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"https://i0.wp.com/i.imgur.com/iIbamkd.png", "https://i0.wp.com/i.imgur.com/26ZO1pK.png", "https://i0.wp.com/i.imgur.com/AS8WBFs.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	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
18075	yago	2	8	https://www.history.com/topics/holocaust/kristallnacht	en	Kristallnacht: Night of Broken Glass, Facts & Significance	https://assets.editorial…llnacht-riot.jpg	https://assets.editorial…llnacht-riot.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=3005002&cs_ucfr=1&cv=3.6&cj=1", "https://www.history.com/assets/images/history/logo.svg", "https://www.history.com/assets/images/history/logo.svg", "https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=640&height=426.66666666666663&crop=640%3A426.66666666666663%2Csmart&quality=75&auto=webp 640w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=750&height=500&crop=750%3A500%2Csmart&quality=75&auto=webp 750w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=828&height=552&crop=828%3A552%2Csmart&quality=75&auto=webp 828w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=1080&height=540&crop=1080%3A540%2Csmart&quality=75&auto=webp 1080w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=1248&height=624&crop=1248%3A624%2Csmart&quality=75&auto=webp 1248w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=1920&height=960&crop=1920%3A960%2Csmart&quality=75&auto=webp 1920w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=2048&height=1024&crop=2048%3A1024%2Csmart&quality=75&auto=webp 2048w, https://assets.editorial.aetnd.com/uploads/2009/12/damaged-jewish-owned-storefront-after-kristallnacht-riot.jpg?width=3840&height=1920&crop=3840%3A1920%2Csmart&quality=75&auto=webp 3840w", "https://assets.editorial.aetnd.com/history-article-default.desktop.jpg", "https://assets.editorial.aetnd.com/history-article-default.desktop.jpg", "https://assets.editorial.aetnd.com/history-article-default.desktop.jpg", "https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=16&quality=75&auto=webp 16w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=32&quality=75&auto=webp 32w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=48&quality=75&auto=webp 48w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=64&quality=75&auto=webp 64w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=96&quality=75&auto=webp 96w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=128&quality=75&auto=webp 128w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=256&quality=75&auto=webp 256w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=392&quality=75&auto=webp 392w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=640&quality=75&auto=webp 640w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=750&quality=75&auto=webp 750w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=828&quality=75&auto=webp 828w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1080&quality=75&auto=webp 1080w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1248&quality=75&auto=webp 1248w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=1920&quality=75&auto=webp 1920w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=2048&quality=75&auto=webp 2048w, https://assets.editorial.aetnd.com/uploads/2024/06/IHBANNER-1.jpg?width=3840&quality=75&auto=webp 3840w" ]	[]	[]	[ "" ]	null	[ "Amanda Onion", "History.com Editors" ]	2009-12-16T15:44:33+00:00	Kristallnacht, or the Night of Broken Glass, also called the November pogrom(s), was a prolonged series of violent attacks on Jewish people, homes, businesses and synagogues in 1938 Germany.	en	https://www.history.com/…e-touch-icon.png	HISTORY	https://www.history.com/topics/holocaust/kristallnacht	Hitler and Anti-Semitism Soon after Adolf Hitler became Germany’s chancellor in January 1933, he began instituting policies that isolated German Jews and subjected them to persecution. Among other things, Hitler’s Nazi Party, which espoused extreme German nationalism and anti-Semitism, commanded that all Jewish businesses be boycotted and all Jews be dismissed from civil service posts. In May 1933, the writings of Jewish and other “un-German” authors were burned in a communal ceremony at Berlin’s Opera House. Within two years, some German businesses were publicly announcing that they no longer serviced Jews. The Nuremberg Laws, passed in September 1935, decreed that only Aryans could be full German citizens. Furthermore, it became illegal for Aryans and Jews to marry or have extramarital intercourse. Despite the repressive nature of these policies, through most of 1938, the harassment of Jews was primarily nonviolent. However, on the night of November 9, all that changed dramatically. From Harassment to Violence In the fall of 1938, Herschel Grynszpan, a 17-year-old Polish Jew who had been living in France for several years, learned that the Nazis had exiled his parents to Poland from Hanover, Germany, where Herschel had been born and his family had lived for years. As retaliation, on November 7, 1938, the agitated teenager shot Ernst vom Rath, a German diplomat in Paris. Rath died two days later from his wounds, and Hitler attended his funeral. Joseph Goebbels, the Nazi minister for public enlightenment and propaganda, immediately seized on the assassination to rile Hitler’s supporters into an anti-Semitic frenzy. Night of Broken Glass Kristallnacht was the result of that rage. Starting in the late hours of November 9 and continuing into the next day, Nazi mobs, SS troops and ordinary citizens torched or otherwise vandalized hundreds of synagogues throughout Germany and damaged, if not completely destroyed, thousands of Jewish homes, schools, businesses, hospitals and cemeteries. Nearly 100 Jews were murdered during the violence. Nazi officials ordered German police officers and firemen to do nothing as the riots raged and buildings burned, although firefighters were allowed to extinguish blazes that threatened Aryan-owned property. After Kristallnacht, the streets and sidewalks of Jewish communities were littered with broken glass from vandalized buildings, giving rise to the names “Crystal Night” or “Night of Broken Glass.” The Nazis held the German-Jewish community responsible for the damage and imposed a collective fine of $400 million (in 1938 rates), according to the U.S. Holocaust Memorial Museum. Additionally, more than 30,000 Jewish men were arrested and sent to the Dachau, Buchenwald and Sachsenhausen concentration camps in Germany—camps that were specifically constructed to hold Jews, homosexuals, political prisoners and other perceived enemies of the Nazi state. U.S. Reaction to Kristallnacht On November 15, 1938, President Franklin D. Roosevelt, responded to Kristallnacht by reading a statement to the media in which he harshly denounced the rising tide of anti-Semitism and violence in Germany. He also recalled Hugh Wilson, his ambassador to Germany. Despite Roosevelt’s condemnation of the Nazi violence, the United States refused to ease the immigration restrictions it then had in place, constraints that prevented masses of German Jews from seeking safety in America. One reason was anxiety over the possibility that Nazi infiltrators would be encouraged to legally settle in America. A more obscured reason was the anti-Semitic views held by various officials in the U.S. State Department. One such administrator was Breckinridge Long, who was responsible for carrying out policies relating to immigration. Long took an obstructionist role in granting visas to European Jews, and maintained this policy even when America entered World War II after the 1941 Japanese attack on Pearl Harbor, Hawaii. A Wake-up Call to Jews The violence of Kristallnacht served notice to Jews worldwide that Nazi anti-Semitism was not a temporary predicament and would only intensify. As a result, many Jews began to plan an escape from their native land. Kristallnacht marked a turning point toward more violent and repressive treatment of Jews by the Nazis. By the end of 1938, Jews were prohibited from schools and most public places in Germany—and conditions only worsened from there. During World War II, Hitler and the Nazis implemented their so-called “Final Solution” to what they referred to as the “Jewish problem,” and carried out the systematic murder of some 6 million European Jews (along with, by some estimates, 4 million to 6 million non-Jews) in what came to be known as the Holocaust. Sources
18075	yago	2	55	https://www.crystalmountainresort.com/	en				[]	[]	[]	[ "" ]	null	[]	null					null
18075	yago	3	19	https://elhype.com/en/64th-thessaloniki-international-film-festival/	en	64th Thessaloniki International Film Festival	https://elhype.com/wp-co…ine-elhype-c.jpg	https://elhype.com/wp-co…ine-elhype-c.jpg	[ "https://www.facebook.com/tr?id=443846673417465&ev=PageView&noscript=1", "https://elhype.com/wp-content/themes/elhype/images/logo-elhype.png", "https://elhype.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/es.png", "https://elhype.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/en.png", "https://elhype.com/wp-content/uploads/2023/10/thesaloniki-international-film-festival-2023-cine-elhype-c-690x450.jpg", "https://elhype.com/wp-content/uploads/userpro/69/665ca97ed635c.jpeg", "https://elhype.com/wp-content/uploads/2023/10/thesaloniki-international-film-festival-2023-cine-elhype.jpg", "https://eep.io/mc-cdn-images/template_images/branding_logo_text_light_dtp.svg", 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Hype	https://elhype.com/en/64th-thessaloniki-international-film-festival/	The 64th Thessaloniki International Film Festival will take place between November 2 and 12, in its on-site and online format. 270 feature and short films will be screened at the Olympion and Pavlos Zannas, Frida Liappa, Tonia Marketaki, John Cassavetes and Stavros Tornes theaters, as well as at the Makedonikon. In addition 79 films will be accessible online, through the platform online.filmfestival.gr. Tributes Throughout this edition, the festival will award its honorary Golden Alexander to the Italian actress Monica Bellucci, will host masterclasses such as that of Jeremy Podeswa, director of the successful series Game of Thrones and True Detective, among others. In addition, Thessaloniki will welcome double Oscar winner Alexander Payne, who will present his latest film, The Holdovers, which has already earned young actor Dominic Sessa the Rising Star award at the Heartland Film Festival. The 64th Thessaloniki International Film Festival pays tribute to one of the most unique and daring voices of contemporary Greek cinema, director Nikos Perakis, who will receive a Golden Alexander from German director Volker Schlöndorff, with whom he has collaborated throughout his career. The tribute will be extended with a cycle of five films by the Greek film director and production designer. In addition, the Laboratory for the Study of Greek Cinema and Television will host a colloquium on Nikos Perakis, in which prominent academic figures will participate as speakers. The unique poetic gaze of the celebrated film director Takis Kanellopoulos, who lived and worked in Thessaloniki, is unveiled in the Festival’s tribute to him, with the screening of nine films and the original art exhibition-installation Takis Kanellopoulos: I Dream of an Excursion, on Kanellopoulos’ work. The Festival also honors the memory of Michel Dimopoulos with a series of initiatives and actions, such as the inclusion of his name in the award of the competition section “Meet the Neighbors+”, which will be renamed “Golden Alexander-Michel Dimopoulos” and the screening of the film The Spirit of the Beehive, by Víctor Erice, will also be held in his memory. The festival’s magazine, First Shot, will be dedicated exclusively to Michel Dimopoulos and his reviews, articles and analysis. Television and film storytellers take center stage at the 64th Thessaloniki International Film Festival’s tribute entitled Storytelling. Leading writers and screenwriters share their experiences, reflections and secrets through a series of masterclasses, open to the public, that aim to bridge the gap between film and series scriptwriting. The master classes of the tribute to storytelling will be given by: Jeremy Podeswa, Ruth Atkinson, Panayotis Christopoulos, Dora Masklavanou and Dimosthenis Papamarkos. In addition, the Meet the Future initiative will feature five up-and-coming Greek screenwriters as part of the tribute to storytelling. The first theme of Survey Expanded, which expands and renews the themes and issues addressed in the Balkan Survey section, is entitled Reflections of Topos and traces aspects of Southeastern Europe as geographical and symbolic places and locations, inscribed in the work of an emerging and dynamic generation of artists. The Greek festival, which has always been known for the care and exquisite design of its graphic image, has entrusted the artist Vassilis Selimas with the creation of its poster, while the multi-award-winning director Thanasis Neofotistos has been in charge of creating the official trailer. The festival will kick off on Thursday, November 2 with the screening of Pot-au-feu, the film with which the French-Vietnamese director Anh Hung Tran won the Best Director Award at the last Cannes Festival; the closing ceremony, on November 12, will be sealed with Fallen Leaves, by Aki Kaurismaki, winner of the Jury Prize at the same event. FANT A SM S The leitmotiv of the 64th Thessaloniki Festival is a tribute to the invisible and tangible ghosts, at once terrifying and familiar, real and allegorical, protagonists of the new edition’s large-scale tribute, curated by film critic and artistic director of the New York Film Festival, Dennis Lim. This will consist of the screening of 33 feature and short films, a selection of gems of international cinema that explores the underlying symbolisms and hidden allegories behind the representation of ghosts in cinema. An exhibition entitled “FANT A SM S” has also been programmed, showing works by Nikos Kessanlis, Vlassis Caniaris, Celia Daskopoulou and Jason Molfessis, four legendary Greek visual artists, who will be glossed by Dimitris Troumplekas. Likewise, a carefully prepared bilingual edition has been prepared with texts and analyses by film theorists and renowned directors, in addition to the other two published for the 64th edition: The endearing and innovative Α-Catalog and a special edition, in collaboration with Marni Films, on the work of the versatile storyboard artist George Tassioulas. Agora Renowned singer Haris Alexiou, an icon of Greek music, who has recently shown her acting talents in theater and television, will be the ambassador of Agora. Agora Series, the new initiative launched last year, returns with a full two-day program. Film industry professionals will have the opportunity to participate in innovative actions and initiatives focused on the future and supporting emerging filmmakers. In addition, the projects selected by Agora compete for a series of important prizes, accompanied by cash or service awards. Podcasts Ten podcasts in Greek and English are participating in the Festival’s podcast competition, while 19 podcasts are included in the Nexus section. The public will have the opportunity to listen to the Festival’s podcasts in the Podcast Room, located in the Thessaloniki Film Museum, with free admission. The winning podcast in the Competition section will win a prize of 2,000 euros in cash. In addition, all podcasters between 25 and 35 years old participating in the Festival, including both sections, will be eligible for the ENS Louis Lumière – French Institute of Greece Award for Best Audio Documentary Creator. All podcasts, as always, will be available for listening through the Festival’s website www.filmfestival.gr. The 64th Thessaloniki International Film Festival, taking advantage of the experience and knowledge gained through the Evia Film Project, has set itself the goal of becoming more sustainable every year, reducing its environmental footprint and raising awareness of the goal of sustainability. Among other measures, this year, in the midst of a period of severe climatic changes and unprecedented phenomena that take their toll on everyone’s lives, the Festival has established a green fee for its accredited guests aimed at enhancing the sustainable actions already implemented. The 64th edition of the Thessaloniki Festival is held with the support of the Ministry of Culture, the Partnership Agreement of the Regional Operational Program of Central Macedonia 2021-2027 and the MEDIA program. It is also supported by ERT (Hellenic Broadcasting Corporation), official communication sponsor of the Festival, COSMOTE TV, major sponsor of the Festival, Alpha Bank, accessibility sponsor of the Festival, MasterCard, official payment card of the Festival, Aegean, official airline of the Festival, Fischer, sponsor of the Audience Awards, and Jameson.
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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...	en		Daily Kos	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. _________________________________ 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. _________________________________ 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. _________________________________ 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. _________________________________ 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: . 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. _________________________________ 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. _________________________________ 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. _________________________________ 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. _________________________________ 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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18075	yago	0	76	https://pdfcoffee.com/a-history-of-greek-cinema-pdf-free.html	en	A history of Greek cinema	https://pdfcoffee.com/im…ema-pdf-free.jpg	https://pdfcoffee.com/im…ema-pdf-free.jpg	[ "https://pdfcoffee.com/pdfcoffee/assets/img/pdfcoffee_logo.png", "https://pdfcoffee.com/img/200x200/a-history-of-greek-cinema-pdf-free.jpg", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/pdfcoffee_logo.png" ]	[]	[]	[ "" ]	null	[ "Guest" ]	null	AHISTORYGREEKCINEMA AHISTORYGREEKCINEMAVrasidas Karalis The Continuum International Publishing Group 8...	en	https://pdfcoffee.com/pd…e-icon-57x57.png	pdfcoffee.com	https://pdfcoffee.com/a-history-of-greek-cinema-pdf-free.html	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 x 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. xi xii 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 xiii xiv 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. xv xvi 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 xvii xviii 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. xix xx 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. xxi 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. xxii 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 xxiii Chapter One ❦❦ 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 2 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 Early Greek Cinema: 1905–1945 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. 3 4 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. 5 6 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, 7 8 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, 9 10 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. 11 12 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. Early Greek Cinema: 1905–1945 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. 13 14 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 15 16 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 17 18 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 20 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
18075	yago	2	80	https://www.crystallakeparks.org/crystal-lake-parks-initiative-foundation	en	Crystal Lake Parks Initiative Foundation			[ "https://www.crystallakeparks.org/images/rain-out.png", "https://www.crystallakeparks.org/images/icon_twitter.svg", "https://www.crystallakeparks.org/images/CLPDLOGO.png", "https://www.crystallakeparks.org/images/100_yr_logo.png", "https://www.crystallakeparks.org/upload/clpi_logo_ccopy.jpg", "https://www.crystallakeparks.org/images/CLPD_LOGO_WHITE_footer.png", "https://www.crystallakeparks.org/images/phone_icon.png", "https://www.crystallakeparks.org/images/envelope_icon.png", "https://www.crystallakeparks.org/images/icon_twitter.svg", "https://www.crystallakeparks.org/images/rain-out.png", "https://www.crystallakeparks.org/images/burst.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/images/favicon.png		null	In October 2021, a group of community members came together to form the Crystal Lake Parks Initiative Foundation. The purpose of the foundation is to raise funds to support efforts above and beyond the normal means of the Park District. Fundraising efforts will support projects and initiatives for Crystal Lake Park District parks. At this time, the Foundation has an application pending with the IRS to receive tax-exempt status as a 501(c)(3) organization. The Foundation was incorporated on October 13, 2021 and, when the IRS approves a timely filed exemption application, exempt status is recognized back to the date the organization was created. The Crystal Lake Parks Initiative Foundation is dedicated to extending the scope of Crystal Lake Park district in its efforts to enhance the development of parks, open space, trails, and recreational activities. Our mission is to create safe, environmentally friendly, and highly accessible facilities that encourage social engagement, cultivate the adventurous spirit, promote positive self-worth, and celebrate life.
18075	yago	3	23	https://content.wisconsinhistory.org/digital/collection/p15932coll8/id/83629/	en	CONTENTdm	https://content.wisconsi…0,/0/default.jpg	https://content.wisconsi…0,/0/default.jpg	[]	[]	[]	[ "" ]	null	[]	null		en	/digital/favicon.ico?v=73		//content.wisconsinhistory.org/digital/collection/p15932coll8/id/83629/	Javascript Required To experience full interactivity, please enable Javascript in your browser.
18075	yago	3	74	https://issuu.com/kurzfilmtagewin/docs/2017_katalog_issuu	en	Catalogue – 21st Internationale Kurzfilmtage Winterthur (2017)	https://image.isu.pub/17…6/jpg/page_1.jpg	https://image.isu.pub/17…6/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/kurzfilmtagewin/photo_large.jpg", "https://image.isu.pub/240409113928-2c93a94ad153488bb2741a3bafdfbf1b/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240326124012-63321d3d731ca411a3357e616d29a611/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230328130811-5623c0c51bd9cc40ccd9805eda14a048/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230328131147-40c854a8af0dd4a0012b50b091020126/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/220405073629-363825a75adddbcd450dbf1368923a9c/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211109111338-af15253715e487d7a192cfd213a35bce/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211109150359-b145d69918719c1890c6c2c0edbe18a7/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/211007134735-3f01c4593c24b3928a48bb387d8794b3/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2017-11-01T00:00:00+00:00	Read Catalogue – 21st Internationale Kurzfilmtage Winterthur (2017) by Internationale Kurzfilmtage Winterthur on Issuu and browse thousands of othe...	en	/favicon.ico	Issuu	https://issuu.com/kurzfilmtagewin/docs/2017_katalog_issuu	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.
18075	yago	3	1	https://www.europeana.eu/en/item/2051939/data_euscreenXL_EUS_F5AAA5CEFBE4B00983CA904EA09EEA33	en	Backstage, (Paraskinio) Ep: Tonia Marketaki	https://api.europeana.eu/thumbnail/v3/400/fa0b7f1bf52f1b9cc9ae78e88e9e298c	https://api.europeana.eu/thumbnail/v3/400/fa0b7f1bf52f1b9cc9ae78e88e9e298c	[ "https://www.europeana.eu/_nuxt/img/logo.3ebdec7.svg" ]	[]	[]	[ "" ]	null	[]	null	A documentary series that highlights issues of culture and history. This episode is dedicated to the personality and work of director Tonia Marketaki. Included is a snapshot with a speech by Tonia Marketaki from the event in her honor at the Aetopouleio Cultural Center of the Municipality of Halandri, excerpts from her radio show. In the documentary, there is an additional reference to the period when T. Marketaki worked as an artistic reporter and film critic in the newspaper "To Vima" (60's), in her work in Greek	en	/_nuxt/cf61259352b5abdaf73759aae8e8a819.ico		https://www.europeana.eu/en/item/2051939/data_euscreenXL_EUS_F5AAA5CEFBE4B00983CA904EA09EEA33	A documentary series that highlights issues of culture and history. This episode is dedicated to the personality and work of director Tonia Marketaki. Included is a snapshot with a speech by Tonia Marketaki from the event in her honor at the Aetopouleio Cultural Center of the Municipality of Halandri, excerpts from her radio show. In the documentary, there is an additional reference to the period …
18075	yago	2	79	https://www.oprah.com/omagazine/oprah-interviews-billy-crystal/5	en	Oprah Talks to Billy Crystal	http://static.oprah.com/images/200406/omag/200406-omag-otalks-billy-crystal-130x89.jpg	http://static.oprah.com/images/200406/omag/200406-omag-otalks-billy-crystal-130x89.jpg	[ "https://static.oprah.com/2020/05/Watch_OWN_3_104x23.png", "https://www.oprah.com/img/preloading.gif", "https://static.oprah.com/images/o2/201311-orig-skillet-burger-949x534.jpg", "https://static.oprah.com/css/OWN_2/content_stream/gfc_nextstory_arrow.png" ]	[]	[]	[ "billy", "crystal", "Comedian", "comedy", "comic", "oscar", "host", "father", "grandfather", "children's", "book", "children", "parenting", "actor", "snl", "saturday", "night", "live", "when harry met sally", "city slickers", "Oprah's", "Cut", "O", "cuts", "talks", "interviews", "June", "2004", "the", "oprah", "mag" ]	null	[]	2004-06-15T00:00:00	The brilliantly hilarious, family-centric Billy Crystal riffs about everything from Saturday Night Live to shampooing his daughters' hair to the charming children's book he wrote to welcome his new granddaughter.		//static.oprah.com/css/OWN_2/global_assets/O2_oprah_web_icon_16x16.ico	Oprah.com	https://www.oprah.com/omagazine/oprah-interviews-billy-crystal/all	PAGE 5 Billy: She wouldn't let me in the bathroom. Oprah: How old was she then? Billy: Nineteen [laughs]. The maturity fairy hit. Oprah: So you did the hair combing, too? Billy: I used to play a character, a hairdresser named Mr. Phyllis, and I'd shampoo my girls' hair and make it fabulous. We had a number of other characters, and we created our own languages. They just fell in with this nonsense. Oprah: Tell me about Saturday Night Live. Billy: I was asked to be on the very first show. I was doing this piece that took about six minutes. On Friday night, we had a live run-through. George Carlin was the host. Big audience. And the show wasn't very good that night, but my thing worked great. So I thought I was in fat city. Then I heard from Lorne [Michaels, the executive producer of SNL], "You have to do a piece that's two minutes total." But I really didn't have anything that could work in two minutes. So I called my managers. They met with Lorne, saying, "He can do it in five minutes, but we want him to be in the first hour." Lorne said, "Can't do it." I was sitting in the lobby, and my managers said, "Come on, we're going home." I said, "What are you talking about?" They said, "They can't do what we want, and you're not going to look good in this." I wasn't like, "Screw them." I was like, "This is where I belong. What the hell happened?" I watched the show go into history, and I ended up doing Howard Cosell. Oprah: That must have been difficult. Billy: I don't blame anyone. It just got all blown out of proportion with the managers. They stood up for me, and Lorne stood up for his show. I understand that. The hard part was calling all the relatives and saying, "I'm not going to be on." They're like, "But we took naps so we could watch this at 11:30, Mr. Big Shot. What did you do, open your mouth?" Eight years later, I was asked to be a guest host. I hosted twice that season, and it went great. Then Dick Ebersol took over. Lorne was out. Dick said, "Would you think about being a regular if I got Marty Short and Chris Guest?" I said, "If they do it, I'll do it"—and I said it fast, because I knew it was a really smart move to make. Oprah: As you'd watched all those guys whose careers were built on Saturday Night Live... Billy: I should have been there. Maybe, in a way, it was a good thing. Maybe I wasn't ready then. When I did come back, I had chops. I had Fernando. [Crystal became known for his Fernando Lamas impression: "You look mahvelous!"] I had the character Chris Guest and I created. [Willie the Masochist would hurt himself and then claim, "I hate when that happens!"]
18075	yago	3	35	https://www.facebook.com/groups/qgiscommunityofficialvirtualgroup/posts/disclaimer-i-am-an-amateur-in-cartography-and-i-am-doing-this-as-a-hobby-and-out/2701891553322712/	en	Facebook			[]	[]	[]	[ "" ]	null	[]	null		de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		null
18075	yago	2	4	https://en.wikipedia.org/wiki/Kristallnacht	en	Kristallnacht	https://upload.wikimedia…ue%2C_Berlin.jpg	https://upload.wikimedia…ue%2C_Berlin.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Interior_view_of_the_destroyed_Fasanenstrasse_Synagogue%2C_Berlin.jpg/330px-Interior_view_of_the_destroyed_Fasanenstrasse_Synagogue%2C_Berlin.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Yellowbadge_logo.svg/100px-Yellowbadge_logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Bundesarchiv_Bild_146-1982-174-27%2C_N%C3%BCrnberg%2C_Ausweisung_polnischer_Juden.jpg/290px-Bundesarchiv_Bild_146-1982-174-27%2C_N%C3%BCrnberg%2C_Ausweisung_polnischer_Juden.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg/170px-Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Ernst-vom-Rath.jpg/170px-Ernst-vom-Rath.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg/260px-Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Destroyed_Ohel_Yaaqov_Synagogue.jpeg/260px-Destroyed_Ohel_Yaaqov_Synagogue.jpeg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Synagogue_Eisenach_burning-_Nov_1938.jpg/260px-Synagogue_Eisenach_burning-_Nov_1938.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Paul_Ehrlich_by_Franz_Wilhelm_Voigt_2014.031_crop.jpg/180px-Paul_Ehrlich_by_Franz_Wilhelm_Voigt_2014.031_crop.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/92/Plaque_on_the_New_Synagogue.JPG/240px-Plaque_on_the_New_Synagogue.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/00/British_Jews_protest_against_immigration_restrictions_to_Palestine_after_Kristallnacht.jpg/220px-British_Jews_protest_against_immigration_restrictions_to_Palestine_after_Kristallnacht.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-09-10T21:57:36+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Kristallnacht	1938 anti-Jewish pogroms in Nazi Germany For the John Zorn album, see Kristallnacht (album). "Crystal Night" redirects here. For the albums, see Crystal Night (Attacco Decente album) and Crystal Night (1986 Omega Tribe album). KristallnachtLocationNazi Germany (then including Austria and the Sudetenland) Date9–10 November 1938 (1938-11-09 – 1938-11-10) (85 years, 285 days ago)TargetJews Attack type Pogrom, purge, looting, arson, mass arrests, homicide, kidnappingDeaths91+PerpetratorsAdolf Hitler, Sturmabteilung (SA) stormtroopers, Schutzstaffel (SS), Hitler Youth, German civiliansMotiveVengeance for the assassination of Ernst vom Rath, antisemitism Kristallnacht (German pronunciation: [kʁɪsˈtalnaχt] ⓘ lit. 'crystal night') or the Night of Broken Glass, also called the November pogrom(s) (German: Novemberpogrome, pronounced [noˈvɛm.bɐ.poˌɡʁoːmə] ⓘ),[1][2][3] was a pogrom against Jews carried out by the Nazi Party's Sturmabteilung (SA) and Schutzstaffel (SS) paramilitary forces along with some participation from the Hitler Youth and German civilians throughout Nazi Germany on 9–10 November 1938. The German authorities looked on without intervening.[4] The euphemistic name Kristallnacht comes from the shards of broken glass that littered the streets after the windows of Jewish-owned stores, buildings, and synagogues were smashed. The pretext for the attacks was the assassination of the German diplomat Ernst vom Rath[5] by Herschel Grynszpan, a 17-year-old German-born Polish Jew living in Paris. Jewish homes, hospitals and schools were ransacked as attackers demolished buildings with sledgehammers.[6] Rioters destroyed 267 synagogues throughout Germany, Austria, and the Sudetenland.[7] Over 7,000 Jewish businesses were damaged or destroyed,[8][9] and 30,000 Jewish men were arrested and incarcerated in concentration camps.[10] British historian Martin Gilbert wrote that no event in the history of German Jews between 1933 and 1945 was so widely reported as it was happening, and the accounts from foreign journalists working in Germany drew worldwide attention.[6] The Times of London observed on 11 November 1938: "No foreign propagandist bent upon blackening Germany before the world could outdo the tale of burnings and beatings, of blackguardly assaults on defenceless and innocent people, which disgraced that country yesterday."[11] Estimates of fatalities caused by the attacks have varied. Early reports estimated that 91 Jews had been murdered.[a] Modern analysis of German scholarly sources puts the figure much higher; when deaths from post-arrest maltreatment and subsequent suicides are included, the death toll reaches the hundreds, with Richard J. Evans estimating 638 deaths by suicide.[12][13] Historians view Kristallnacht as a prelude to the Final Solution and the murder of six million Jews during the Holocaust.[14] Background [edit] Early Nazi persecutions [edit] In the 1920s, most German Jews were fully integrated into the country's society as citizens. They served in the army and navy and contributed to every field of German business, science and culture.[15] Conditions for German Jews began to worsen after the appointment of Adolf Hitler (the Austrian-born leader of the National Socialist German Workers' Party) as Chancellor of Germany on 30 January 1933, and the Enabling Act (implemented 23 March 1933) which enabled the assumption of power by Hitler after the Reichstag fire of 27 February 1933.[16][17] From its inception, Hitler's regime moved quickly to introduce anti-Jewish policies. Nazi propaganda alienated the 500,000 Jews living in Germany, who accounted for only 0.86% of the overall population, and framed them as an enemy responsible for Germany's defeat in the First World War and for its subsequent economic disasters, such as the 1920s hyperinflation and the subsequent Great Depression.[18] Beginning in 1933, the German government enacted a series of anti-Jewish laws restricting the rights of German Jews to earn a living, to enjoy full citizenship and to gain education, including the Law for the Restoration of the Professional Civil Service of 7 April 1933, which forbade Jews to work in the civil service.[19] The subsequent 1935 Nuremberg Laws stripped German Jews of their citizenship and prohibited Jews from marrying non-Jewish Germans. These laws resulted in the exclusion and alienation of Jews from German social and political life.[20] Many sought asylum abroad; hundreds of thousands emigrated, but as Chaim Weizmann wrote in 1936, "The world seemed to be divided into two parts—those places where the Jews could not live and those where they could not enter."[21] The international Évian Conference on 6 July 1938 addressed the issue of Jewish and Romani immigration to other countries. By the time the conference took place, more than 250,000 Jews had fled Germany and Austria, which had been annexed by Germany in March 1938; more than 300,000 German and Austrian Jews continued to seek refuge and asylum from oppression. As the number of Jews and Romani wanting to leave increased, the restrictions against them grew, with many countries tightening their rules for admission. By 1938, Germany "had entered a new radical phase in anti-Semitic activity".[22] Some historians believe that the Nazi government had been contemplating a planned outbreak of violence against the Jews and were waiting for an appropriate provocation; there is evidence of this planning dating back to 1937.[23] In a 1997 interview, the German historian Hans Mommsen claimed that a major motive for the pogrom was the desire of the Gauleiters of the NSDAP to seize Jewish property and businesses.[24] Mommsen stated: The need for money by the party organization stemmed from the fact that Franz Xaver Schwarz, the party treasurer, kept the local and regional organizations of the party short of money. In the fall of 1938, the increased pressure on Jewish property nourished the party's ambition, especially since Hjalmar Schacht had been ousted as Reich minister for economics. This, however, was only one aspect of the origin of the November 1938 pogrom. The Polish government threatened to extradite all Jews who were Polish citizens but would stay in Germany, thus creating a burden of responsibility on the German side. The immediate reaction by the Gestapo was to push the Polish Jews—16,000 persons—over the borderline, but this measure failed due to the stubbornness of the Polish customs officers. The loss of prestige as a result of this abortive operation called for some sort of compensation. Thus, the overreaction to Herschel Grynszpan's attempt against the diplomat Ernst vom Rath came into being and led to the November pogrom. The background of the pogrom was signified by a sharp cleavage of interests between the different agencies of party and state. While the Nazi party was interested in improving its financial strength on the regional and local level by taking over Jewish property, Hermann Göring, in charge of the Four-Year Plan, hoped to acquire access to foreign currency in order to pay for the import of urgently-needed raw material. Heydrich and Himmler were interested in fostering Jewish emigration.[24] The Zionist leadership in the British Mandate of Palestine wrote in February 1938 that according to "a very reliable private source—one which can be traced back to the highest echelons of the SS leadership", there was "an intention to carry out a genuine and dramatic pogrom in Germany on a large scale in the near future".[25] Expulsion of Polish Jews in Germany [edit] Main article: Polenaktion In August 1938, German authorities announced that residence permits for foreigners were being canceled and would have to be renewed.[citation needed] This included German-born Jews of foreign citizenship. Poland stated that it would renounce citizenship rights of Polish Jews living abroad for at least five years after the end of October, effectively making them stateless.[26] In the so-called "Polenaktion", more than 12,000 Polish Jews, among them the philosopher and theologian Rabbi Abraham Joshua Heschel, and future literary critic Marcel Reich-Ranicki were expelled from Germany on 28 October 1938, on Hitler's orders. They were ordered to leave their homes in a single night and were allowed only one suitcase per person to carry their belongings. As the Jews were taken away, their remaining possessions were seized as loot both by Nazi authorities and by neighbors.[citation needed] The deportees were taken from their homes to railway stations and were put on trains to the Polish border, where Polish border guards sent them back into Germany. This stalemate continued for days in the pouring rain, with the Jews marching without food or shelter between the borders.[27] Four thousand were granted entry into Poland, but the remaining 8,000 were forced to stay at the border. They waited there in harsh conditions to be allowed to enter Poland. A British newspaper told its readers that hundreds "are reported to be lying about, penniless and deserted, in little villages along the frontier near where they had been driven out by the Gestapo and left."[28] Conditions in the refugee camps "were so bad that some actually tried to escape back into Germany and were shot", recalled a British woman who was sent to help those who had been expelled.[29] Shooting of vom Rath [edit] Among those expelled was the family of Sendel and Riva Grynszpan, Polish Jews who had emigrated to Germany in 1911 and settled in Hanover, Germany. At the trial of Adolf Eichmann in 1961, Sendel Grynszpan recounted the events of their deportation from Hanover on the night of 27 October 1938: "Then they took us in police trucks, in prisoners' lorries, about 20 men in each truck, and they took us to the railway station. The streets were full of people shouting: 'Juden Raus! Auf Nach Palästina!'" ("Jews get out! Go to Palestine!").[30] Their seventeen-year-old son Herschel was living in Paris with an uncle.[14] Herschel received a postcard from his family from the Polish border, describing the family's expulsion: "No one told us what was up, but we realized this was going to be the end ... We don't have a penny. Could you send us something?"[31] He received the postcard on 3 November 1938. On the morning of Monday, 7 November 1938, he purchased a revolver and a box of bullets, then went to the German embassy and asked to see an embassy official. After he was taken to the office of Nazi diplomat Ernst vom Rath, Grynszpan fired five bullets at Vom Rath, two of which hit him in the abdomen. Vom Rath was a professional diplomat with the Foreign Office who expressed anti-Nazi sympathies, largely based on the Nazis' treatment of the Jews and was under Gestapo investigation for being politically unreliable.[32] However, he also argued that the anti-Semitic laws were "necessary" to allow the Volksgemeinschaft to flourish.[33] Grynszpan made no attempt to escape the French police and freely confessed to the shooting. In his pocket, he carried a postcard to his parents with the message, "May God forgive me ... I must protest so that the whole world hears my protest, and that I will do." It is widely assumed that the assassination was politically motivated, but historian Hans-Jürgen Döscher says the shooting may have been the result of a love affair gone wrong, and that Grynszpan and vom Rath had become intimate after they met in Le Boeuf sur le Toit, which was a popular meeting place for gay and bisexual men at the time.[34] The next day, the German government retaliated, barring Jewish children from German state elementary schools, indefinitely suspending Jewish cultural activities, and putting a halt to the publication of Jewish newspapers and magazines, including the three national German Jewish newspapers. A newspaper in Britain described the last move, which cut off the Jewish populace from their leaders, as "intended to disrupt the Jewish community and rob it of the last frail ties which hold it together."[18] Their rights as citizens had been stripped.[35] One of the first legal measures issued was an order by Heinrich Himmler, commander of all German police, forbidding Jews to possess any weapons whatsoever and imposing a penalty of twenty years' confinement in a concentration camp upon every Jew found in possession of a weapon hereafter.[36] Pogrom [edit] Death of Ernst vom Rath [edit] Ernst vom Rath died of his wounds on 9 November 1938. Word of his death reached Hitler that evening while he was with several key members of the Nazi party at a dinner commemorating the 1923 Beer Hall Putsch. After intense discussions, Hitler left the assembly abruptly without giving his usual address. Propaganda Minister Joseph Goebbels delivered the speech, in his place, and said 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."[37] The chief party judge Walter Buch later stated that the message was clear; with these words, Goebbels had commanded the party leaders to organize a pogrom.[38] Some leading party officials disagreed with Goebbels' actions, fearing the diplomatic crisis it would provoke. Heinrich Himmler wrote, "I suppose that it is Goebbels's megalomania...and stupidity which is responsible for starting this operation now, in a particularly difficult diplomatic situation."[39] The Israeli historian Saul Friedländer believes that Goebbels had personal reasons for wanting to bring about Kristallnacht. Goebbels had recently suffered humiliation for the ineffectiveness of his propaganda campaign during the Sudeten crisis, and was in some disgrace over an affair with a Czech actress, Lída Baarová. Goebbels needed a chance to improve his standing in the eyes of Hitler. At 1:20 a.m. on 10 November 1938, Reinhard Heydrich sent an urgent secret telegram to the Sicherheitspolizei (Security Police; SiPo) and the Sturmabteilung (SA), containing instructions regarding the riots. This included guidelines for the protection of foreigners and non-Jewish businesses and property. Police were instructed not to interfere with the riots unless the guidelines were violated. Police were also instructed to seize Jewish archives from synagogues and community offices, and to arrest and detain "healthy male Jews, who are not too old", for eventual transfer to (labor) concentration camps.[40] Heinrich Müller, in a message to SA and SS commanders, stated the "most extreme measures" were to be taken against Jewish people.[41] Riots and Kristallnacht [edit] Beginning on November 9, the SA and Hitler Youth shattered the windows of about 7,500 Jewish stores and businesses, hence the name Kristallnacht (Crystal Night), and looted their goods.[42][7] Jewish homes were ransacked all throughout Germany. Although violence against Jews had not been explicitly condoned by the authorities, there were cases of Jews being beaten or assaulted. Following the violence, police departments recorded a large number of suicides and rapes.[7] The rioters destroyed 267 synagogues throughout Germany, Austria, and the Sudetenland.[7] Over 1,400 synagogues and prayer rooms,[43] many Jewish cemeteries, more than 7,000 Jewish shops, and 29 department stores were damaged, and in many cases destroyed. More than 30,000 Jewish men were arrested and imprisoned in Nazi concentration camps; primarily Dachau, Buchenwald, and Sachsenhausen.[44] The synagogues, some centuries old, were also victims of considerable violence and vandalism, with the tactics the Stormtroopers practiced on these and other sacred sites described as "approaching the ghoulish" by the United States Consul in Leipzig. Tombstones were uprooted and graves violated. Fires were lit, and prayer books, scrolls, artwork and philosophy texts were thrown upon them, and precious buildings were either burned or smashed until unrecognizable. Eric Lucas recalls the destruction of the synagogue that a tiny Jewish community had constructed in a small village only twelve years earlier: It did not take long before the first heavy grey stones came tumbling down, and the children of the village amused themselves as they flung stones into the many colored windows. When the first rays of a cold and pale November sun penetrated the heavy dark clouds, the little synagogue was but a heap of stone, broken glass and smashed-up woodwork.[45] The Daily Telegraph correspondent, Hugh Greene, wrote of events in Berlin: Mob law ruled in Berlin throughout the afternoon and evening and hordes of hooligans indulged in an orgy of destruction. I have seen several anti-Jewish outbreaks in Germany during the last five years, but never anything as nauseating as this. Racial hatred and hysteria seemed to have taken complete hold of otherwise decent people. I saw fashionably dressed women clapping their hands and screaming with glee, while respectable middle-class mothers held up their babies to see the 'fun'.[46] Many Berliners were, however, deeply ashamed of the pogrom, and some took great personal risks to offer help to their beleaguered Jewish neighbors. The son of a US consular official heard the janitor of his block cry: "They must have emptied the insane asylums and penitentiaries to find people who'd do things like that!"[47] KOLD briefly reported on a 2008 remembrance meeting at a local Jewish congregation. According to eyewitness Esther Harris: "They ripped up the belongings, the books, knocked over furniture, shouted obscenities".[48] Historian Gerhard Weinberg is quoted as saying: Houses of worship burned down, vandalized, in every community in the country where people either participate or watch.[48] Aftermath [edit] The former German Kaiser Wilhelm II commented "For the first time, I am ashamed to be German."[49] Göring, who was in favor of expropriating the property of the Jews rather than destroying it as had happened in the pogrom, directly complained to Sicherheitspolizei Chief Heydrich immediately after the events: "I'd rather you had beaten to death two-hundred Jews than destroy so many valuable assets!" ("Mir wäre lieber gewesen, ihr hättet 200 Juden erschlagen und hättet nicht solche Werte vernichtet!").[50] Göring met with other members of the Nazi leadership on 12 November to plan the next steps after the riot, setting the stage for formal government action. In the transcript of the meeting, Göring said, I have received a letter written on the Führer's orders requesting that the Jewish question be now, once and for all, coordinated and solved one way or another... I should not want to leave any doubt, gentlemen, as to the aim of today's meeting. We have not come together merely to talk again, but to make decisions, and I implore competent agencies to take all measures for the elimination of the Jew from the German economy, and to submit them to me.[51] The persecution and economic damage inflicted upon German Jews continued after the pogrom, even as their places of business were ransacked. They were forced to pay Judenvermögensabgabe, a collective fine or "atonement contribution" of one billion Reichsmarks for the murder of vom Rath (equivalent to 4 billion 2021 € or 7 billion in 2020 USD), which was levied by the compulsory acquisition of 20% of all Jewish property by the state. Six million Reichsmarks of insurance payments for property damage due to the Jewish community were instead paid to the Reich government as "damages to the German Nation". Jews were required to pay for the cost of all damages caused by the pogrom to their residences and businesses.[52][53] The number of emigrating Jews surged, as those who were able to left the country. In the ten months following Kristallnacht, more than 115,000 Jews emigrated from the Reich.[55] The majority went to other European countries, the United States or Mandatory Palestine, though at least 14,000 made it to Shanghai, China. As part of government policy, the Nazis seized houses, shops, and other property the émigrés left behind. Many of the destroyed remains of Jewish property plundered during Kristallnacht were dumped near Brandenburg. In October 2008, this dumpsite was discovered by Yaron Svoray, an investigative journalist. The site, the size of four football fields, contained an extensive array of personal and ceremonial items looted during the riots against Jewish property and places of worship on the night of 9 November 1938. It is believed the goods were brought by rail to the outskirts of the village and dumped on designated land. Among the items found were glass bottles engraved with the Star of David, mezuzot, painted window sills, and the armrests of chairs found in synagogues, in addition to an ornamental swastika.[56] Responses to Kristallnacht [edit] In Germany [edit] The reaction of non-Jewish Germans to Kristallnacht was varied. Many spectators gathered on the scenes, most of them in silence. The local fire departments confined themselves to preventing the flames from spreading to neighboring buildings. In Berlin, police Lieutenant Otto Bellgardt barred SA troopers from setting the New Synagogue on fire, earning his superior officer a verbal reprimand from the commissioner.[57] The British historian Martin Gilbert believes that "many non-Jews resented the round-up",[58] his opinion being supported by German witness Dr. Arthur Flehinger who recalls seeing "people crying while watching from behind their curtains".[59] Rolf Dessauer recalls how a neighbor came forward and restored a portrait of Paul Ehrlich that had been "slashed to ribbons" by the Sturmabteilung. "He wanted it to be known that not all Germans supported Kristallnacht."[60] The extent of the damage done on Kristallnacht was so great that many Germans are said to have expressed their disapproval of it, and to have described it as senseless.[61] There was however no personal comment or even acknowledgment from the German leader Adolf Hitler himself about Kristallnacht.[62] In an article released for publication on the evening of 11 November, Goebbels ascribed the events of Kristallnacht to the "healthy instincts" of the German people. He went on to explain: "The German people are anti-Semitic. It has no desire to have its rights restricted or to be provoked in the future by parasites of the Jewish race."[63] Less than 24 hours after Kristallnacht, Adolf Hitler made a one-hour long speech in front of a group of journalists where he completely ignored the recent events on everyone's mind. According to Eugene Davidson the reason for this was that Hitler wished to avoid being directly connected to an event that he was aware that many of those present condemned, regardless of Goebbels's unconvincing explanation that Kristallnacht was caused by popular wrath.[62] Goebbels met the foreign press in the afternoon of 11 November and said that the burning of synagogues and damage to Jewish owned property had been "spontaneous manifestations of indignation against the murder of Herr Vom Rath by the young Jew Grynsban [sic]".[64] In 1938, just after Kristallnacht, the psychologist Michael Müller-Claudius interviewed 41 randomly selected Nazi Party members on their attitudes towards racial persecution. Of the interviewed party-members 63% expressed extreme indignation against it, while only 5% expressed approval of racial persecution, the rest being noncommittal.[65] A study conducted in 1933 had then shown that 33% of Nazi Party members held no racial prejudice while 13% supported persecution. Sarah Ann Gordon sees two possible reasons for this difference. First, by 1938 large numbers of Germans had joined the Nazi Party for pragmatic reasons rather than ideology thus diluting the percentage of rabid antisemites; second, the Kristallnacht could have caused party members to reject antisemitism that had been acceptable to them in abstract terms but which they could not support when they saw it concretely enacted. During the events of Kristallnacht, several Gauleiter and deputy Gauleiters had refused orders to enact the Kristallnacht, and many leaders of the SA and of the Hitler Youth also openly refused party orders, while expressing disgust. Some Nazis helped Jews during the Kristallnacht. As it was aware that the German public did not support the Kristallnacht, the propaganda ministry directed the German press to portray opponents of racial persecution as disloyal. The press was also under orders to downplay the Kristallnacht, describing general events at the local level only, with prohibition against depictions of individual events. In 1939 this was extended to a prohibition on reporting any anti-Jewish measures. The U.S. ambassador to Germany reported: In view of this being a totalitarian state a surprising characteristic of the situation here is the intensity and scope among German citizens of condemnation of the recent happenings against Jews. To the consternation of the Nazis, the Kristallnacht affected public opinion counter to their desires, the peak of opposition against the Nazi racial policies was reached just then, when according to almost all accounts the vast majority of Germans rejected the violence perpetrated against the Jews. Verbal complaints grew rapidly in numbers, and for example, the Düsseldorf branch of the Gestapo reported a sharp decline in anti-Semitic attitudes among the population. There are many indications of Protestant and Catholic disapproval of racial persecution; for example, anti-Nazi Protestants adopted the Barmen Declaration in 1934, and the Catholic church had already distributed pastoral letters critical of Nazi racial ideology, and the Nazi regime expected to encounter organised resistance from it following Kristallnacht. The Catholic leadership however, just as the various Protestant churches, refrained from responding with organised action. Martin Sasse, Nazi Party member and bishop of the Evangelical Lutheran Church in Thuringia, leading member of the Nazi German Christians, one of the schismatic factions of German Protestantism, published a compendium of Martin Luther's writings shortly after the Kristallnacht; Sasse "applauded the burning of the synagogues" and the coincidence of the day, writing in the introduction, "On 10 November 1938, on Luther's birthday, the synagogues are burning in Germany." The German people, he urged, ought to heed these words "of the greatest anti-Semite of his time, the warner of his people against the Jews."[75] Diarmaid MacCulloch argued that Luther's 1543 pamphlet, On the Jews and Their Lies was a "blueprint" for the Kristallnacht.[76] Internationally [edit] Kristallnacht sparked international outrage. According to Volker Ullrich, "...a line had been crossed: Germany had left the community of civilised nations." It discredited pro-Nazi movements in Europe and North America, leading to a sharp decline in their support. Many newspapers condemned Kristallnacht, with some of them comparing it to the murderous pogroms incited by Imperial Russia. The United States recalled its ambassador (but it did not break off diplomatic relations) while other governments severed diplomatic relations with Germany in protest. The British government approved the Kindertransport program for refugee children. The pogrom marked a turning point in relations between Nazi Germany and the rest of the world. The brutality of Kristallnacht, and the Nazi government's deliberate policy of encouraging the violence once it had begun, laid bare the repressive nature and widespread anti-Semitism entrenched in Germany. World opinion thus turned sharply against the Nazi regime, with some politicians calling for war. On 6 December 1938, William Cooper, an Aboriginal Australian, led a delegation of the Australian Aboriginal League on a march through Melbourne to the German Consulate to deliver a petition which condemned the "cruel persecution of the Jewish people by the Nazi government of Germany". German officials refused to accept the tendered document.[78] After Kristallnacht, Salvador Allende, Gabriel González Videla, Marmaduke Grove, Florencio Durán and other members of the Congress of Chile sent a telegram to Adolf Hitler denouncing the persecution of Jews.[79] A more personal response, in 1939, was the oratorio A Child of Our Time by the English composer Michael Tippett.[80] Once the government of Sweden was informed of Kristallnacht, it successfully demanded the Nazi authorities stamp the letter J in red ink on passports of German Jews to make it easier for Swedish border officials to turn them away.[81] Post-war trials [edit] After the end of World War II, there were hundreds of trials over Kristallnacht. The trials were conducted exclusively by German and Austrian courts; the Allied occupation authorities did not have jurisdiction since none of the victims were Allied nationals.[82] Kristallnacht as a turning point [edit] Kristallnacht changed the nature of Nazi Germany's persecution of the Jews from economic, political, and social exclusion to physical violence, including beatings, incarceration, and murder; the event is often referred to as the beginning of the Holocaust. In this view, it is not only described as a pogrom, it is also described as a critical stage within a process in which each step becomes the seed of the next step.[83] An account cited that Hitler's green light for Kristallnacht was made with the belief that it would help him realize his ambition of getting rid of the Jews in Germany.[83] Prior to this large-scale and organized violence against the Jews, the Nazis' primary objective was to eject them from Germany, leaving their wealth behind.[83] In the words of historian Max Rein in 1988, "Kristallnacht came...and everything was changed."[84] While November 1938 predated the overt articulation of "the Final Solution", it foreshadowed the genocide to come. Around the time of Kristallnacht, the SS newspaper Das Schwarze Korps called for a "destruction by swords and flames." At a conference on the day after the pogrom, Hermann Göring said: "The Jewish problem will reach its solution if, in anytime soon, we will be drawn into war beyond our border—then it is obvious that we will have to manage a final account with the Jews."[18] Kristallnacht was also instrumental in changing global public opinion. In the United States, for instance, it was this specific incident that came to symbolize Nazism, forging the association between National Socialism and evil.[85] Modern references [edit] Five decades later, 9 November's association with the anniversary of Kristallnacht, as well as the earlier Beer Hall Putsch, was cited as the main reason as to why Schicksalstag, the day the Berlin Wall came down in 1989, was not turned into a new German national holiday; a different day was chosen (3 October 1990, German reunification).[citation needed] The avant-garde guitarist Gary Lucas's 1988 composition "Verklärte Kristallnacht", which juxtaposes what would become the Israeli national anthem ten years after Kristallnacht, "Hatikvah", with phrases from the German national anthem "Deutschland Über Alles" amid wild electronic shrieks and noise, is intended to be a sonic representation of the horrors of Kristallnacht. It was premiered at the 1988 Berlin Jazz Festival and received rave reviews. (The title is a reference to Arnold Schoenberg's 1899 work "Verklärte Nacht" that presaged his pioneering work on atonal music; Schoenberg was an Austrian Jew who would move to the United States to escape the Nazis).[86] In 1989, Al Gore, then a senator from Tennessee and later Vice President of the United States, wrote of an "ecological Kristallnacht" in The New York Times. He opined that events which were then taking place, such as deforestation and ozone depletion, prefigured a greater environmental catastrophe in the same way that Kristallnacht prefigured the Holocaust.[87] Kristallnacht was the inspiration for the 1993 album Kristallnacht by the composer John Zorn. The German power metal band Masterplan's debut album, Masterplan (2003), features an anti-Nazi song entitled "Crystal Night" as the fourth track. The German band BAP published a song titled "Kristallnaach" in their Cologne dialect, dealing with the emotions engendered by the Kristallnacht.[88] Kristallnacht was the inspiration for the 1988 composition Mayn Yngele by the composer Frederic Rzewski, of which he says: "I began writing this piece in November 1988, on the 50th anniversary of the Kristallnacht ... My piece is a reflection on that vanished part of Jewish tradition which so strongly colors, by its absence, the culture of our time".[89] In 2014, the Wall Street Journal published a letter from billionaire Thomas Perkins that compared the "progressive war on the American one percent" of wealthiest Americans and the Occupy movement's "demonization of the rich" to the Kristallnacht and antisemitism in Nazi Germany.[90] The letter was widely criticized and condemned in The Atlantic,[91] The Independent,[92] among bloggers, Twitter users, and "his own colleagues in Silicon Valley".[93] Perkins subsequently apologized for making the comparisons with Nazi Germany, but otherwise stood by his letter, saying, "In the Nazi era it was racial demonization, now it's class demonization."[93] Kristallnacht has been referenced both explicitly and implicitly in countless cases of vandalism of Jewish property including the toppling of gravestones in a Jewish cemetery in suburban St. Louis, Missouri,[94] and the two 2017 vandalisms of the New England Holocaust Memorial, as the memorial's founder Steve Ross discusses in his book, From Broken Glass: My Story of Finding Hope in Hitler's Death Camps to Inspire a New Generation.[95] The Sri Lankan Finance Minister Mangala Samaraweera also used the term to describe the violence in 2019 against Muslims by Sinhalese nationalists.[96] Kristallnacht was publicly referenced on 10 January 2021 by the former Governor of California Arnold Schwarzenegger in a speech decrying the actions of President Donald Trump and the attack he incited on the U.S. Capitol on 6 January.[97][98] On 9 November 2022, KFC app users in Germany were sent a message reading "It's memorial day for Kristallnacht! Treat yourself with more tender cheese on your crispy chicken." KFC issued an apology approximately an hour later, blaming the original message on an "error in our system".[99] The Fortnite Holocaust Museum, a virtual museum based inside the videogame Fortnite, is set to feature a display featuring the Kristallnacht.[100] See also [edit] Aktionsjuden Nathan Israel Department Store November 9 in German history Spandau Synagogue A Child of Our Time References [edit] Informational notes Citations Further reading [edit] Friedlander, Saul (1998). Nazi Germany and the Jews: Volume 1: The Years of Persecution 1933–1939. New York, NY: Perennial. ISBN 0-06-092878-6. pp 269-293. online Deem, James M. Kristallnacht : the Nazi terror that began the Holocaust (2012) for secondary schools. online Durance, Jonathan. "Silence and Outrage: Reassessing the Complex Christian Response to Kristallnacht in English-Speaking Canada." History of Intellectual Culture 10.1 (2013). online Evans, Richard J. The third Reich in power. Vol. 2 (Penguin, 2005) pp 580-610. online Gilbert, Martin. Kristallnacht : prelude to destruction (2006) online Gordon, Sarah Ann (1984). Hitler, Germans, and the Jewish Question. Princeton, New Jersey: Princeton University Press. ISBN 0-691-10162-0. Gruner, Wolf; Ross, Steven Joseph, eds. (2019). New Perspectives on Kristallnacht. Purdue University Press. ISBN 978-1-61249-616-0. ; see online excerpt also online review Jantzen, Kyle, and Jonathan Durance. "Our Jewish Brethren: Christian Responses to Kristallnacht in Canadian Mass Media." Journal of Ecumenical Studies 46.4 (2011): 537-548. online[dead link] McCullough, Colin, and Nathan Wilson, eds. Violence, Memory, and History: Western Perceptions of Kristallnacht (2014) online Mazzenga, Maria. American Religious Responses to Kristallnacht (Palgrave Macmillan, 2009). Mayer, Kurt (2009). My Personal Brush with History. Tacoma: Confluence Books. ISBN 978-0-578-03911-4. Mara, Will. Kristallnacht : Nazi persecution of the Jews in Europe (2009) for secondary schools. online Steinweis, Alan E. (2009). Kristallnacht 1938. Harvard University Press. ISBN 978-0-674-03623-9. Ullrich, Volker (2016). Hitler: Ascent 1889-1939. Translated by Jefferson Chase. New York: Vintage. ISBN 978-1-101-87205-5. Welch, Susan. "American opinion toward Jews during the Nazi era: Results from quota sample polling during the 1930s and 1940s." Social science quarterly 95.3 (2014): 615-635. online Primary sources [edit] Gerhardt, Uta and Thomas Karloff, eds. The night of broken glass : eyewitness accounts of Kristallnacht (2012) online Levitt, Ruth, ed. Pogrom November 1938 : testimonies from 'Kristallnacht' (2015) online In German [edit] Media related to Kristallnacht at Wikimedia Commons
18075	yago	0	17	https://www.moviefone.com/movie/crystal-nights/CFv8MNh6rsJodU5yjJcbp6/main/	en	Crystal Nights (1992) - Movie	https://cdn.moviefone.co…g?d=360x540&q=60	https://cdn.moviefone.co…g?d=360x540&q=60	[ "https://cdn.moviefone.com/legacy/assets/x.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/image-assets/175848/jnZbc6F6NMNlhcestx4tStaxX0q.jpg?d=360x540", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/x.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035391&cv=3.6.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Tonia Marketaki", "Malvina Karali" ]	2020-06-30T00:00:00	Visit the movie page for 'Crystal Nights' on Moviefone. Discover the movie's synopsis, cast details and release date. Watch trailers, exclusive interviews, and movie review. Your guide to this cinematic experience starts here.	en	https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico	Moviefone	https://www.moviefone.com/movie/crystal-nights/CFv8MNh6rsJodU5yjJcbp6/main/	NR 2 hr 18 min In this supernaturalthemed romance a German woman in the betweenwars period is being initiated into some kind of esotericpsychic order and learns at that time that her ideal mate wont 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 others thoughts and do so in the midst of a sexual encounter Despite the boys 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	0	40	https://blog.thessaloniki.travel/en/events/author/884-pinelopi%3Fstart%3D40	en	blog.thessaloniki.travel	https://secure.gravatar.com/avatar/3b6826cc5415c43703d7534e9d3714b1?s=100&default=https%3A%2F%2Fblog.thessaloniki.travel%2Fcomponents%2Fcom_k2%2Fimages%2Fplaceholder%2Fuser.png	https://secure.gravatar.com/avatar/3b6826cc5415c43703d7534e9d3714b1?s=100&default=https%3A%2F%2Fblog.thessaloniki.travel%2Fcomponents%2Fcom_k2%2Fimages%2Fplaceholder%2Fuser.png	[ "https://blog.thessaloniki.travel/images/logo.png", "https://secure.gravatar.com/avatar/3b6826cc5415c43703d7534e9d3714b1?s=100&default=https%3A%2F%2Fblog.thessaloniki.travel%2Fcomponents%2Fcom_k2%2Fimages%2Fplaceholder%2Fuser.png", "https://blog.thessaloniki.travel/media/k2/items/cache/4047dc2f08c422a43c6430815243ead6_Generic.jpg", "https://blog.thessaloniki.travel/media/k2/items/cache/d0d354668f69293e040aa69de3140c78_Generic.jpg", "https://blog.thessaloniki.travel/media/k2/items/cache/fedea746cd0ecb257a1249d3a2a80bb1_Generic.jpg", "https://blog.thessaloniki.travel/images/IMG_1524.jpeg", "https://blog.thessaloniki.travel/media/k2/items/cache/e67ec824afbc9f855ad850f1b49c5b05_Generic.jpg", "https://blog.thessaloniki.travel/images/3-min.png", "https://blog.thessaloniki.travel/media/k2/items/cache/1379b5de7cb668c186ab48a9361eabd7_Generic.jpg", "https://blog.thessaloniki.travel/media/k2/items/cache/e7b279be6a862d254f0e7cc4dde2874e_Generic.jpg", "https://blog.thessaloniki.travel/images/Getaways/veria-rodakina.png", "https://blog.thessaloniki.travel/images/Getaways/2.png", "https://blog.thessaloniki.travel/media/k2/items/cache/e1e1ad60f07c4aa3ccbcb2973e9d7007_Generic.jpg", "https://blog.thessaloniki.travel/images/Ανώνυμο_σχέδιο_1.png", "https://blog.thessaloniki.travel/media/k2/items/cache/82558bd755d4bf64f8b1324b360ed554_Generic.jpg", "https://blog.thessaloniki.travel/media/k2/items/cache/ae265ec8d02add74bcb0f72e47ec001b_Generic.jpg", "https://blog.thessaloniki.travel/media/k2/items/cache/27b4275cdf67fac8ef7af010ec180724_Generic.jpg", "https://blog.thessaloniki.travel/images/food/Στιγμιότυπο_οθόνης_2023-11-02_135048-min.png", "https://blog.thessaloniki.travel/images/food/Στιγμιότυπο_οθόνης_2023-11-02_135027-min.png", "https://blog.thessaloniki.travel/images/thessaloniki.png", "https://blog.thessaloniki.travel/images/SWLogo.png" ]	[]	[]	[ "" ]	null	[]	2024-07-23T13:44:42+03:00		en	https://blog.thessaloniki.travel/images/favicon.ico		https://blog.thessaloniki.travel/en/events/author/884-pinelopi	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. More
18075	yago	0	56	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.	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	http://a.academia-assets.com/images/open-graph-icons/fb-book.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/60865627/mini_magick20191010-23462-1po5ic8.png?1570772115", "https://0.academia-photos.com/41013188/13811214/92140393/s65_konstantinos.kyriakos.jpeg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	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/
18075	yago	0	6	https://ees.org.gr/ees.org.gr/en/gdd/cinema/marketaki-tonia/	en	Greek Directors Guild	https://ees.org.gr/assets/favicon.ico?v=1	https://ees.org.gr/assets/favicon.ico?v=1	[ "https://ees.org.gr/assets/images/log1.png", "https://ees.org.gr/assets/images/log2.png", "https://ees.org.gr/assets/images/log3.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/plus.png", "https://ees.org.gr/assets/images/minus.png", "https://ees.org.gr/assets/images/arrow-right.png", "https://ees.org.gr/assets/images/arrow-right.png", "https://ees.org.gr/assets/images/fb.png", "https://ees.org.gr/assets/images/yt.png", "https://ees.org.gr/media/afwda1lu/11.png", "https://ees.org.gr/media/4y0fllkh/12.png", "https://ees.org.gr/media/ejqbfu4w/uni-global-primary-logo-stacked-rgb-2.png", "https://ees.org.gr/media/bb4kte1m/14.png", "https://ees.org.gr/media/2mjd2wir/15.png", "https://ees.org.gr/media/coodazso/26.png", "https://ees.org.gr/media/i1pao3ys/27.png", "https://ees.org.gr/media/d1if2a2y/28.png", "https://ees.org.gr/media/vw2jhaku/29.png", "https://ees.org.gr/media/x4icevc4/30.png", "https://ees.org.gr/media/dabhrmix/30.png", "https://ees.org.gr/media/uevfjv3o/31.png", "https://ees.org.gr/media/dtufkxu3/32.png", "https://ees.org.gr/media/425cojes/33.png", "https://ees.org.gr/media/4dihlrxz/34.png", "https://ees.org.gr/media/n5pjtp0s/40.jpg", "https://ees.org.gr/media/y4kizolp/41.png", "https://ees.org.gr/media/iudnk2oj/42.png", "https://ees.org.gr/media/v5jezhip/43.png" ]	[]	[]	[ "" ]	null	[]	null		en	/assets/favicon.ico?v=1		null	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
18075	yago	3	81	https://www.scribd.com/document/417896704/The-Cinema-of-Theo-Angelopoulos	en	The Cinema of Theo Angelopoulos	https://imgv2-1-f.scribdassets.com/img/document/417896704/original/8f6efe5c24/1723789208?v=1	https://imgv2-1-f.scribdassets.com/img/document/417896704/original/8f6efe5c24/1723789208?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "Angelos Koutsourakis" ]	null	The Cinema of Theo Angelopoulos - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. he Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos’ formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries.	en	https://s-f.scribdassets.com/scribd.ico?38fe7dbaa?v=5	Scribd	https://www.scribd.com/document/417896704/The-Cinema-of-Theo-Angelopoulos
18075	yago	2	22	https://l5r.fandom.com/wiki/Night_Crystal	en	Night Crystal	https://static.wikia.nocookie.net/l5r/images/e/ec/Night_Crystal_Scepter.jpg/revision/latest?cb=20110704213526	https://static.wikia.nocookie.net/l5r/images/e/ec/Night_Crystal_Scepter.jpg/revision/latest?cb=20110704213526	[ "https://static.wikia.nocookie.net/l5r/images/e/ec/Night_Crystal_Scepter.jpg/revision/latest/scale-to-width-down/200?cb=20110704213526", "https://static.wikia.nocookie.net/l5r/images/8/8e/Shinjo_Shono%27s_Crystal_Eye.jpg/revision/latest/scale-to-width-down/200?cb=20121019193552", "https://static.wikia.nocookie.net/l5r/images/7/7e/Unicorn.png/revision/latest/scale-to-width-down/75?cb=20070508010016", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to L5r: Legend of the Five Rings Wiki" ]	null	Night Crystal was a unique material created during a magical cataclysm that took place in the City of Night. [1] The pale green crystal [2] was an exceptionally strange material, and in some ways it acted as if it was alive. Any damage to the blade that did not destroy it was gradually repaired...	en	/skins-ucp/mw139/common/favicon.ico	L5r: Legend of the Five Rings Wiki	https://l5r.fandom.com/wiki/Night_Crystal	Night Crystal was a unique material created during a magical cataclysm that took place in the City of Night. [1] Appearance and Abilities[] The pale green crystal [2] was an exceptionally strange material, and in some ways it acted as if it was alive. Any damage to the blade that did not destroy it was gradually repaired itself over time. It inflicted damage on supernatural targets as Goju and spirits, and radiated light on command. When the City of Night was destroyed part of the crystal lost its properties. [1] Crafting[] Moto Vordu during his period of study in the City of Night discovered the Night Crystal. Vordu conducted many experiments with the substance, eventually discovering a crude means of shaping it, crafting several items, including weapons of varying types, some from the Moto culture across the Burning Sands. [1] Vordu discovered several zokujin stone tablets that detailed how to cut the crystal and fashion it into a form that lent itself easily to magical enchantment. [3] Shinjo Shono's Eye[] The most famous of them, which replaced the left eye of Shinjo Shono. It allowed Shono to see in natural darkness, and to discern the true form of any shapeshifters or spirits that he saw. [4] Night Crystal Blades[] Few of them were crafted and less remained active after the destruction of the city. [1] [5] Night Crystal Scepter[] Its abilities had not been described. [6] [] Night Crystal Scepter (Path of Hope) References
18075	yago	2	75	https://www.rom.on.ca/en/about-us/rom/michael-lee-chin-crystal	en	Michael Lee-Chin Crystal			[ "https://www.rom.on.ca/sites/all/themes/rom/logo.png", "https://www.rom.on.ca/sites/default/files/imce/leechin.jpg", "https://www.rom.on.ca/sites/default/files/imce/napkin.jpg", "https://www.rom.on.ca/sites/default/files/imce/rom-logo-white.png" ]	[]	[]	[ "" ]	null	[]	null	Name Inspired by the ROM's unique mandate - to build bridges of understanding and appreciation for the world's diverse cultures and precious natural environments - Michael Lee-Chin's extraordinary $30 million gift to the ROM is an act of both gratitude and hope: gratitude to this country for the opportunities it has given him and his family, and hope that his example might be	en	https://www.rom.on.ca/sites/all/themes/rom/favicon.ico	Royal Ontario Museum	https://www.rom.on.ca/en/about-us/rom/michael-lee-chin-crystal	Name Inspired by the ROM's unique mandate - to build bridges of understanding and appreciation for the world's diverse cultures and precious natural environments - Michael Lee-Chin's extraordinary $30 million gift to the ROM is an act of both gratitude and hope: gratitude to this country for the opportunities it has given him and his family, and hope that his example might be an inspiration to young Canadians to act on their aspirations and become leaders in their own communities. The Michael Lee-Chin Crystal is named in recognition of his exceptional generosity and the remarkable vision behind his gift. Brains After an international search that attracted more than 50 firms, the Berlin-based Studio Daniel Libeskind was chosen in February 2002 to lead the Renaissance ROM team*. Born in Poland and raised in the US, Libeskind was a virtuoso musician before he studied architecture. He has designed buildings around the world, including the Jewish Museum in Berlin, the Danish Jewish Museum in Copenhagen and the Imperial War Museum North in Manchester. Napkin Inspired by the ROM’s gem and mineral collection, architect Daniel Libeskind sketched the initial concept on paper napkins while attending a family wedding at the ROM. The design was quickly dubbed the 'crystal' because of its crystalline shape. "Why should one expect the new addition to the ROM to be 'business as usual'? Architecture in our time is no longer an introvert's business. On the contrary, the creation of communicative, stunning and unexpected architecture signals a bold re-awakening of the civic life of the museum and the city." - Daniel Libeskind Structure The Lee-Chin Crystal is part of Renaissance ROM, the Museum's renovation and expansion project. Considered to be one of the most challenging construction projects in North America for its engineering complexity and innovative methods, the Lee-Chin Crystal is composed of five interlocking, self-supporting prismatic structures that co-exist but are not attached to the original ROM building, except for the bridges that link them. Nuts and Bolts The exterior is 25% glass and 75% extruded-brushed, aluminum-cladding strips in a warm silver colour. The steel beams, each unique in its design and manufacture and ranging from 1 to 25 metres in length, were lifted one by one to their specific angle, creating complicated angle joints, sloped walls, and gallery ceilings. Approximately 3,500 tons of steel and 38 tons of bolts were used to create the skeleton, and roughly 9,000 cubic metres of concrete were poured. Opening Celebrations It was a street party that Toronto will remember for years to come, and the perfect kickoff to the summer of 2007! On Saturday, June 2, the ROM, along with Their Excellencies The Right Honourable Michaëlle Jean, Governor-General of Canada and Mr. Jean-Daniel Lafond, officially opened the Michael Lee-Chin Crystal and marked the beginning of the Crystal Age for the ROM. Luminaries, special guests and the excited crowd packed ROM Plaza, surrounding three concert stages set at the base of the Michael Lee-Chin Crystal. The evening began with a greeting by ROM Director and CEO William Thorsell. Revellers were then treated to an amazing 75-minute concert entitled A World of Possibilities, hosted by Paul Gross. Kicking off the show was an energy-filled performance by Leahy and fiddler Natalie MacMaster, followed by Canadian Idol Eva Avila, Juno award-winning rap artist K’naan, Broadway star and R&B singer Deborah Cox and many more. Grammy-winning artist and composer David Foster unveiled a song he wrote especially for the evening, entitled We Can Build Anything. Audiences cheered as the song was performed by Canadian singer-songwriter Jann Arden, accompanied by a Canadian youth choir. The concert culminated in a dramatic lightshow that bathed the Lee-Chin Crystal in a spectrum of vibrant colours, against the backdrop of the Toronto skyline in the distance.
correct_award_00067	FactBench	2	7	https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/	en	Odysseus Elytis	https://greatestgreeks.w…2016/08/l_16.jpg	https://greatestgreeks.w…2016/08/l_16.jpg	[ "https://greatestgreeks.wordpress.com/wp-content/uploads/2016/11/greatestgreeks.png?w=300", "https://2.gravatar.com/avatar/b1204b51452b87a69b346e3426cb41f8d104e6cc5bcd3b638b8d0abc27f26326?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/5215bba1d8f75fdcf02e08a53f395dcd4500139dd98b76a762e2ae7cedea33b4?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/b1204b51452b87a69b346e3426cb41f8d104e6cc5bcd3b638b8d0abc27f26326?s=48&d=identicon&r=G", "https://greatestgreeks.wordpress.com/wp-content/uploads/2016/08/l_16.jpg?w=222&h=292", "https://greatestgreeks.wordpress.com/wp-content/uploads/2017/06/cropped-greatestgreeks.png?w=50", "https://greatestgreeks.wordpress.com/wp-content/uploads/2017/06/cropped-greatestgreeks.png?w=50", "https://greatestgreeks.wordpress.com/wp-content/uploads/2017/06/cropped-greatestgreeks.png?w=50", "https://greatestgreeks.wordpress.com/wp-content/uploads/2017/06/cropped-greatestgreeks.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Telemachus Odysseides" ]	2016-08-08T00:00:00	Poet (1911 – 1996) The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of…	en	https://greatestgreeks.w…tgreeks.png?w=32	Greatest Greeks	https://greatestgreeks.wordpress.com/2016/08/08/odysseus-elytis/	Poet (1911 – 1996) The major representative of romantic modernism in Greece, Elytis was one of the most notable writers of the generations of the 30s’, an influential literary school which included Georgios Seferis, the first Greek Noble Prize winner, in Literature. He is considered one of the greatest poets of modern Greece and of the entire world. Odysseus Elytis was born in Crete. His original surname was Alepoudelis but once he became a literary figure he changed it to Elytis to avoid relation with his family’s soap business. His surname, El-, a prefix found in many Greek words such as El-pdia (hope), El-ia (olive) and El-eutheria (freedom), -y-, a letter originating and found only in the Greek language and the suffix –tis from Greek surnames such as Πολίτης meaning citizen, was carefully constructed by the poet to designate the Greek influence. He studied chemistry and later law in the University of Athens but later dropped out as he dedicated himself to literature and poetry. In the 1930’s Elytis made his literary debut in the magazine Νέα Γράμματα (New Letters) by publishing his first poem titled Τοῦ Αἰγαίου (Of the Aegean) under the name Elytis. In 1936 he met Nikos Gatsos, with whom he formed a strong bond of friendship. With the outbreak of the 2nd World War, Elytis published his poetic collection Orientations. He joined the army and fought in the first line in the Greco-Italian war of 1940. His experiences inspired him to write his second poetic collection A Heroic And Funeral Chant For The Lieutenant Lost In Albania. He left Greece during the civil war and settled in France where he was introduced to the literary world of France and all its representatives. In 1952 he returned to Greece. 7 years later he published his masterpiece Axion Esti (Ἄξιον Ἐστί, It is Worthy). A sacred moment for Hellenism. The gates of the world opened for him. The poem is the apogee of the ethical and spiritual struggles of the Greek race throughout the ages. In 1964 Mikis Theodorakis set Axion Esti to music making it popular enough for Elytis and Theodorakis to earn worldwide recognition. His entire life remained creative as he continued writing poems until 1991. His last poem was The Elegies of Oxopetras. He was a frugal man who, in spite of his family’s close relations with politics never got actively involved with the commons. He rejected any offers to join political parties and rejected the position of honorary Academic in the Academy of Athens. He detested life associated with commerce and the acquisition of money. His poetry was involved with modern Hellenism and aimed at its spiritual and ethical revival. His poems were translated into 11 languages. Aside from his numerous poetic collections, Elytis translated works, mostly from French and painted. In 1979 Odysseus Elytis was awarded the Nobel Prize in Literature “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”. Bibliography
correct_award_00067	FactBench	1	58	https://greeking.me/blog/greek-culture/greek-literature	en	The Faces of Modern Greek Literature	https://greeking.me/imag…k_1587018052.jpg	https://greeking.me/imag…k_1587018052.jpg	[ "https://www.facebook.com/tr?id=244612576280455&ev=PageView&noscript=1", "https://greeking.me/images/template/phone.png", "https://greeking.me/images/template/email.png", "https://greeking.me/images/template/logo.png", "https://greeking.me/images/blog/images/Hero-images/Modern_Greek_Literature_-_shutterstock_1587018052.jpg", "https://greeking.me/images/About-us/New-team/Melina.png", "https://greeking.me/images/template/category.png", "https://greeking.me/images/all/_monastiraki-nighttime-cge2010-shutterstock-_2.jpg", "https://greeking.me/images/Tours/Naxos-cooking-class/naxos-cooking-class-thumbnail.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Constantine-P.Cavafy-greekcitytimes.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Odysseas-Elytis-athensinsider.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Alexandros-Papadiamantis-greeknewsagenda.gr.jpg", "https://greeking.me/images/icons/arrow-white-small.svg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Nikos-Kazantzakis-travel-crete.gr.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Giorgos-Seferis-greeknewsagenda.gr.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Dido-Sotiriou-maxmag.gr.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Giannis-Ritsos-sansimera.gr.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Kiki-Dimoula-keeptalkinggreece.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Margarita-Karapanou-amazonaws.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Kostis-Palamas-ertflix.gr.jpg", "https://greeking.me/images/blog/images/Greek-history-and-Culture/the-faces-of-modern-Greek-Literature/Menelaos-Lountemis-naftemporiki.gr.jpg", "https://greeking.me/images/icons/arrow-white-small.svg", "https://greeking.me/images/blog/images/Intro-Images/Greek-History-and-Culture/this-is-sparta.jpg", "https://greeking.me/images/blog/images/Intro-Images/Greek-History-and-Culture/trojan_war.jpg", "https://greeking.me/images/blog/images/Intro-Images/Greek-History-and-Culture/ancient-greek-values.jpg", "https://greeking.me/images/modules/banners/lets-plan-my-trip.jpg", "https://greeking.me/images/icons/arrow-white-small.svg", "https://greeking.me/images/template/logo_white.png", "https://greeking.me/images/template/instagram.svg", "https://greeking.me/images/template/facebook.svg", "https://greeking.me/images/template/trip-advisor.svg", "https://greeking.me/images/template/etoa.png", "https://greeking.me/images/template/asta.png", "https://greeking.me/images/espa/espa.jpg", "https://greeking.me/images/template/5stars.png", "https://greeking.me/images/template/back-to-top.svg" ]	[]	[]	[ "" ]	null	[ "Melina Thalassinou" ]	2023-01-18T12:30:44+02:00	Let's take a look at the most important modern Greek writers and poets; the faces of modern Greek Literature.	en	/images/template/favicon.png	Greeking.me	https://greeking.me/blog/greek-culture/greek-literature	Key Takeaways Greek culture's vast heritage has left a significant impact on the world, extending beyond science and language to include literature and the arts. Modern Greek literature boasts influential writers like Constantine P. Cavafy, Odysseas Elytis, Alexandros Papadiamantis, and Giorgos Seferis, whose works have left a lasting mark on poetry. Despite facing personal struggles like exile and persecution, these writers' poetry continues to resonate with readers worldwide. Themes of love, loss, historical events, social inequality, and the human experience feature prominently in Greek literature, carrying on the tradition of storytelling that has persisted for centuries. There is little chance you haven’t heard about the beauty and vastness of Greek culture and the heritage it has given to the rest of the world. Its offer is not limited only to the level of science or language culture, but also to the field of arts, focusing on literature. Hundreds of writers born here have made a name for themselves, and their books have been read worldwide. Some of them have even been honored with the well-known Nobel Prize in Literature, and many more have been nominated for the prize. Let's take a look at the most important modern Greek writers and poets, the faces of modern Greek Literature. Constantine P. Cavafy Constantine P.Cavafy - credits: greekcitytimes.com Konstantinos Cavafy was a Greek poet, who is considered one of the most important poets of modern times. He was born and lived in Alexandria, which is why he is often referred to as "the Alexandrian". He published poems, while dozens remained as drafts. He created his most important works after 40 years. Today, his poetry has not only prevailed in Greece, but also occupied a prominent place in all European poetry, after the translations of his poems first into French, English, and German, and then into many other languages. The body of Cavafy poems includes the 154 poems that he recognized, his 37 Denied poems, most of them youthful, in a romantic purgatory, which he later renounced, the Hidden, that are 75 poems that were found finished on paper of him, as well as the 30 Imperfect, which were found on his papers without having taken their final form. He traveled for the first time in Greece in 1901 and in Athens with Grigorios Xenopoulos and Ioannis Polemis. In 1904, he published a small collection entitled ‘Poems’. The collection, in 100-200 copies, was released privately. In 1910, he reprinted his collection, adding seven more poems. He wrote the poem Ithaca in 1911 and in 1914 he met the author Edward Morgan Forster and became friendly with him. His last recognized poem is In the outskirts of Antioch published in 1933 and the first The Walls in 1897. In 1935, the first complete edition of his 154 poems was published in Alexandria, which was immediately sold out. The second edition was made in 1948 in Greece by Ikaros Publications. Dividing his poetic work into philosophical, historical, and hedonistic, his poems capture the erotic element, his philosophical thought, and his historical knowledge. The language and lyrical form of Cavafy's poems were idiosyncratic and pioneering for the time. Cavafy expressed himself mainly through symbols. His art is a collection of archetypes, which give a fleeting allusive meaning to his speech. It draws memories from the past and places them in the present, sometimes as a warning for the future. Such was his relationship with the collective soul and its contents, that he is considered a precursor to the relationship of 20th-century literature with the collective consciousness. Odysseas Elytis Odysseas Elytis - credits: athensinsider.com Awarded the Nobel Prize in Literature, Odysseas Elytis -born Odysseas Alepoudelis- was one of the most important Greek poets, who praised the Greek tradition and love. Odysseas Elytis was born on November 2, 1911 in Heraklion, Crete. He was the last of the six children. In 1914 his father moved his factories to Piraeus and the family settled in Athens. Odysseas Elytis enrolled in 1917 in a private school, where he studied for seven years. He spent the first summers of his life in Crete, Lesvos, and Spetses. In November 1920, after the fall of politician Eleftherios Venizelos, his family was persecuted for their adherence to Venizelos' ideas. Venizelos himself had close relations with the family of Elytis and was often hosted at his home on the estate of Aklidi. The culmination of the persecution experienced by his family was the arrest of his father. In 1923 he traveled with his family to Europe, visiting Italy, Switzerland, Germany, and Yugoslavia. In Lausanne, the poet had the opportunity to meet the exile after the fall of Eleftherios Venizelos. In the autumn of 1924 he enrolled in the 3rd High School for Boys in Athens and collaborated in the magazine ‘I Diaplasis ton Paidon’, using various pseudonyms. That’s when he first became acquainted with modern Greek literature and spent all his money buying books and magazines. He gave up his intention to study chemistry and in 1930 he enrolled in the Law School of Athens. When the "Ideocratic Philosophical Group" was founded at the University in 1933, with the participation of Konstantinos Tsatsos, Panagiotis Kanellopoulos, Ioannis Theodorakopoulos, and Ioannis Sykoutris, Elytis was one of the representatives of the students. At the same time, he studied the contemporary Greek poetry of Caesar Emmanuel, the collection ‘Sto Glitomou to Hazi’ by Theodoros Dorros, the ‘Strofi’ by George Seferis, and the ‘Poems’ by Nikitas Randos. At the same time, he became more closely associated with George Sarantaris, who encouraged him when Elytis was still hesitant about whether he should publish his works, while he also brought him in contact with the circle of New Letters magazine. This magazine, edited by Andreas Karantonis and collaborators of old and new notable Greek writers brought to Greece contemporary artists and introduced to the reading public mainly the younger poets, with the translation of their representative works or with articles informative about their poetry. It became the spiritual instrument of the generation of the '30s that hosted in its columns all the modernist elements, judging favorably and promoting the creations of the young Greek poets. Alexandros Papadiamantis Alexandros Papadiamantis - credits: greeknewsagenda.gr Alexandros Papadiamantis was born in 1851 in Skiathos; he was the third of six children. Sensitive and unruly as a child, he wandered from school to school and finally graduated in 1874. For a few months, he stayed with his cousin, Timos Moraitidis, on Mount Athos and then enrolled in the Faculty of Philosophy of the University of Athens, but he was discredited to complete his studies. From 1887 he settled permanently in Athens. From time to time he visited his particular homeland, where he died of pneumonia in 1911. Papadiamantis lived in Athens in the transitional period of political and social changes and the development of the press, which gave rise to a new type of scholar and renewed the writers' relationship with the public. The relationship between the daily newspaper and literature, which encouraged the production of works by semi-industrial methods -such as the pamphlet novel- or the cultivation of literary genres such as short stories and vignettes, coincides with the expansion of the reading public resulting from the expansion of education. The writers were freed from the power of the patron but ironically submitted to the laws of the market. Papadiamantis began his career as a writer, entering the field of novels later, before entering the field of short stories in newspapers and magazines. He never used his tenure in translation and journalism to promote his work, nor did he have the entrepreneurship and regularity of a professional writer, while he valued both his original and his translation work lower than what his employers offered him. After all, he never chose the role of author of institutions and distinctions. He did not take part in competitions, he did not seek the protection of his former colleagues, he did not dedicate himself to any of his novels or short stories, he tried, but he probably did not have the time and ability to publish a book, he did not claim prizes, and did not change strategies to construct his literary status. Papadiamantis began his writing career with adventurous historical novels, but in time he turned to realism, where he excelled. The decisive factor for the turn, was the need of the author, who felt trapped in the suffocating urban life of Athens, to rediscover the paradise of his childhood, to seek through lyrical flashbacks the lost time of innocence. He described the small society of his island, as he remembered it in the city, and most of the time imperceptibly contrasted the simple rural world of the text with the urban and "Europeanized" world of the reader. From the exuberant production of Papadiamantis, we must exclude many short stories that barely reach or exceed the average. If not the most representative, nevertheless the strongest and most popular of Papadiamantis’ works is ‘The Fonissa’ -or ‘The Female Killer’ in English- that was written in 1903. The central figure in this great narrative is a woman; sixty years old now, as she reflects on her past, she finds that the woman is always a slave: of her parents, unmarried, of her husband, married, after the children and finally of her children's children. So he conceives the idea of killing the little girls, to save them from suffering. And with this obsession, she will commit a series of murders, and being chased by the police she will drown while seeking refuge in a church near the sea, of the road between divine and human justice ". Despite its obvious flaws, which have caused a lot of critics to frown upon Papadiamantis' work. It does not cease to exert a peculiar charm on us. Nikos Kazantzakis Nikos Kazantzakis - credits: travel-crete.gr Nikos Kazantzakis was born in Heraklion in Turkish-occupied Crete. He studied law in Athens, and postgraduate studies in Paris, where he was deeply influenced by the philosophical principles of Bergson and Nietzsche. It is at this time that his systematic preoccupation with letters begins. He made numerous trips abroad, several times as a newspaper correspondent. He served as director-general in the Ministry of Health, was appointed Minister without Portfolio, and worked as a literary advisor to UNESCO. He was president of the Society of Greek Writers. In 1956, he was awarded the Peace Prize and was nominated for the Nobel Prize in Literature nine times. He considered himself primarily a poet, having written ‘The Odyssey’, ambitious work with 24 rhymes and 33,333 verses. He distinguished himself in dramaturgy, in the writing of travel impressions, and in philosophical essays. Regardless, he became better known from his novels. His work has been translated and published in more than 50 countries and has been adapted for theater, film, radio, and television. Apart from Greek, Nikos Kazantzakis knew six other languages: English, French, German, Italian, Spanish, and Russian. He also translated works from ancient Greek. The church had a vicious reaction against Nikos Kazantzakis and his books. The "Last Temptation" was added in 1954 to the List of Forbidden Books of the Roman Catholic Church, the now-defunct Index Librorum Prohibitorum. In 1954, responding to the threats of the Church, Kazatzakis had written in a letter: "You have given me a curse, Holy Fathers, I give you a wish: I wish you that your conscience is as pure as mine and that you are so moral and religious as I am ". Eventually, the Church of Greece did not dare to absolve Nikos Kazantzakis, as the Ecumenical Patriarch Athenagoras was opposed to such a thing. Nikos Kazantzakis died on October 26, 1957, at the age of 74. His body was transported to Athens, but the Church of Greece refused to exhibit it. His compatriots honored him especially and buried him in a bastion of the Venetian walls of Heraklion. On his grave, the inscription was engraved, as he wished: "I hope for nothing. I'm not afraid of anything. I am free". Giorgos Seferis Giorgos Seferis - credits: greeknewsagenda.gr George Seferis was a Greek diplomat and poet and the first Greek to be awarded the Nobel Prize in Literature. He is one of the most important Greek poets and one of the two unique Greeks awarded the Nobel Prize in Literature, along with Odysseus Elytis. He was born on March 13, 1900, in Vourla, Turkey. In 1914, a time when he began to write his first lyrics, with the outbreak of the Great War during the summer period of the year, the family emigrated to Greece. He graduated from the Model Classical High School of Athens in May 1917. A year later he went to Paris and enrolled in the Law School of the Sorbonne University, from which he graduated with a doctorate in 1924. George Seferis appears in Greek letters in 1931 with the poetry collection "Strofi" which provoked positive and negative reactions in the literary community because it becomes apparent its differentiation from the poetry of the generation of 1920. After "Sterna" (1932) he established himself with his poetry collection "Novel" (1935). The influence he received from the pure poetry of Paul Valery and the modernism of Thomas Sterns Eliot can be distinguished. In 1963, he was awarded the Nobel Prize in Literature by the Royal Swedish Academy of Sciences. On April 16, 1964, he was awarded an honorary doctorate by the University of Thessaloniki, while in the summer of the same year he was awarded an honorary doctorate by the University of Oxford and in June 1965 an honorary doctorate by Princeton. On March 28, 1969, George Seferis spoke publicly for the first time against the junta, and for this reason, he was deprived of the title of honorary ambassador, as well as the right to use a diplomatic passport. He died on September 20, 1971, and two days after his funeral, he took a silent stand against the dictatorship. Seferis' language is dense and crucial, it condenses in his poetry what he epigrammatically called "the misery of Romanism". The living, indigenous tradition goes hand in hand with modern European education. In his face, in his poetic, essay, and translation work, modern Greek literature recognizes one of the classics of the 20th century. Dido Sotiriou Dido Sotiriou - credits: maxmag.gr Dido Sotiriou was a novelist and journalist. She was born in Aidini, Asia Minor. In 1919, she settled with her family in Smyrna and after the disaster of 1922, they fled to Greece. In Athens, she completed her circular studies with teachers including the writers Costas Paroritis and Sofia Mavroidi-Papadaki. She studied at the French Institute in Athens and in 1937 attended French literature for a few months at Sorbonne University. From 1936, she turned professionally to journalism. She collaborated with the magazine "Woman" as editor-in-chief, and the newspapers "Neos Kosmos" and "Rizospastis" in the same role, while during the German occupation she collaborated with Melpo Axioti, Elli Alexiou, Elli Pappa, Titika Damaski, Electra Apostolou, Chryssa Hadjivassiliou and other Greek women of the resistance. She took part in the League of Nations conference in Geneva in 1935, where she met Lenin's partner Alexandra Kolodai and in the founding congress of the Democratic Women's Federation in 1945 in Paris. She first appeared in literature in 1959, with the publication of the novel "The Dead Are Waiting". Her works have been translated into many foreign languages. Part of her work has been successful abroad, especially in Turkey. Dido Sotiriou belongs to the Greek novelists of the interwar period. Her work moves in the context of realism with a strong presence of the autobiographical element and the emotional participation of the author in the adventures of her heroes and draws its theme from the Asia Minor catastrophe, the period of civil war, and the post-civil period of Greek history. With "Matomena Chomata" Sotiriou inaugurated her path towards writing that combines the novel technique with a perspective of examining her subjects from a historical point of view, a course that continued in her next two novels "Mandoli", on the subject of the Belogianni case. and "Demolition". She was awarded the Abdi Ipekci Prize for Greek-Turkish Friendship in 1983, the Special State Prize for Literature in 1989, the Prize of the Academy of Athens in 1990, and the Brigadier General of the Order of the Phoenix in 1995. In 2001, the Society was established in her honor the "Dido Sotiriou" award, which is given "to a foreign or Greek author who with his writing highlights the communication of peoples and cultures through cultural diversity". She died in Athens on September 23, 2004. Giannis Ritsos Giannis Ritsos - credits: sansimera.gr He was born in Monemvasia on May Day 1909. His family, landowners in the area, were financially ruined a few years later and, at worst, plunged into mourning. In 1921 the eldest son, a probationary naval officer, died of tuberculosis, as well as the mother, the beloved face of the poet, from the same disease. The "dead house" was to seal his life and work. His first poems were published in Children's Physique in 1924, under the pseudonym "Ideal Vision". In 1925 he settled in Athens, where he worked for a while as a typist and copywriter. Next year he also suffers from tuberculosis. His life for many years will be divided between pneumonia and various jobs in degrading terms. In the sanatorium "Sotiria" where he was hospitalized, he was introduced to Marxism by members of the Communist Party of Greece. He was exiled due to his leftist actions in 1948 in Lemnos where he wrote the "Calendars of Exile I and II" and the "Smoked Tsoukali". He moved to Makronisos in 1949 and wrote the "Stone Age" and the "Diary of Exile III". The manuscripts of Makronissos were saved by Manos Katrakis in bottles that were buried in the ground where the poet then took them with him to Ai Stratis. During the same period, there was a campaign abroad for his release and among others, he was supported by Pablo Picasso, Louis Aragon, and Pablo Neruda. In 1952, when Nikos Belogiannis and his comrades were executed, he wrote the poem "The man with the carnation" and in 1954 the "Vigil" was published, which contains poems from the period 1941-1953. With the birth of his daughter in 1955 he wrote the "Morning Star" and a year later the "Moonlight Sonata" for which he receives the First State Poetry Prize. After the coup in 1967, he was exiled again, this time to Giaros and Leros and then to Samos, where he was placed under house arrest at his wife's house for health reasons. In September 1968, at the request of Mikis Theodorakis, he began writing "18 Singing Songs of the Bitter Homeland", which he completed two years later. In 1969 he wrote "The Extinction of Milos" and in 1970 the poem "Eleni" which in its first edition had an engraving by Vassos Katraki on the cover. In November 1973 he experienced the events of the Polytechnic uprising and write the "Diary of a week". It includes it in the collection "Gignesthai" where it contained poems from the period 1970-1977 and with a forefront by Giannis Tsarouchis. The volume "Epinikia" with works from the period 1977-1983 was published in 1984 and includes paintings by Kyriakos Katzourakis. After his death in 1991, the collection "Late, very late in the night" was published. His poetry collections and compositions, novels, plays, studies, and translations of foreign poets, such as Nazim Hikmet, Vladimir Mayakovsky, Alexander Blok, etc. have been published. He has been awarded and distinguished for his work, has received the Lenin Prize for Peace, and has been nominated for the Nobel Prize for Literature. His poems have been translated into more than forty different languages. Kiki Dimoula Kiki Dimoula - credits: keeptalkinggreece.com Kiki Dimoula was an academic, mother of two children, and a poet out of necessity because, as she used to say, she ‘had no other way to be’. If there was one contemporary poet who was absolutely loved by everyone, it was definitely Kiki Dimoula. She wrote about the small everyday moments, about the loss and love, about the need that every woman has to imagine another life and another way of expression. "I was curious and studious. I know everything. Few out of many. The names of the flowers when they wither, when the words turn green, and when we get cold. How easy it is to turn the lock of feelings with any key of oblivion "wrote Kiki Dimoula with the well-known subcutaneous irony that was her own way to defend herself against anything forced and imposed. She had known her from an early age when she needed to hide her poems from the conservative environment and claim her own poetic voice in the shadow of her husband who was the well-known and acclaimed poet Athos Dimoulas. She got married at a very young age, after a brief acquaintance with him, who lived two blocks below her house in Kypseli. When she finished school, Kiki Dimoula worked as an employee at the Bank of Greece - which is why, as she herself stated, she was deprived of the free life of the students, the outings, and the relaxed entertainment. But she had poetry as her eternal consolation, to which she was devoted from a young age. She even dared to publish at a very young age, only in 1952 the collection "Poems" which she then renounced - and it took two decades to make the dynamic return with the much-discussed and awarded the State Poetry Prize "The little of the world" just in the early ‘70s. It was a collection that was loved and praised by the critics. For her, however, the day always leaned forward, because she lived in mourning and loss since her husband passed away only in 1985. Always devoted to him, he dedicated a series of poems and verses inspired by the emptiness of love. Ikaros publications in a statement issued on the occasion of her death said that it was a precondition for their cooperation in 1998 - since then all her poems were published by Ikaros - her poems to be published together with those of her husband. In 2013, the New York Times wrote a huge text dedicated to the Greek poet who wanted her to be the next Nobel Prize winner: her poems had already been published in English and all foreigners were talking about the Greek successor of Seferis or Elytis. The Nobel was not awarded in the end, but Dimoula had established herself as the Greek poet who crossed the border. She had already won top titles from her country, including the Golden Cross of the Order of Honor and the Excellence in Letters of the Academy of Athens in 2001. Kiki Dimoula never stopped loving and glorifying poetry, a love that she conveyed to the world that did not stop reading and honoring her poems. Margarita Karapanou Margarita Karapanou - credits: amazonaws.com Margarita Karapanou was born in Athens, the daughter of the novelist Margarita Lymperaki and the poet George Karapanou. She grew up in Greece and France and studied cinema in Paris. She worked as a kindergarten teacher in Athens. Her books "Cassandra and the Wolf", "The Sleepwalker" and "Rien ne va plus" were published in Greece, the USA, England, France, Sweden, Israel, Germany, the Netherlands, and Italy. Excerpts from her work have been compiled into books and major literary magazines alongside texts by Lewis Carroll, Jane Bowles, Anais Nin, John Fowles, Peter Hadke, Carlos Fuentes, Milan Kundera, and others. In 1988, her novel "The Sleepwalker" was honored in France with the Best Foreign Novel Award. This was followed by her books "Yes", "Lee and Lou", "Mom", "Is It?" (conversations with Fotini Tsalikoglou) and her diaries entitled "Life is wildly unlikely", in 2008, which she kept from the age of 13 to 33. She died after a short hospitalization in the intensive care unit of the General State Hospital of Athens, on Tuesday, December 2, 2008, at the age of 62, after complications in her health from respiratory problems. Kostis Palamas Kostis Palamas - credits: ertflix.gr Kostis Palamas was a poet, novelist, playwright, historian, journalist, and literary critic. Palamas is one of the most important Greek poets with a significant contribution to the development of modern Greek poetry. He was the central figure of the so-called "New Athenian School". He has published a total of 40 poetry collections, as well as plays, critical and historical essays, comparative studies, and book reviews. Palamas was born on January 13, 1859, in Patras and was originally from Messolonghi. At the age of six, he lost his parents. After the death of his parents, the poet and his brothers went to live in Messolonghi. He lived there from 1867 until 1875. As soon as he completed his student obligations, he went to Athens to study at the Law School. Soon, however, he left his studies, determined to pursue poetry. From 1875 he published various of his poems in newspapers and magazines. In 1886 his first collection of poems was published under the title "Songs of my Homeland" in the vernacular. Palamas wrote the lyrics of the Anthem of the Olympic Games in 1896. His poetic work is great and with a huge impact. Some of his most famous poems are the following: "Iambos and the Invincible" (1897), "The Incompetent Life" (1904), "The Twelve Gypsies" (1907) and "The King's Flute" (1910). In 1918 he was awarded the National Excellence in Letters and Arts, while from 1926 he was a key member of the Academy of Athens, of which he became president in 1930. In 1897 he was appointed secretary at the University of Athens. He remained in this position until 1928. Palamas "passed away" on February 27, 1943, during World War II and the German occupation. His funeral was an important event of the time. A popular pilgrimage took place and in front of surprised German conquerors, thousands of people accompanied him to his last residence, in the 1st cemetery of Athens, chanting the national anthem. Menelaos Lountemis Menelaos Lountemis - credits: naftemporiki.gr Menelaos Lountemis was born in Istanbul. His real name was Dimitris Valasiadis, and he came from a wealthy family in Polis that went bankrupt after settling in the Greek state. As a child, he lived for a while in the state boarding school of Edessa but soon got various different jobs. He took part in the National Resistance and joined the EAM, where he was also the secretary of the organization of intellectuals. During the civil war, he was exiled to Makronisos and Ai Stratis, and in 1958 he went on trial for his book Vourkomenes days. From 1958 until the 1974 coup, he lived in self-exile in Romania, while during Papadopoulos's dictatorship, he was deprived of Greek citizenship. He died in Athens while driving, of a heart attack. He made his first appearance in literature around 1930 with the publication of poems and short stories in the magazine Nea Estia. In 1938 he published the collection of short stories The Ships did not land, for which he was honored with the Grand State Prize for Prose. He was also honored with the Golden Laurel of Europe (Paris, 1951). The whole of his work covers almost all types of written language, from prose, poetry, essay, theater, and children's literature, to translation and more. Menelaos Lountemis belongs to the Greek writers of the interwar period who turned to social realism. The peculiarity of his work lies in the "amateur" way of writing, which he served in full consciousness, as he claimed that he was not interested in Art but in the recording of reality and the demonstration of social inequality. Nevertheless, throughout his work, he tends to focus entirely on a central narrator (usually referring to the author himself), who belongs to the marginal types of the socially oppressed and who gives us his personal perspective of loneliness, unfulfilled love, and the misery of the world. His work is strongly influenced by the European literature of the current of socialist realism, such as the realistic depiction of landscapes and persons with a strong sentimentality that sometimes touches on melodramatics, experiential writing, and ethnography data. In his works such as Cloudy and A Child Counts the Stars, his psychographic technique that creates complete, living characters, which make up an entire small society, and the narrative power are remarkable. Final Thoughts The Greek language has such a rich and fascinating range of means of expression, words, and ways to describe the beauty and concerns of the world through the art of poetry and literature. Although Greece is a relatively small country, its literary production has been very large, rich, and interesting since antiquity. Poetry, which as a word was born in Greece, and shone in this country for centuries, continues to this day to feed the world and to be fed by it with small and bigger diamonds.
correct_award_00067	FactBench	3	41	https://www.goodreads.com/book/show/1067915.Eros_Eros_Eros	en	Eros, Eros, Eros: Selected & Last Poems	https://images-na.ssl-im…921i/1067915.jpg	https://images-na.ssl-im…921i/1067915.jpg	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1717004244i/409.jpg", "https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1328757921i/1067915.jpg", "https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1328757921i/1067915.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/authors/1634325394i/20612333._UY200_CR4,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1401031926i/31698519.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1560020620i/13432161._UY200_CR77,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1222022390i/1531518._UY200_CR33,0,200,200_.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/badge-apple_app_store@2x.png", "https://dryofg8nmyqjw.cloudfront.net/images/badge-google_play_store@2x.png" ]	[]	[]	[ "" ]	null	[ "Odysseas Elytis", "Olga Broumas" ]	null	Read 4 reviews from the world’s largest community for readers. A comprehensive collection of poetry by the Greek Nobel Prize-winner	en	/favicon.ico	Goodreads	https://www.goodreads.com/book/show/1067915.Eros_Eros_Eros	March 10, 2009 My first instinct is to give this book one star, but I gave it a 2nd, because I strongly suspect that part of my issues with it may stem from the quality of the translation. Almost all of the poetry has a very choppy, awkward lack of flow, but I can only assume that in translating poetry from Greek to English, a ton is lost in translation. Not least of which the cadence and flow. The fawning introduction by Sam Hamill emphasizes Elytes' connection to the surrealist movement. The moment I read this, I got that sinking feeling as I realized what I was in for. I am not a fan of surrealist poetry and writing. I tried to approach with an open mind, but the text met my worst expectations... disjointed words, nonsensical phrases, the whole thing. My frustration came to a head with the "poem" entitled "Aegeodrome" - I put poem in quotes, because it consists of a list of individual words spanning 4 pages of three columns per page. Alphabetized. I understand that in the mid to late part of the century artists and writers were trying to challenge the prevailing prejudices of what did and did not qualify as "art." I get that. But a 4-page alphabetized list? Call me old fashioned and call my taste narrow and parochial, but I felt like this was just too much for me.
correct_award_00067	FactBench	0	14	https://www.greece.com/info/people/Odysseas_Elytis/	en	Odysseas Elitis, Odisseas Elitis, Odysseas Alepoudellis, Οδυσσέας Ελύτης, Οδυσσέας Αλεπουδέλλης	http://images.greece.com/info/Odysseas_Elytis.jpg	http://images.greece.com/info/Odysseas_Elytis.jpg	[ "https://www.greece.com/static/gfx/logo38.png", "http://images.greece.com/destinations/Attica/Athens/Greece.com_Athens_5_Parthenon_160x80.jpg", "http://images.greece.com/destinations/Cyclades/Santorini/Greece.com_4_Santorini_160x80.jpg", "http://images.greece.com/destinations/Crete/Chania/elafonissi_160x80.jpg", "http://images.greece.com/destinations/Central_Greece/Meteora/meteora1_160x80.jpg", "http://images.greece.com/destinations/Ionian_Islands/Corfu/Greece.com_6_corfu_mare.jpeg_160x80.jpg", "http://images.greece.com/destinations/Attica/Athens/Greece.com_Athens_1_Acropolis1_160x80.jpg", "http://images.greece.com/destinations/Crete/Heraklion/Greece.com_1_heraklion_160x80.jpg", "http://images.greece.com/info/Odysseas_Elytis.jpg", "https://assets.pinterest.com/images/pidgets/pin_it_button.png", "https://www.greece.com/static/gfx/logo38.png" ]	[]	[]	[ "Odysseas Elytis", "Odysseas Elitis", "Odisseas Elitis", "Odysseas Alepoudellis", "Οδυσσέας Ελύτης", "Οδυσσέας Αλεπουδέλλης" ]	null	[]	null	Read about Odysseas Elytis aka Odysseas Elitis, Odisseas Elitis, Odysseas Alepoudellis, Οδυσσέας Ελύτης, Οδυσσέας Αλεπουδέλλης.		/static/gfx/favicon.ico		https://www.greece.com/info/people/Odysseas_Elytis/
correct_award_00067	FactBench	3	16	https://www.greece.com/info/people/Odysseas_Elytis/	en	Odysseas Elitis, Odisseas Elitis, Odysseas Alepoudellis, Οδυσσέας Ελύτης, Οδυσσέας Αλεπουδέλλης	http://images.greece.com/info/Odysseas_Elytis.jpg	http://images.greece.com/info/Odysseas_Elytis.jpg	[ "https://www.greece.com/static/gfx/logo38.png", "http://images.greece.com/destinations/Attica/Athens/Greece.com_Athens_5_Parthenon_160x80.jpg", "http://images.greece.com/destinations/Cyclades/Santorini/Greece.com_4_Santorini_160x80.jpg", "http://images.greece.com/destinations/Crete/Chania/elafonissi_160x80.jpg", "http://images.greece.com/destinations/Central_Greece/Meteora/meteora1_160x80.jpg", "http://images.greece.com/destinations/Ionian_Islands/Corfu/Greece.com_6_corfu_mare.jpeg_160x80.jpg", "http://images.greece.com/destinations/Attica/Athens/Greece.com_Athens_1_Acropolis1_160x80.jpg", "http://images.greece.com/destinations/Crete/Heraklion/Greece.com_1_heraklion_160x80.jpg", "http://images.greece.com/info/Odysseas_Elytis.jpg", "https://assets.pinterest.com/images/pidgets/pin_it_button.png", "https://www.greece.com/static/gfx/logo38.png" ]	[]	[]	[ "Odysseas Elytis", "Odysseas Elitis", "Odisseas Elitis", "Odysseas Alepoudellis", "Οδυσσέας Ελύτης", "Οδυσσέας Αλεπουδέλλης" ]	null	[]	null	Read about Odysseas Elytis aka Odysseas Elitis, Odisseas Elitis, Odysseas Alepoudellis, Οδυσσέας Ελύτης, Οδυσσέας Αλεπουδέλλης.		/static/gfx/favicon.ico		https://www.greece.com/info/people/Odysseas_Elytis/
correct_award_00067	FactBench	1	19	https://theculturetrip.com/europe/greece/articles/reviving-greek-poetry-giorgios-seferis-and-odysseas-elytis	en	Reviving Greek Poetry: Giorgios Seferis and Odysseas Elytis	https://cdn-v2.thecultur…letterarura.webp	https://cdn-v2.thecultur…letterarura.webp	[ "https://www.facebook.com/tr?id=786443818164980&ev=PageView&noscript=1", "https://theculturetrip.com/img/ct-full.svg", "https://theculturetrip.com/img/currency-flags/USD.svg", "https://theculturetrip.com/img/currency-flags/USD.svg", "https://theculturetrip.com/img/currency-flags/EUR.svg", "https://theculturetrip.com/img/currency-flags/GBP.svg", "https://theculturetrip.com/img/currency-flags/AUD.svg", "https://theculturetrip.com/img/currency-flags/CAD.svg", "https://theculturetrip.com/img/currency-flags/NZD.svg", "https://cdn-v2.theculturetrip.com/20x11/wp-content/uploads/2015/12/56-263195-letterarura.webp", "https://secure.gravatar.com/avatar/?s=96&d=mm&r=g", "https://cdn.theculturetrip.com/images/56-206074-george-seferis.jpg?s=10x", "https://cdn.theculturetrip.com/images/56-206071-600px-elytis-odysseas-1911-1996-.jpg?s=10x", "https://theculturetrip.com/img/banners/sign-up-banner-right.webp?s=10x", "https://theculturetrip.com/img/banners/sign-up-banner-right.webp?s=10x", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2023/09/tyler-nix-v3dhmb1moxm-unsplash-1024x683.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2023/06/clark-van-der-beken-kkeh0gasq1g-unsplash-e1687973378154-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2022/03/korcula-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2022/03/trips_thailand-south_laem-haad-koh-yao-yai-thailand_w609ye-1-e1679418083249-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2021/12/zakynthos-greece--navagio-beach-with-shipwreck-on-zakynthos-island-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2022/06/hugo-kruip-zqjcthalca0-unsplash-e1656426975966-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2023/06/jonathan-gallegos-_va2q0-nrou-unsplash-e1686665673146-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2023/07/anna-kurmaeva-ekox8yrcfre-unsplash-e1689692083560-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2023/06/philip-jahn-pykpulrimg0-unsplash-1-e1686827634685-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2022/08/hendrik-cornelissen-b_orl_womvm-unsplash-e1665049484374-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2021/11/ptd2xt-1024x576.webp", "https://cdn-v2.theculturetrip.com/10x/wp-content/uploads/2021/11/2b7r4hf-e1639587037556-1024x576.webp", "https://theculturetrip.com/img/toast-message/toast_message_mobile.png", "https://theculturetrip.com/img/icons/cross.svg", "https://theculturetrip.com/img/icons/privacyoptions.svg", "https://theculturetrip.com/img/footer/pt-logo.webp", "https://theculturetrip.com/img/stores/app-store-badge.svg", "https://theculturetrip.com/img/stores/google-play-badge.svg" ]	[]	[]	[ "Reviving", "Greek", "Poetry", "Giorgios", "Seferis", "Odysseas", "Elytis", "Modern", "literature", "constrained", "greatness", "forebears" ]	null	[ "Helena Cuss" ]	2012-08-03T15:40:00+00:00	Modern Greek literature is constrained by the greatness of its forebears as the classical works of Antiquity constitute the pinnacle of canonical greatness....	en	/img/apple-touch-icon.png	Culture Trip	https://theculturetrip.com/europe/greece/articles/reviving-greek-poetry-giorgios-seferis-and-odysseas-elytis	Modern Greek literature is constrained by the greatness of its forebears, as the classical works of Antiquity constitute the pinnacle of canonical greatness. However, as Helena Cuss explains, two twentieth-century writers, Giorgios Seferis and Odysseas Elytis, managed to bring new life to Greek poetry, for which they were both awarded the Nobel Prize. Most readers of classic literature would claim to be well-versed in the great works of Greek literature: The Odyssey and The Illiad from Homer, works of the great philosophers Socrates, Aristotle and Plato and the tragedies of Aeschylus, Sophocles , and Euripides. These men all belong to a hazy golden age in our imaginations commonly thought of as ‘antiquity’. However, since then, Greek literature has ceased to be a conspicuous presence in the canon of Western literature with which we are all so familiar. The past 500 years or so have seen a flowering of English, American, French, German and Italian literature which have become the great ‘classics’. During the twentieth century burst of Modernism these nations in particular produced the most famed avant-garde thinkers, writers and artists, who shaped the culture we live and breathe today. What may be less well known to most is that in this whirling milieu of radicalism, under the pressure of political turbulence and European instability, two Greek poets were bringing the ancient traditions of the Hellenic past into the modern age, a feat for which they would both receive the Nobel Prize for Literature. Giorgos Seferis and Odysseas Elytis both originated from outside of Greece (Elytis from Crete, and Seferis from Smyrna, in modern-day Turkey) but both moved with their families to Athens where they received their education. It is not difficult to see how they were both influenced by Greece’s rich cultural heritage, although they identified with different strands. Smyrna was taken by the Turks in 1922, and Seferis, having left in 1914, did not return until 1950. This sense of being an exile from his home deeply affected him, and so it is unsurprising that he identified with the ancient story of Odysseus, told by the great epic poet Homer, in which a hero of the long Trojan War is forced to wander the seas for ten years whilst he attempts to find his way home. It is possible to describe Seferis as something of a wanderer himself, as he had a long and successful diplomatic career, traveling to many different countries as the Greek Ambassador. The wanderer found a sense of closure on his visit to Cyprus in 1953, an island with which he felt an instant affinity, and which inspired him to end a seven year literary dry spell with the release of his book of poems Imerologio Katastromatos III, which celebrated his sense of homecoming. Seferis’ particular brand of Hellenism, the main reason for his Nobel Prize for Literature in 1963, was concentrated on highlighting a unifying strand of humanism which endures in Greek culture and literature. This desire to find continuity between the cultures of ancient and modern Greece through his own personal interest in humanism is nowhere better demonstrated than in his acceptance speech of his Nobel Prize, in which he adapted a famous Greek myth: ‘When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: ‘Man’. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.’ His place in Greek culture was demonstrated by the inclusion of a very famous stanza from his Mythistorema in the 2004 Athens Opening Ceremony. Moreover, his place in the hearts of the Greek people had been confirmed some years earlier upon his death: he became an important symbol of resistance against the repressive right-wing regime which terrorized Greece between 1967 and 1974, and at his funeral in 1971 huge crowds followed his coffin singing the words of his poem Denial, which was then banned. The poem itself conjures a wild and romantic vision of a Greek beach setting, but, as is characteristic of his work, with a human story at its heart. Mythistorema’s similarly watery setting is clearly taken from The Odyssey, of which it is in some ways a revised version; however, in the dreamy darkness of the narrative and the fragmentary form, and its rather loose allusions to the original story, it is easy to see the influence of T.S. Eliot’s Wasteland, which Seferis translated into Greek in 1936. Where Seferis pointed the way, Elytis, with his friend’s encouragement, followed, and is today credited with the modernization of Greek literature. Living in Paris in self-exile between 1948 and 1952, he was known and appreciated by some of the most important pioneers of the avant-garde, including artists Pablo Picasso, Henri Matisse, Marc Chagall and Alberto Giacometti. Similarly interested by the modern Hellenistic culture as his friend and mentor Seferis, we can also detect elements of Ancient Greece and Byzantine culture in his work. He received the Nobel Prize for Literature in 1979, perhaps chiefly because of his intensely personal style of writing; it is poetry that resonates with an absolute sincerity, even when speaking of the most rarefied of subject matter. A recurring theme is the metaphysics of the sun, or rather, the mystery of life, for he was a self-confessed ‘sun-worshipper’ or ‘idolator’. As Seferis’ poem Denial had been, his landmark work Worthy It Is became a great rallying anthem for all Greeks who resisted injustice, especially when set to music by Mikis Theodorakis. With an epic Biblical structure, it represents a fevered call to modern man for self-liberation and a hymn to the beauty of nature. Seferis’ works can be found translated into English in his Complete Poems, whilst Elytis’ Worthy It Is is published under its original name, The Axion Esti. It is perhaps time for us to recognize the importance of the role both of these writers brought to modern literature, in bringing the culture of Europe’s most ancient civilization into the twentieth century, and fighting the epic battle against oppression and tyranny.
correct_award_00067	FactBench	1	35	https://books.google.com/books/about/The_Collected_Poems_of_Odysseus_Elytis.html%3Fid%3DnzPSXYJIYjAC	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
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"https://impactalk.gr/sites/default/files/styles/scale_600w/public/2021-04/kentriki.final__0.png?itok=ZsTaUE55", "https://impactalk.gr/sites/default/files/styles/scale_600w/public/2021-04/5ECF1F60-26C3-4782-A0D1-0207BC62B48D_0.jpeg?itok=bjQ-jVlQ", "https://impactalk.gr/themes/custom/rkpt/assets/image/everypay-logo.png", "https://impactalk.gr/themes/custom/rkpt/assets/image/settings.svg", "https://impactalk.gr/themes/custom/rkpt/assets/image/arrow/arrow-line-up-black.svg" ]	[]	[]	[ "" ]	null	[ "Nikos Kazantzakis" ]	2021-04-02T00:28:20+03:00	Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer.	en	/themes/custom/rkpt/assets/image/favicon-96x96.png	ImpacTalk	https://impactalk.gr/en/stories-talk/nikos-kazantzakis-greek-giant-writer-was-nominated-9-nobel-prizes	Two Greek writers, Giorgos Seferis in 1963 and Odysseas Elytis in 1979, have won the Nobel Prize in Literature. There could be more Greek Nobel Prize winners in literature and for sure one of them that truly deserved it was Nikos Kazantzakis. Nevertheless, he never won the ultimate prize although he was globally considered the most well-known and widely-read Greek writer. By Mia Kollia Translated by Alexandros Theodoropoulos According to Nobel Prize archives, Kazantzakis was nominated in nine different years for a total of 14 different nominations and in two of them together with Greek poet Angelos Sikelianos. Unfortunately, cohorts of the Greek Church along with some politicians and academics of the status quo did whatever it takes to prevent Kazantzakis winning the Nobel but on the other hand, the Swedish academy seemed to support him. In 1956, Nikos Kazantzakis contested the prize having much of a chance to win, but the prize went to Spanish poet Jimenez for just a couple of votes. Kazantzakis won the Peace Prize at the same year, a prize that had been won by personalities like Charlie Chaplin and Shostakovich, but in the ceremony that took place in Vienna and was attended by all members of the World Peace Council, Greece wasn’t present. Considered an atheist, communist and panderer of young people, Kazantzakis was labeled by the Greek state as a public enemy.It is also noteworthy that in Norway, contrary to Greece, his books were published without restrictions. The Norwegian government, having seen the attitude of the Greek state towards Kazantzakis, offered him Norwegian citizenship and passport so that he could commute with ease. Also the Norwegian literature company nominated him for the Nobel after a unanimous vote. Kazantzakis rejected all offers. When Albert Camus won the Nobel Prize for Literature in 1957, Nikos Kazantzakis was inpatient in Freiburg University Hospital in Germany. Despite deterioration of his health he sent a telegram to the French writer to congratulate him. After the death of Kazantzakis, Albert Camus responded to his widow, Eleni N. Kazantzaki: “I’ve always admired and, if I may, adored your husband’s work. And I also never forget that the day I was so sad and had to accept honours that Kazantzakis deserved 100 times more than me, I received from him the most generous telegram. Soon I was horrified to notice that this message was written a few days before his death. With his loss, we lost one of the last great artists…” Unpublished letter from Nikos Kazantzakis for the Nobel that he never won “We escaped from Nobel this year. I heard a couple of months ago that a document from Sweden reached Mantoudis (Xefloudas also saw it) and as stated, I am out of time. I felt joy because in this way nobody will stand in the way of my dear friend and poet”, written by Nikos Kazantzakis in November 1946 in his letter to “Respected friend and Protector” of litterateurs, Nikos Veis, professor of Medieval and Modern Greek Literature in the University of Athens. Kazantzakis’s letter referring to Nobel, his “dear friend and poet” Angelos Sikelianos and to the ejection of Nikos Veis from the University of Athens with the accusation of participating in Decemvriana (December events of 1944), is one of the unpublished handwritten documents in the Historic Archive collection of the University of Athens.
correct_award_00067	FactBench	0	79	https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel	en	Literature The "cultured colour" of the Mediterranean and its 35 Nobel Laureates in Literature	https://www.freiheit.org…eg?itok=QHa2nN4j	https://www.freiheit.org…eg?itok=QHa2nN4j	[ "https://www.freiheit.org/sites/default/files/styles/uv_person_small/public/2024-05/jose-manuel-carcases_0.jpg?itok=MTib6Py7", "https://www.freiheit.org/sites/default/files/2024-05/oknobeles-literatura_0.jpeg", "https://www.freiheit.org/sites/default/files/styles/uv_full_content/public/2024-05/el-callejon-de-los-milagros_0.jpeg?itok=x_TMVTo8", "https://www.freiheit.org/sites/default/files/styles/uv_full_content/public/2024-05/libros-premios_0.jpg?itok=ft_ofys9", "https://www.freiheit.org/sites/default/files/styles/uv_small/public/2023-08/still-1_istina-wahrheit_chms_0.jpg?itok=wFlYXp_-", "https://www.freiheit.org/sites/default/files/styles/uv_small/public/2023-01/fotode_rino_care_pixabay.jpg?itok=MJ3SpZTS", "https://www.freiheit.org/sites/default/files/styles/uv_small/public/2022-10/birileri_theatre_0.jpg?itok=k9XLYBOy", "https://www.freiheit.org/sites/default/files/styles/uv_small/public/2022-07/mockup-okonomische-inhalte-en_0.png?itok=BLvbAQxK", "https://www.freiheit.org/sites/default/files/styles/uv_teaser/public/2023-08/still-1_istina-wahrheit_chms_0.jpg?itok=2HxPfEQG", "https://www.freiheit.org/sites/default/files/styles/uv_teaser/public/2023-01/fotode_rino_care_pixabay.jpg?itok=Rfszo02j", "https://www.freiheit.org/sites/default/files/styles/uv_teaser/public/2022-10/birileri_theatre_0.jpg?itok=y0NF7Flm", "https://www.freiheit.org/sites/default/files/styles/uv_teaser/public/2022-07/mockup-okonomische-inhalte-en_0.png?itok=YmArVfpj" ]	[]	[]	[ "" ]	null	[ "Markus Kaiser", "Joaquín Pérez Azaústre", "freiheit.org" ]	2024-05-21T00:00:00	The shores of the Mediterranean Sea proudly bathe 20.5% (8 nations) of the total number of countries (39) with Nobel Prize-winning writers in literature, but is it the same pride these intellectuals feel for their countries?	en	/themes/custom/uv_theme/favicon.ico	Friedrich Naumann Foundation	https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel	The data endorse the broad intellectuality of the shores that frame the Mare Nostrum, and the fact is that, among other statistics, its waves dance proudly to the beat of the lines written by the 35 Nobel Prize winners for Literature from our Mediterranean countries. After all, even the Mediterranean Sea itself has a "cultured colour", as one of our nobles, Camilo José Cela, said: "The Mediterranean is clear because its colour is at the service of its culture. The greens and blues of its waters, and the golds and siennas of its lands, are cultured greens and blues and golds and siennas not only because they are exposed to a meridian light, but also because they are full of tradition, because they have been fixed for many centuries". Yes, the greens and blues of its waters, but also those golds and siennas of these lands that attracted the birth or nationalisation of our Nobel Prize-winning writers in eight of the Mediterranean countries. This means that 20.5% of the total number of nations (39) with intellectuals who have received this lofty literary recognition since Sweden began awarding the prizes in 1901 are Mediterranean. France, Italy, Spain, Greece, Yugoslavia, Israel, Egypt and Turkey. How honoured these countries must be to represent the Mediterranean region with more than 20 % of the total number of Nobel Literature Prize winners! But why put the names of the countries before the names of their intellectuals? Was it not these men (and one woman) who won the difficult Nobel Prize? Prudhomme, Mistral, Echegaray, Carducci, Rolland, France, Benavente, Deledda, Bergson, Bunin, Pirandello, Martin du Gard, Gide, Mauriac, Jiménez, Camus, Quasimodo, Perse, Andric, Seferis, Sartre, Agnon, Montale, Aleixandre, Elytis, Simon, Mahfuz, Cela, Fo, Pamuk, Le Ciezio, Modiano and Ernaux, as well as Mediterranean nationals Vargas Llosa and Xingjian. It is simple and logical that Mediterranean nations can be proud of their writers, but are our intellectuals proud of their countries? The Greek Nobel laureate Odysseus Elytis was clear from the moment he gave his speech when he received his prize in Sweden. He extolled the luminosity, transparency and virtues of language in the face of the need to give them the greatest possible visibility because they are all the more necessary "the denser the darkness that characterises the age in which we live". On another shore of our sea, the Nobel laureate Naguib Mahfuz, if he was not already one in life, extended his wise legend not only in the Egypt where he was born but throughout the Mediterranean after his death almost 20 years ago. He always wanted to put the conciliation of the word before the adversity of the possible irrationality between two different and sometimes opposing cultures, with the common goal that the countries on the different shores of the Mediterranean should not be so far apart. "The throne gives glory", Mahfuz admitted, "but happiness depends on one's wisdom", he added later in his work Akhnaton, for, in times of conflict, "we do not need more territory, but more wisdom to preserve it". The French writer Annie Ernaux was right when, not long after receiving her Nobel Prize in 2022, she stated bluntly that "literature is not meant to provide solutions", although it "can try to explain a situation" in the face of a political crisis. It is not a question of talking about The Bonds of Interest, nor of anyone having Gide's The Counterfeiters, much less of accusing any leader of creating Mauriac's The Knot of Vipers, nor of believing that we are living through Camus' The Plague, nor of considering that some of the countries are, like Pirandello, Six Characters in Search of an Author. No, it is none of these examples, no matter how beautiful they are considered to be. What really interests, or should interest, everyone without exception, is that "forgiveness as a path to peace", or at least "inner peace", as the Turkish Pamuk said. And if, despite this, we still cannot find the longed-for solution, we can look to the beauty of the words of poetry, because its verses are, nothing more and nothing less, the artistic genre "of approaching that which surpasses us", in the words of the versed Elytis. "Ah, yes, indeed, times have always been durtfiger (of destitution) for man! But, for its part, poetry has never ceased to officiate". Nor should we forget the words of Yugoslavian Nobel laureate Ivo Andric when he dared to note that "the greatness of a country is measured by how it treats its most vulnerable citizens". Perhaps we need to look to The Alley of Miracles (Mahfuz) to learn that the solution that will increasingly allow us to shorten the possible distance from the Mediterranean countries is right here, in our own - more ours and more ours than ever - Mare Nostrum.
correct_award_00067	FactBench	3	82	https://www.greeka.com/cyclades/ios/sightseeing/ios-elytis-theater/	en	Odysseas Elytis Theatre in Ios, Greece	https://www.greeka.com/p…ytis-theater.jpg	https://www.greeka.com/p…ytis-theater.jpg	[ "https://www.greeka.com/seedo/photos/145/ios-odysseas-elytis-theatre-top-1-2560.jpg 2560w, https://www.greeka.com/seedo/photos/145/ios-odysseas-elytis-theatre-top-1-1920.jpg 1920w, https://www.greeka.com/seedo/photos/145/ios-odysseas-elytis-theatre-top-1-1280.jpg 1280w, https://www.greeka.com/seedo/photos/145/ios-odysseas-elytis-theatre-top-1-1024.jpg 1024w, https://www.greeka.com/seedo/photos/145/ios-odysseas-elytis-theatre-top-1-640.jpg 640w", "https://www.greeka.com/seedo/photos/140/ios-cathedral-church-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/140/ios-cathedral-church-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/140/ios-cathedral-church-thumb-1-1024.jpg 1024w", "https://www.greeka.com/seedo/photos/141/ios-agia-ekaterini-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/141/ios-agia-ekaterini-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/141/ios-agia-ekaterini-thumb-1-1024.jpg 1024w", "https://www.greeka.com/seedo/photos/1195/ios-skarkos-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/1195/ios-skarkos-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/1195/ios-skarkos-thumb-1-1024.jpg 1024w", "https://www.greeka.com/seedo/photos/139/ios-panagia-gremiotissa-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/139/ios-panagia-gremiotissa-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/139/ios-panagia-gremiotissa-thumb-1-1024.jpg 1024w", "https://www.greeka.com/seedo/photos/142/ios-windmills-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/142/ios-windmills-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/142/ios-windmills-thumb-1-1024.jpg 1024w", "https://www.greeka.com/seedo/photos/147/ios-archaeological-museum-thumb-1-480.jpg 480w, https://www.greeka.com/seedo/photos/147/ios-archaeological-museum-thumb-1-640.jpg 640w, https://www.greeka.com/seedo/photos/147/ios-archaeological-museum-thumb-1-1024.jpg 1024w" ]	[]	[]	[ "" ]	null	[ "Greeka.com" ]	2008-07-19T11:25:00	Discover Ios Odysseas Elytis Theatre: Information and photos of Odysseas Elytis Theatre in Chora, Ios.	en	/apple-touch-icon.png	Greekacom	https://www.greeka.com/cyclades/ios/sightseeing/ios-elytis-theater/	Location: Chora Odysseas Elytis was a famous Greek poet who wrote modern poetry and was awarded the Nobel Literature Prize in 1979. The Odysseas Elytis Amphitheatre in Ios was named after the poet and is located at the top of Chora, behind the whitewashed windmills that stand there. DISCOVER IOS WITH OUR TOURS! Book an unforgettable Tour in Ios. Though the amphitheater is made of marble and according to the ancient Greek style, it was constructed relatively recently as compared to other architectural wonders of Ios. It is a colossal structure and can hold up to 1100 people. Every year, most of the cultural events of the island are held there. The events are organized by the municipality of Ios. During the summer musical concerts, plays and other performances take place at this theatre. You should definitely visit whether you enjoy a performance or not.
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It has been a little more than 60 years since in December 1963, Greek poet and diplomat Giorgos Seferis was awarded the Nobel Prize for Literature “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”. In his acceptance speech the Greek poet and diplomat chose to emphasize his humanist philosophy, concluding: “When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: ‘Man’. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.” This anniversary is a great opportunity for us to look back at the Greek writers who were nominated the Nobel Prize in Literature, beyond the well known laureates Giorgos Seferis and Odysseas Elytis. Nominees One-Time Nominees Giorgos Theotokas, novelist, essayist, lawyer and one of the most prominent figures of the Generation of the ’30s, whose major essay entitled Free Spirit , became the manifesto of that generation” exemplifying a desire to modernize Greek literature, was nominated for the 1945 Nobel in Literature. Georgios Drosinis, author, poet, scholar, editor and considered to be a co-founder of the New Athenian School, that is the Greek literary Generation of the 1880s, was nominated for the Nobel Prize in Literature in 1947. Also nominated one time of the Nobel Prize the same year was Gregorios Xenopoulos, a novelist, journalist and playwright from the island of Zakynthos. Melpo Axioti, the only woman on this list, was a prose and poetry writer, member of the Greek WWII Resistance and a political exile. Her first novel “Difficult Nights” (1938) introduced a modernistic style to Greek literature and she has nominated of the Nobel Prize in 1956. Multiple Nominations Playwright, polymath, writer and Professor of History Demetrios Bernardakis, whose most known work is “Fausta,” was nominated twice, in 1904 and 1905. Georgios Souris, satirical poet and journalist, was considered to be one the greatest satirical poets of modern Greece and characterized by many as a “modern Aristophanes.” He had been nominated for the award a total five times, almost every year from 1907 to 1912. Elias Venezis is a writer whose major novels are about his life in Asia Minor; Land of Aeolia (1943) describes the lost Eden of his childhood summers, and Number 31328 (1924) the horrific experience of the death marches. He was nominated twice, in 1960 and 1963. Stratis Myrivilis, also from Asia Minor and another important figure of the “Generation of the 30s” was nominated for the Nobel Prize in Literature three times (1960, 1962, 1963). His landmark novel Life in the Tomb (1924) is the most celebrated Greek work on the subject of the First World War. Kostis Palamas, considered by many to be Greece’s national poet, wrote the words to the Olympic Hymn and was a key figure of the generation of the 1880s known as “the New Athenian School.” He was nominated an impressive total of fourteen times for the Nobel Prize, almost every single year from 1926 until 1940. Angelos Sikelianos, a lyric poet and playwright, whose themes include Greek history, religious symbolism as well as universal harmony in poems, is considered one of the leading 20th-century Greek lyrical poets. In 1927, in collaboration with his wife, Eva Palmer-Sikelianos, he held the Delphic Festival as part of his general effort towards a revival of the ‘Delphic Idea’. He has been nominated nominated six times for a Nobel Prize in Literature, every year from 1946 until 1951. Nikos Kazantzakis is one of Greece’s most internationally acclaimed novelists; he was also a journalist, a politician, a poet and a philosopher. Kazantzakis’s novels include Zorba the Greek (1946), Christ Recrucified (1948), Captain Michalis (1950, translated Freedom or Death), and The Last Temptation of Christ (1955). He also wrote plays, travel books, memoirs, and philosophical essays, such as “The Saviors of God: Spiritual Exercises”. His fame spread in the English-speaking world due to cinematic adaptations of Zorba the Greek (1964) and The Last Temptation of Christ (1988). He remains the most translated modern Greek author worldwide and he was nominated nine times for the Nobel prize (in 1947, and every year from 1950 to 1957). Yiannis Ritsos is considered to considered one of the great Greek poets of the twentieth century; “Yannis Ritsos,” wrote Peter Levi in the Times Literary Supplement of the late Greek poet, “is the old-fashioned kind of great poet. His output has been enormous, his life heroic and eventful, his voice is an embodiment of national courage, his mind is tirelessly active.” Plagued by turberculosis, family misfortunes, and repeated persecution for his Communist views, he spent many years in sanatoriums, prisons, or in political exile, while producing more than 100 poetry collections, 9 novels, and 4 theatrical plays. Epitaphios (1936), Romiosini (1945-47) and Moonlight Sonata (1966) are three of his best-known works. He was twice nominated for a Nobel Prize, in 1971 and 1979, when it is said the Academy suggested that he and Odysseas Elytis share the prize, but they both declined the offer. Nobel Laureates Odysseas Elytis was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world; his work has been translated in 29 languages. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti (Worthy As It Is) regarded as a monument of contemporary poetry. In 1979, he was awarded the Nobel Prize in Literature. The Swedish Academy declared in its presentation that Elytis’ poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness. . . . [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.” Giorgos Seferis was a poet, esseyist and diplomat, considered one of the most important Greek poets of the 20th century, and a Nobel laureate. He was the first Greek to win the Nobel Prize in Literature in 1963, “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture.” He had been nominated for the Nobel twice (in 1955 and 1961). Often compared during his lifetime to T.S. Eliot, whose work he translated and introduced to Greece, George Seferis is noted for his spare, laconic, dense and allusive verse in the Modernist idiom of the first half of the 20th century. At once intensely Greek and a cosmopolitan of his time (he was a career-diplomat as well as a poet), Seferis better than any other writer expresses the dilemma experienced by his countrymen then and now: how to be at once Greek and modern. His established poetry begins with the collection “Novel” (1935), which consists of 24 poems “Sterna”, “Exercise Notebook”, the “Deck Diary” (A ‘, B’ and C ‘) and “Kichli” are just some of the most important works of the great poet. I.L.
correct_award_00067	FactBench	0	80	https://lettersrepublic.wordpress.com/np/	en	[NP] Nobel Prize for Literature	http://nobelprize.org/nobel_prizes/about/medals/images/literature.jpg	http://nobelprize.org/nobel_prizes/about/medals/images/literature.jpg	[ "https://s2.wp.com/wp-content/themes/pub/structure/images/twitter_icon.png", "https://s2.wp.com/wp-content/themes/pub/structure/images/rss_icon.png", "https://i0.wp.com/nobelprize.org/nobel_prizes/about/medals/images/literature.jpg", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2010-10-08T03:36:29+00:00	Nobel Prize for Literature [NP] Awarded annually since 1901 “My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!” That line from Shelley comes to mind when I think about the Nobel Prize for Literature. Not because the Nobel laureates rule supreme, but because in the context of the poem,…	en	https://s1.wp.com/i/favicon.ico	Letters Republic	https://lettersrepublic.wordpress.com/np/	Nobel Prize for Literature [NP] Awarded annually since 1901 “My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!” That line from Shelley comes to mind when I think about the Nobel Prize for Literature. Not because the Nobel laureates rule supreme, but because in the context of the poem, a brief vision of a vast desert wasteland, this line is an arrogant boast etched in stone ruins that are all that remain of a once great kingdom. The braggadocio of Oxymandias didn’t stand up to the sweep of history. Likewise, Nobel laureates garner a lot of praise, but all too often they don’t live on in the canon. Of the 101 laureates to receive the Nobel since 1901, sixty didn’t get two votes for a specific work in my master list. (A work of literature has to appear on at least two of 24 different lists in order to make the Master.) So much for the Nobel! Well, like most things, it is more complicated than that. Turns out that the master list is extremely preferential toward English language writers, specifically those from either America or the British Isles. The Nobel, throughout history, has fought against that bias. It awards English speakers begrudgingly. Less than a quarter of its recipients write in English. The Nobel, then, is a great way to broaden the spectrum of this list, adding lots of non-English speaking authors that are very worth reading. Right? The problem is that the Nobel doesn’t award works but rather it recognizes an author’s oeuvre. My solution at first was to give a vote to everything a laureate wrote and, if any work got a vote from another list, it was included in the master. But this would have made a very long list even longer. So no. I decided that if an author won the Nobel, he just got a mention beside his name and birthdate. [NP]. Kind of a gold star. Another problem arose. Some really great authors were left off through sheer bad luck. Specifically Jose Saramago, a man considered by Harold Bloom (bloviator though he is) to be one of the most gifted writers of recent decades. Saramago won the Nobel, and five of his works received a vote from various lists, but none got two. A flaw in the system. Great authors who write a lot of works – good works that get attention from other lists – but who are not writing in English, find it much harder to make the master list. My solution is to use the Nobel as a safety net. If an author wins the Nobel but he has no works that have received two votes, I select one to be included in the master list. Not perfect, but better. And better is a good thing. Here are the laureates. Those with a work on the Master List appear in RED. 2010 Mario Vargas Llosa 2009 Herta Müller 2008 Jean-Marie Gustave Le Clézio 2007 Doris Lessing 2006 Orhan Pamuk 2005 Harold Pinter 2004 Elfriede Jelinek 2003 John M. Coetzee 2002 Imre Kertész 2001 Sir Vidiadhar Surajprasad Naipaul 2000 Gao Xingjian 1999 Günter Grass 1998 José Saramago 1997 Dario Fo 1996 Wislawa Szymborska 1995 Seamus Heaney 1994 Kenzaburo Oe 1993 Toni Morrison 1992 Derek Walcott 1991 Nadine Gordimer 1990 Octavio Paz 1989 Camilo José Cela 1988 Naguib Mahfouz 1987 Joseph Brodsky 1986 Wole Soyinka 1985 Claude Simon 1984 Jaroslav Seifert 1983 William Golding 1982 Gabriel García Márquez 1981 Elias Canetti 1980 Czeslaw Milosz 1979 Odysseus Elytis 1978 Isaac Bashevis Singer 1977 Vicente Aleixandre 1976 Saul Bellow 1975 Eugenio Montale 1974 Eyvind Johnson, Harry Martinson 1973 Patrick White 1972 Heinrich Böll 1971 Pablo Neruda 1970 Aleksandr Isayevich Solzhenitsyn 1969 Samuel Beckett 1968 Yasunari Kawabata 1967 Miguel Angel Asturias 1966 Shmuel Yosef Agnon, Nelly Sachs 1965 Mikhail Aleksandrovich Sholokhov 1964 Jean-Paul Sartre 1963 Giorgos Seferis 1962 John Steinbeck 1961 Ivo Andric 1960 Saint-John Perse 1959 Salvatore Quasimodo 1958 Boris Leonidovich Pasternak 1957 Albert Camus 1956 Juan Ramón Jiménez 1955 Halldór Kiljan Laxness 1954 Ernest Miller Hemingway 1953 Sir Winston Leonard Spencer Churchill 1952 François Mauriac 1951 Pär Fabian Lagerkvist 1950 Earl (Bertrand Arthur William) Russell 1949 William Faulkner 1948 Thomas Stearns Eliot 1947 André Paul Guillaume Gide 1946 Hermann Hesse 1945 Gabriela Mistral 1944 Johannes Vilhelm Jensen 1939 Frans Eemil Sillanpää 1938 Pearl Buck 1937 Roger Martin du Gard 1936 Eugene Gladstone O’Neill 1934 Luigi Pirandello 1933 Ivan Alekseyevich Bunin 1932 John Galsworthy 1931 Erik Axel Karlfeldt 1930 Sinclair Lewis 1929 Thomas Mann 1928 Sigrid Undset 1927 Henri Bergson 1926 Grazia Deledda 1925 George Bernard Shaw 1924 Wladyslaw Stanislaw Reymont 1923 William Butler Yeats 1922 Jacinto Benavente 1921 Anatole France 1920 Knut Pedersen Hamsun 1919 Carl Friedrich Georg Spitteler 1917 Karl Adolph Gjellerup, Henrik Pontoppidan 1916 Carl Gustaf Verner von Heidenstam 1915 Romain Rolland 1913 Rabindranath Tagore 1912 Gerhart Johann Robert Hauptmann 1911 Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck 1910 Paul Johann Ludwig Heyse 1909 Selma Ottilia Lovisa Lagerlöf 1908 Rudolf Christoph Eucken 1907 Rudyard Kipling 1906 Giosuè Carducci 1905 Henryk Sienkiewicz 1904 Frédéric Mistral, José Echegaray y Eizaguirre 1903 Bjørnstjerne Martinus Bjørnson 1902 Christian Matthias Theodor Mommsen
correct_award_00067	FactBench	2	76	https://www.geeksforgeeks.org/list-of-american-nobel-prize-winners/	en	List of American Nobel Prize Winners	https://media.geeksforge…_200x200-min.png	https://media.geeksforge…_200x200-min.png	[ "https://media.geeksforgeeks.org/gfg-gg-logo.svg", "https://media.geeksforgeeks.org/auth-dashboard-uploads/new-premium-rbanner.png", "https://media.geeksforgeeks.org/auth-dashboard-uploads/gfgFooterLogo.png", "https://media.geeksforgeeks.org/auth-dashboard-uploads/googleplay.png", "https://media.geeksforgeeks.org/auth-dashboard-uploads/appstore.png", "https://media.geeksforgeeks.org/auth-dashboard-uploads/suggestChangeIcon.png", "https://media.geeksforgeeks.org/auth-dashboard-uploads/createImprovementIcon.png" ]	[]	[]	[ "Data Structures", "Algorithms", "Python", "Java", "C", "C++", "JavaScript", "Android Development", "SQL", "Data Science", "Machine Learning", "PHP", "Web Development", "System Design", "Tutorial", "Technical Blogs", "Interview Experience", "Interview Preparation", "Programming", "Competitive Programming", "Jobs", "Coding Contests", "GATE CSE", "HTML", "CSS", "React", "NodeJS", "Placement", "Aptitude", "Quiz", "Computer Science", "Programming Examples", "GeeksforGeeks Courses", "Puzzles", "SSC", "Banking", "UPSC", "Commerce", "Finance", "CBSE", "School", "k12", "General Knowledge", "News", "Mathematics", "Exams" ]	null	[ "GeeksforGeeks" ]	2024-03-13T12:54:18	Since 1901, 954 people and 27 groups have received the Nobel Prize. The United States has the most winners, with over 400. Nearly 40% of all Nobel Prizes have gone to Americans, and about 35% of them were born in other countries.	en	https://media.geeksforge…/gfg_favicon.png	GeeksforGeeks	https://www.geeksforgeeks.org/list-of-american-nobel-prize-winners/	1901 chemistry Jacobus Henricus van ‘t Hoff Netherlands laws of chemical dynamics and osmotic pressure literature Sully Prudhomme France peace Henri Dunant Switzerland Frédéric Passy France physics Wilhelm Conrad Röntgen Germany discovery of X-rays physiology/medicine Emil von Behring Germany work on serum therapy 1902 chemistry Emil Fischer Germany work on sugar and purine syntheses literature Theodor Mommsen Germany peace Élie Ducommun Switzerland Charles-Albert Gobat Switzerland physics Hendrik Antoon Lorentz Netherlands investigation of the influence of magnetism on radiation Pieter Zeeman Netherlands investigation of the influence of magnetism on radiation physiology/medicine Sir Ronald Ross U.K. discovery of how malaria enters an organism 1903 chemistry Svante Arrhenius Sweden theory of electrolytic dissociation literature Bjørnstjerne Martinius Bjørnson Norway peace Sir Randal Cremer U.K. physics Henri Becquerel France discovery of spontaneous radioactivity Marie Curie France investigations of radiation phenomena discovered by Becquerel Pierre Curie France investigations of radiation phenomena discovered by Becquerel physiology/medicine Niels Ryberg Finsen Denmark treatment of skin diseases with light 1904 chemistry Sir William Ramsay U.K. discovery of inert gas elements and their places in the periodic system literature José Echegaray y Eizaguirre Spain Frédéric Mistral France peace Institute of International Law (founded 1873) physics Lord Rayleigh U.K. discovery of argon physiology/medicine Ivan Pavlov Russia work on the physiology of digestion 1905 chemistry Adolf von Baeyer Germany work on organic dyes, hydroaromatic compounds literature Henryk Sienkiewicz Poland peace Bertha, baroness von Suttner Austria-Hungary physics Philipp Lenard Germany research on cathode rays physiology/medicine Robert Koch Germany tuberculosis research 1906 chemistry Henri Moissan France isolation of fluorine; introduction of Moissan furnace literature Giosuè Carducci Italy peace Theodore Roosevelt U.S. physics Sir J.J. Thomson U.K. researches into electrical conductivity of gases physiology/medicine Camillo Golgi Italy work on the structure of the nervous system Santiago Ramón y Cajal Spain work on the structure of the nervous system 1907 chemistry Eduard Buchner Germany discovery of noncellular fermentation literature Rudyard Kipling U.K. peace Ernesto Teodoro Moneta Italy Louis Renault France physics A.A. Michelson U.S. spectroscopic and metrological investigations physiology/medicine Alphonse Laveran France discovery of the role of protozoa in diseases 1908 chemistry Ernest Rutherford U.K. investigations into the disintegration of elements and the chemistry of radioactive substances literature Rudolf Christoph Eucken Germany peace Klas Pontus Arnoldson Sweden Fredrik Bajer Denmark physics Gabriel Lippmann France photographic reproduction of colours physiology/medicine Paul Ehrlich Germany work on immunity Élie Metchnikoff Russia work on immunity 1909 chemistry Wilhelm Ostwald Germany pioneer work on catalysis, chemical equilibrium, and reaction velocities literature Selma Lagerlöf Sweden peace Auguste-Marie-François Beernaert Belgium Paul-H.-B. d’Estournelles de Constant France physics Ferdinand Braun Germany development of wireless telegraphy Guglielmo Marconi Italy development of wireless telegraphy physiology/medicine Emil Theodor Kocher Switzerland physiology, pathology, and surgery of the thyroid gland 1910 chemistry Otto Wallach Germany pioneer work in alicyclic combinations literature Paul Johann Ludwig von Heyse Germany peace International Peace Bureau (founded 1891) physics Johannes Diederik van der Waals Netherlands research concerning the equation of state of gases and liquids physiology/medicine Albrecht Kossel Germany researches in cellular chemistry 1911 chemistry Marie Curie France discovery of radium and polonium; isolation of radium literature Maurice Maeterlinck Belgium peace Tobias Michael Carel Asser Netherlands Alfred Hermann Fried Austria-Hungary physics Wilhelm Wien Germany discoveries regarding laws governing heat radiation physiology/medicine Allvar Gullstrand Sweden work on dioptrics of the eye 1912 chemistry Victor Grignard France discovery of the Grignard reagents Paul Sabatier France method of hydrogenating organic compounds literature Gerhart Hauptmann Germany peace Elihu Root U.S. physics Nils Dalén Sweden invention of automatic regulators for lighting coastal beacons and light buoys physiology/medicine Alexis Carrel France work on vascular suture; transplantation of organs 1913 chemistry Alfred Werner Switzerland work on the linkage of atoms in molecules literature Rabindranath Tagore India peace Henri-Marie Lafontaine Belgium physics Heike Kamerlingh Onnes Netherlands investigation into the properties of matter at low temperatures; production of liquid helium physiology/medicine Charles Richet France work on anaphylaxis 1914 chemistry Theodore William Richards U.S. accurate determination of the atomic weights of numerous elements physics Max von Laue Germany discovery of diffraction of X-rays by crystals physiology/medicine Robert Bárány Austria-Hungary work on vestibular apparatus 1915 chemistry Richard Willstätter Germany pioneer researches in plant pigments, especially chlorophyll literature Romain Rolland France physics Sir Lawrence Bragg U.K. analysis of crystal structure by means of X-rays Sir William Bragg U.K. analysis of crystal structure by means of X-rays 1916 literature Verner von Heidenstam Sweden 1917 literature Karl Adolph Gjellerup Denmark Henrik Pontoppidan Denmark peace International Committee of the Red Cross (founded 1863) physics Charles Glover Barkla U.K. discovery of characteristic X-radiation of elements 1918 chemistry Fritz Haber Germany synthesis of ammonia literature Erik Axel Karlfeldt (declined) Sweden physics Max Planck Germany discovery of the elemental quanta 1919 literature Carl Spitteler Switzerland peace Woodrow Wilson U.S. physics Johannes Stark Germany discovery of Doppler effect in positive ion rays and division of spectral lines in electric field physiology/medicine Jules Bordet Belgium work on immunity factors in blood serum 1920 chemistry Walther Hermann Nernst Germany work in thermochemistry literature Knut Hamsun Norway peace Léon Bourgeois France physics Charles Édouard Guillaume Switzerland discovery of anomalies in alloys physiology/medicine August Krogh Denmark discovery of capillary motor-regulating mechanism 1921 chemistry Frederick Soddy U.K. chemistry of radioactive substances; occurrence and nature of isotopes literature Anatole France France peace Karl Hjalmar Branting Sweden Christian Lous Lange Norway physics Albert Einstein Switzerland work in theoretical physics 1922 chemistry Francis William Aston U.K. work with mass spectrograph; whole-number rule literature Jacinto Benavente y Martínez Spain peace Fridtjof Nansen Norway physics Niels Bohr Denmark investigation of atomic structure and radiation physiology/medicine A.V. Hill U.K. discoveries concerning heat production in muscles Otto Meyerhof Germany work on metabolism of lactic acid in muscles 1923 chemistry Fritz Pregl Austria method of microanalysis of organic substances literature William Butler Yeats Ireland physics Robert Andrews Millikan U.S. work on elementary electric charge and the photoelectric effect physiology/medicine Sir Frederick Grant Banting Canada discovery of insulin J.J.R. Macleod U.K. discovery of insulin 1924 literature Władysław Stanisław Reymont Poland physics Karl Manne Georg Siegbahn Sweden work in X-ray spectroscopy physiology/medicine Willem Einthoven Netherlands discovery of electrocardiogram mechanism 1925 chemistry Richard Zsigmondy Austria elucidation of the heterogeneous nature of colloidal solutions literature George Bernard Shaw Ireland peace Sir Austen Chamberlain U.K. Charles G. Dawes U.S. physics James Franck Germany discovery of the laws governing the impact of an electron upon an atom Gustav Hertz Germany discovery of the laws governing the impact of an electron upon an atom 1926 chemistry Theodor H.E. Svedberg Sweden work on disperse systems literature Grazia Deledda Italy peace Aristide Briand France Gustav Stresemann Germany physics Jean Perrin France work on discontinuous structure of matter physiology/medicine Johannes Fibiger Denmark contributions to cancer research 1927 chemistry Heinrich Otto Wieland Germany researches into the constitution of bile acids literature Henri Bergson France peace Ferdinand-Édouard Buisson France Ludwig Quidde Germany physics Arthur Holly Compton U.S. discovery of wavelength change in diffused X-rays C.T.R. Wilson U.K. method of making visible the paths of electrically charged particles physiology/medicine Julius Wagner-Jauregg Austria work on malaria inoculation in dementia paralytica 1928 chemistry Adolf Windaus Germany constitution of sterols and their connection with vitamins literature Sigrid Undset Norway physics Sir Owen Willans Richardson U.K. work on electron emission by hot metals physiology/medicine Charles-Jules-Henri Nicolle France work on typhus 1929 chemistry Hans von Euler-Chelpin Sweden investigations in the fermentation of sugars and the enzyme action involved Sir Arthur Harden U.K. investigations in the fermentation of sugars and the enzyme action involved literature Thomas Mann Germany peace Frank B. Kellogg U.S. physics Louis de Broglie France discovery of the wave nature of electrons physiology/medicine Christiaan Eijkman Netherlands discovery of the antineuritic vitamin Sir Frederick Gowland Hopkins U.K. discovery of growth-stimulating vitamins 1930 chemistry Hans Fischer Germany hemin, chlorophyll research; synthesis of hemin literature Sinclair Lewis U.S. peace Nathan Söderblom Sweden physics Sir Chandrasekhara Venkata Raman India work on light diffusion; discovery of Raman effect physiology/medicine Karl Landsteiner U.S. grouping of human blood types 1931 chemistry Friedrich Bergius Germany invention and development of chemical high-pressure methods Carl Bosch Germany invention and development of chemical high-pressure methods literature Erik Axel Karlfeldt (posthumous award) Sweden peace Jane Addams U.S. Nicholas Murray Butler U.S. physiology/medicine Otto Warburg Germany discovery of nature and action of respiratory enzyme 1932 chemistry Irving Langmuir U.S. discoveries and investigations in surface chemistry literature John Galsworthy U.K. physics Werner Heisenberg Germany creation of quantum mechanics physiology/medicine Edgar Douglas Adrian, 1st Baron Adrian U.K. discoveries regarding function of neurons Sir Charles Scott Sherrington U.K. discoveries regarding function of neurons 1933 literature Ivan Bunin U.S.S.R. peace Sir Norman Angell U.K. physics P.A.M. Dirac U.K. introduction of wave equations in quantum mechanics Erwin Schrödinger Austria introduction of wave equations in quantum mechanics physiology/medicine Thomas Hunt Morgan U.S. heredity transmission functions of chromosomes 1934 chemistry Harold C. Urey U.S. discovery of heavy hydrogen literature Luigi Pirandello Italy peace Arthur Henderson U.K. physiology/medicine George Richards Minot U.S. discoveries concerning liver treatment for anemia William P. Murphy U.S. discoveries concerning liver treatment for anemia George H. Whipple U.S. discoveries concerning liver treatment for anemia 1935 chemistry Frédéric and Irène Joliot-Curie France synthesis of new radioactive elements peace Carl von Ossietzky Germany physics Sir James Chadwick U.K. discovery of the neutron physiology/medicine Hans Spemann Germany organizer effect in embryo 1936 chemistry Peter Debye Netherlands work on dipole moments and diffraction of X-rays and electrons in gases literature Eugene O’Neill U.S. peace Carlos Saavedra Lamas Argentina physics Carl David Anderson U.S. discovery of the positron Victor Francis Hess Austria discovery of cosmic radiation physiology/medicine Sir Henry Dale U.K. work on chemical transmission of nerve impulses Otto Loewi Germany work on chemical transmission of nerve impulses 1937 chemistry Sir Norman Haworth U.K. research on carbohydrates and vitamin C Paul Karrer Switzerland research on carotenoids, flavins, and vitamins literature Roger Martin du Gard France peace Robert Gascoyne-Cecil, 1st Viscount Cecil U.K. physics Clinton Joseph Davisson U.S. experimental demonstration of the interference phenomenon in crystals irradiated by electrons Sir George Paget Thomson U.K. experimental demonstration of the interference phenomenon in crystals irradiated by electrons physiology/medicine Albert Szent-Györgyi Hungary work on biological combustion 1938 chemistry Richard Kuhn (declined) Germany carotenoid and vitamin research literature Pearl Buck U.S. peace Nansen International Office for Refugees (founded 1931) physics Enrico Fermi Italy disclosure of artificial radioactive elements produced by neutron irradiation physiology/medicine Corneille Heymans Belgium discovery of role of sinus and aortic mechanisms in respiration regulation 1939 chemistry Adolf Butenandt (declined) Germany work on sexual hormones Leopold Ruzicka Switzerland work on polymethylenes and higher terpenes literature Frans Eemil Sillanpää Finland physics Ernest Orlando Lawrence U.S. invention of the cyclotron physiology/medicine Gerhard Domagk (declined) Germany antibacterial effect of Prontosil 1943 chemistry Georg Charles von Hevesy Hungary use of isotopes as tracers in chemical research physics Otto Stern U.S. discovery of the magnetic moment of the proton physiology/medicine Henrik Dam Denmark discovery of vitamin K Edward Adelbert Doisy U.S. discovery of chemical nature of vitamin K 1944 chemistry Otto Hahn Germany discovery of the fission of heavy nuclei literature Johannes V. Jensen Denmark peace International Committee of the Red Cross (founded 1863) physics Isidor Isaac Rabi U.S. resonance method for registration of various properties of atomic nuclei physiology/medicine Joseph Erlanger U.S. researches on differentiated functions of nerve fibres Herbert Spencer Gasser U.S. researches on differentiated functions of nerve fibres 1945 chemistry Artturi Ilmari Virtanen Finland invention of fodder preservation method literature Gabriela Mistral Chile peace Cordell Hull U.S. physics Wolfgang Pauli Austria discovery of the exclusion principle of electrons physiology/medicine Sir Ernst Boris Chain U.K. discovery of penicillin and its curative value Sir Alexander Fleming U.K. discovery of penicillin and its curative value Howard Walter Florey, Baron Florey Australia discovery of penicillin and its curative value 1946 chemistry John Howard Northrop U.S. preparation of enzymes and virus proteins in pure form Wendell Meredith Stanley U.S. preparation of enzymes and virus proteins in pure form James Batcheller Sumner U.S. discovery of enzyme crystallization literature Hermann Hesse Switzerland peace Emily Greene Balch U.S. John R. Mott U.S. physics Percy Williams Bridgman U.S. discoveries in the domain of high-pressure physics physiology/medicine Hermann Joseph Muller U.S. production of mutations by X-ray irradiation 1947 chemistry Sir Robert Robinson U.K. investigation of alkaloids and other plant products literature André Gide France peace American Friends Service Committee U.S. Friends Service Council (FSC) U.K. physics Sir Edward Victor Appleton U.K. discovery of Appleton layer in upper atmosphere physiology/medicine Carl and Gerty Cori U.S. discovery of how glycogen is catalytically converted Bernardo Alberto Houssay Argentina pituitary hormone function in sugar metabolism 1948 chemistry Arne Tiselius Sweden researches in electrophoresis and adsorption analysis; serum proteins literature T.S. Eliot U.K. physics Patrick M.S. Blackett U.K. discoveries in the domain of nuclear physics and cosmic radiation physiology/medicine Paul Hermann Müller Switzerland properties of DDT 1949 chemistry William Francis Giauque U.S. behaviour of substances at extremely low temperatures literature William Faulkner U.S. peace John Boyd Orr, Baron Boyd-Orr of Brechin Mearns U.K. physics Yukawa Hideki Japan prediction of the existence of mesons physiology/medicine António Egas Moniz Portugal therapeutic value of leucotomy in psychoses Walter Rudolf Hess Switzerland discovery of function of interbrain 1950 chemistry Kurt Alder West Germany discovery and development of diene synthesis Otto Paul Hermann Diels West Germany discovery and development of diene synthesis literature Bertrand Russell U.K. peace Ralph Bunche U.S. physics Cecil Frank Powell U.K. photographic method of studying nuclear processes; discoveries concerning mesons physiology/medicine Philip Showalter Hench U.S. research on adrenal cortex hormones, their structure and biological effects Edward Calvin Kendall U.S. research on adrenal cortex hormones, their structure and biological effects Tadeus Reichstein Switzerland research on adrenal cortex hormones, their structure and biological effects 1951 chemistry Edwin Mattison McMillan U.S. discovery of and research on transuranium elements Glenn T. Seaborg U.S. discovery of and research on transuranium elements literature Pär Lagerkvist Sweden peace Léon Jouhaux France physics Sir John Douglas Cockcroft U.K. work on transmutation of atomic nuclei by accelerated particles Ernest Thomas Sinton Walton Ireland work on transmutation of atomic nuclei by accelerated particles physiology/medicine Max Theiler South Africa yellow fever discoveries 1952 chemistry A.J.P. Martin U.K. development of partition chromatography R.L.M. Synge U.K. development of partition chromatography literature François Mauriac France peace Albert Schweitzer Alsace physics Felix Bloch U.S. discovery of nuclear magnetic resonance in solids E.M. Purcell U.S. discovery of nuclear magnetic resonance in solids physiology/medicine Selman Abraham Waksman U.S. discovery of streptomycin 1953 chemistry Hermann Staudinger West Germany work on macromolecules literature Sir Winston Churchill U.K. peace George C. Marshall U.S. physics Frits Zernike Netherlands method of phase-contrast microscopy physiology/medicine Sir Hans Adolf Krebs U.K. discovery of coenzyme A–citric acid cycle in metabolism of carbohydrates Fritz Albert Lipmann U.S. discovery of coenzyme A–citric acid cycle in metabolism of carbohydrates 1954 chemistry Linus Pauling U.S. study of the nature of the chemical bond literature Ernest Hemingway U.S. peace Office of the United Nations High Commissioner for Refugees (founded 1951) physics Max Born U.K. statistical studies of atomic wave functions Walther Bothe West Germany invention of coincidence method physiology/medicine John Franklin Enders U.S. cultivation of the poliomyelitis virus in tissue cultures Frederick Chapman Robbins U.S. cultivation of the poliomyelitis virus in tissue cultures Thomas H. Weller U.S. cultivation of the poliomyelitis virus in tissue cultures 1955 chemistry Vincent du Vigneaud U.S. first synthesis of a polypeptide hormone literature Halldór Laxness Iceland physics Polykarp Kusch U.S. measurement of magnetic moment of electron Willis Eugene Lamb, Jr. U.S. discoveries in the hydrogen spectrum physiology/medicine Axel Hugo Teodor Theorell Sweden nature and mode of action of oxidation enzymes 1956 chemistry Sir Cyril Norman Hinshelwood U.K. work on the kinetics of chemical reactions Nikolay Nikolayevich Semyonov U.S.S.R. work on the kinetics of chemical reactions literature Juan Ramón Jiménez Spain physics John Bardeen U.S. investigations on semiconductors and invention of the transistor Walter H. Brattain U.S. investigations on semiconductors and invention of the transistor William B. Shockley U.S. investigations on semiconductors and invention of the transistor physiology/medicine André F. Cournand U.S. discoveries concerning heart catheterization and circulatory changes Werner Forssmann West Germany discoveries concerning heart catheterization and circulatory changes Dickinson Woodruff Richards U.S. discoveries concerning heart catheterization and circulatory changes 1957 chemistry Alexander Robertus Todd, Baron Todd U.K. work on nucleotides and nucleotide coenzymes literature Albert Camus France peace Lester B. Pearson Canada physics Tsung-Dao Lee China discovery of violations of the principle of parity Chen Ning Yang China discovery of violations of the principle of parity physiology/medicine Daniel Bovet Italy production of synthetic curare 1958 chemistry Frederick Sanger U.K. determination of the structure of the insulin molecule literature Boris Leonidovich Pasternak (declined) U.S.S.R. peace Dominique Pire Belgium physics Pavel Alekseyevich Cherenkov U.S.S.R. discovery and interpretation of the Cherenkov effect Ilya Mikhaylovich Frank U.S.S.R. discovery and interpretation of the Cherenkov effect Igor Yevgenyevich Tamm U.S.S.R. discovery and interpretation of the Cherenkov effect physiology/medicine George Wells Beadle U.S. genetic regulation of chemical processes Joshua Lederberg U.S. genetic recombination Edward L. Tatum U.S. genetic regulation of chemical processes 1959 chemistry Jaroslav Heyrovský Czechoslovakia discovery and development of polarography literature Salvatore Quasimodo Italy peace Philip John Noel-Baker, Baron Noel-Baker U.K. physics Owen Chamberlain U.S. confirmation of the existence of the antiproton Emilio Segrè U.S. confirmation of the existence of the antiproton physiology/medicine Arthur Kornberg U.S. work on producing nucleic acids artificially Severo Ochoa U.S. work on producing nucleic acids artificially 1960 chemistry Willard Frank Libby U.S. development of radiocarbon dating literature Saint-John Perse France peace Albert John Luthuli South Africa physics Donald A. Glaser U.S. development of the bubble chamber physiology/medicine Sir Macfarlane Burnet Australia acquired immunity to tissue transplants Sir Peter B. Medawar U.K. acquired immunity to tissue transplants 1961 chemistry Melvin Calvin U.S. study of chemical steps that take place during photosynthesis literature Ivo Andric Yugoslavia peace Dag Hammarskjöld Sweden physics Robert Hofstadter U.S. determination of shape and size of atomic nucleons Rudolf Ludwig Mössbauer West Germany discovery of the Mössbauer effect physiology/medicine Georg von Békésy U.S. functions of the inner ear 1962 chemistry Sir John Cowdery Kendrew U.K. determination of the structure of hemoproteins Max Ferdinand Perutz U.K. determination of the structure of hemoproteins literature John Steinbeck U.S. peace Linus Pauling U.S. physics Lev Davidovich Landau U.S.S.R. contributions to the understanding of condensed states of matter physiology/medicine Francis Harry Compton Crick U.K. discoveries concerning the molecular structure of DNA James Dewey Watson U.S. discoveries concerning the molecular structure of DNA Maurice Wilkins U.K. discoveries concerning the molecular structure of DNA 1963 chemistry Giulio Natta Italy structure and synthesis of polymers in the field of plastics Karl Ziegler West Germany structure and synthesis of polymers in the field of plastics literature George Seferis Greece peace International Committee of the Red Cross (founded 1863) League of Red Cross Societies physics J. Hans D. Jensen West Germany development of shell model theory of the structure of the atomic nuclei Maria Goeppert Mayer U.S. development of shell model theory of the structure of the atomic nuclei Eugene Paul Wigner U.S. principles governing interaction of protons and neutrons in the nucleus physiology/medicine Sir John Carew Eccles Australia study of the transmission of impulses along a nerve fibre Sir Alan Hodgkin U.K. study of the transmission of impulses along a nerve fibre Sir Andrew Fielding Huxley U.K. study of the transmission of impulses along a nerve fibre 1964 chemistry Dorothy Mary Crowfoot Hodgkin U.K. determining the structure of biochemical compounds essential in combating pernicious anemia literature Jean-Paul Sartre (declined) France peace Martin Luther King, Jr. U.S. physics Nikolay Gennadiyevich Basov U.S.S.R. work in quantum electronics leading to construction of instruments based on maser-laser principles Aleksandr Mikhaylovich Prokhorov U.S.S.R. work in quantum electronics leading to construction of instruments based on maser-laser principles Charles Hard Townes U.S. work in quantum electronics leading to construction of instruments based on maser-laser principles physiology/medicine Konrad Bloch U.S. discoveries concerning cholesterol and fatty-acid metabolism Feodor Lynen West Germany discoveries concerning cholesterol and fatty-acid metabolism 1965 chemistry R.B. Woodward U.S. synthesis of sterols, chlorophyll, and other substances literature Mikhail Aleksandrovich Sholokhov U.S.S.R. peace United Nations Children’s Fund (founded 1946) physics Richard P. Feynman U.S. basic principles of quantum electrodynamics Julian Seymour Schwinger U.S. basic principles of quantum electrodynamics Tomonaga Shin’ichiro Japan basic principles of quantum electrodynamics physiology/medicine François Jacob France discoveries concerning regulatory activities of the body cells André Lwoff France discoveries concerning regulatory activities of the body cells Jacques Monod France discoveries concerning regulatory activities of the body cells 1966 chemistry Robert Sanderson Mulliken U.S. work concerning chemical bonds and the electronic structure of molecules literature S.Y. Agnon Israel Nelly Sachs Sweden physics Alfred Kastler France discovery of optical methods for studying Hertzian resonances in atoms physiology/medicine Charles B. Huggins U.S. research on causes and treatment of cancer Peyton Rous U.S. research on causes and treatment of cancer 1967 chemistry Manfred Eigen West Germany studies of extremely fast chemical reactions Ronald George Wreyford Norrish U.K. studies of extremely fast chemical reactions Sir George Porter U.K. studies of extremely fast chemical reactions literature Miguel Ángel Asturias Guatemala physics Hans Bethe U.S. discoveries concerning the energy production of stars physiology/medicine Ragnar Arthur Granit Sweden discoveries about chemical and physiological visual processes in the eye Haldan Keffer Hartline U.S. discoveries about chemical and physiological visual processes in the eye George Wald U.S. discoveries about chemical and physiological visual processes in the eye 1968 chemistry Lars Onsager U.S. work on theory of thermodynamics of irreversible processes literature Kawabata Yasunari Japan peace René Cassin France physics Luis W. Alvarez U.S. work with elementary particles, discovery of resonance states physiology/medicine Robert William Holley U.S. deciphering of the genetic code Har Gobind Khorana U.S. deciphering of the genetic code Marshall William Nirenberg U.S. deciphering of the genetic code 1969 chemistry Sir Derek H.R. Barton U.K. work in determining actual three-dimensional shape of molecules Odd Hassel Norway work in determining actual three-dimensional shape of molecules economics Ragnar Frisch Norway work in econometrics Jan Tinbergen Netherlands work in econometrics literature Samuel Beckett Ireland peace International Labour Organisation (founded 1919) physics Murray Gell-Mann U.S. classification of elementary particles and their interactions physiology/medicine Max Delbrück U.S. research and discoveries concerning viruses and viral diseases A.D. Hershey U.S. research and discoveries concerning viruses and viral diseases Salvador Luria U.S. research and discoveries concerning viruses and viral diseases 1970 chemistry Luis Federico Leloir Argentina discovery of sugar nucleotides and their role in the biosynthesis of carbohydrates economics Paul Samuelson U.S. work in scientific analysis of economic theory literature Aleksandr Isayevich Solzhenitsyn U.S.S.R. peace Norman Ernest Borlaug U.S. physics Hannes Alfvén Sweden work in magnetohydrodynamics and in antiferromagnetism and ferrimagnetism Louis-Eugène-Félix Néel France work in magnetohydrodynamics and in antiferromagnetism and ferrimagnetism physiology/medicine Julius Axelrod U.S. discoveries concerning the chemistry of nerve transmission Ulf von Euler Sweden discoveries concerning the chemistry of nerve transmission Sir Bernard Katz U.K. discoveries concerning the chemistry of nerve transmission 1971 chemistry Gerhard Herzberg Canada research in the structure of molecules economics Simon Kuznets U.S. extensive research on the economic growth of nations literature Pablo Neruda Chile peace Willy Brandt West Germany physics Dennis Gabor U.K. invention of holography physiology/medicine Earl W. Sutherland, Jr. U.S. action of hormones 1972 chemistry Christian B. Anfinsen U.S. fundamental contributions to enzyme chemistry Stanford Moore U.S. fundamental contributions to enzyme chemistry William H. Stein U.S. fundamental contributions to enzyme chemistry economics Kenneth J. Arrow U.S. contributions to general economic equilibrium theory and welfare theory Sir John R. Hicks U.K. contributions to general economic equilibrium theory and welfare theory literature Heinrich Böll West Germany physics John Bardeen U.S. development of the theory of superconductivity Leon N. Cooper U.S. development of the theory of superconductivity John Robert Schrieffer U.S. development of the theory of superconductivity physiology/medicine Gerald Maurice Edelman U.S. research on the chemical structure of antibodies Rodney Robert Porter U.K. research on the chemical structure of antibodies 1973 chemistry Ernst Otto Fischer West Germany organometallic chemistry Sir Geoffrey Wilkinson U.K. organometallic chemistry economics Wassily Leontief U.S. input-output analysis literature Patrick White Australia peace Henry A. Kissinger U.S. Le Duc Tho (declined) North Vietnam physics Leo Esaki Japan tunneling in semiconductors and superconductors Ivar Giaever U.S. tunneling in semiconductors and superconductors Brian D. Josephson U.K. tunneling in semiconductors and superconductors physiology/medicine Karl von Frisch Austria discoveries in animal behaviour patterns Konrad Lorenz Austria discoveries in animal behaviour patterns Nikolaas Tinbergen U.K. discoveries in animal behaviour patterns 1974 chemistry Paul J. Flory U.S. studies of long-chain molecules economics Friedrich von Hayek U.K. pioneering analysis of the interdependence of economic, social, and institutional phenomena Gunnar Myrdal Sweden pioneering analysis of the interdependence of economic, social, and institutional phenomena literature Eyvind Johnson Sweden Harry Martinson Sweden peace Seán MacBride Ireland Sato Eisaku Japan physics Antony Hewish U.K. work in radio astronomy Sir Martin Ryle U.K. work in radio astronomy physiology/medicine Albert Claude U.S. research on structural and functional organization of cells Christian René de Duve Belgium research on structural and functional organization of cells George E. Palade U.S. research on structural and functional organization of cells 1975 chemistry Sir John Warcup Cornforth U.K. work in stereochemistry Vladimir Prelog Switzerland work in stereochemistry economics Leonid Vitalyevich Kantorovich U.S.S.R. contributions to the theory of optimum allocation of resources Tjalling C. Koopmans U.S. contributions to the theory of optimum allocation of resources literature Eugenio Montale Italy peace Andrey Dmitriyevich Sakharov U.S.S.R. physics Aage N. Bohr Denmark work on the atomic nucleus that paved the way for nuclear fusion Ben R. Mottelson Denmark work on the atomic nucleus that paved the way for nuclear fusion James Rainwater U.S. work on the atomic nucleus that paved the way for nuclear fusion physiology/medicine David Baltimore U.S. interaction between tumour viruses and the genetic material of the cell Renato Dulbecco U.S. interaction between tumour viruses and the genetic material of the cell Howard Martin Temin U.S. interaction between tumour viruses and the genetic material of the cell 1976 chemistry William Nunn Lipscomb, Jr. U.S. structure of boranes economics Milton Friedman U.S. consumption analysis, monetary theory, and economic stabilization literature Saul Bellow U.S. peace Mairéad Corrigan Northern Ireland Betty Williams Northern Ireland physics Burton Richter U.S. discovery of new class of elementary particles (psi, or J) Samuel C.C. Ting U.S. discovery of new class of elementary particles (psi, or J) physiology/medicine Baruch S. Blumberg U.S. studies of origin and spread of infectious diseases D. Carleton Gajdusek U.S. studies of origin and spread of infectious diseases 1977 chemistry Ilya Prigogine Belgium widening the scope of thermodynamics economics James Edward Meade U.K. contributions to theory of international trade Bertil Ohlin Sweden contributions to theory of international trade literature Vicente Aleixandre Spain peace Amnesty International (founded 1961) physics Philip W. Anderson U.S. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids Sir Nevill F. Mott U.K. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids John H. Van Vleck U.S. contributions to understanding the behaviour of electrons in magnetic, noncrystalline solids physiology/medicine Roger Charles Louis Guillemin U.S. research on pituitary hormones Andrew Victor Schally U.S. research on pituitary hormones Rosalyn S. Yalow U.S. development of radioimmunoassay 1978 chemistry Peter Dennis Mitchell U.K. formulation of a theory of energy transfer processes in biological systems economics Herbert Alexander Simon U.S. decision-making processes in economic organizations literature Isaac Bashevis Singer U.S. peace Menachem Begin Israel Anwar el-Sadat Egypt physics Pyotr Leonidovich Kapitsa U.S.S.R. invention and application of helium liquefier Arno Penzias U.S. discovery of cosmic microwave background radiation, providing support for the big-bang theory Robert Woodrow Wilson U.S. discovery of cosmic microwave background radiation, providing support for the big-bang theory physiology/medicine Werner Arber Switzerland discovery and application of enzymes that fragment DNA Daniel Nathans U.S. discovery and application of enzymes that fragment DNA Hamilton Othanel Smith U.S. discovery and application of enzymes that fragment DNA 1979 chemistry Herbert Charles Brown U.S. introduction of compounds of boron and phosphorus in the synthesis of organic substances Georg Wittig West Germany introduction of compounds of boron and phosphorus in the synthesis of organic substances economics Sir Arthur Lewis U.K. analyses of economic processes in developing nations Theodore William Schultz U.S. analyses of economic processes in developing nations literature Odysseus Elytis Greece peace Mother Teresa India physics Sheldon Lee Glashow U.S. unification of electromagnetism and the weak interactions of subatomic particles Abdus Salam Pakistan unification of electromagnetism and the weak interactions of subatomic particles Steven Weinberg U.S. unification of electromagnetism and the weak interactions of subatomic particles physiology/medicine Allan MacLeod Cormack U.S. development of the CAT scan Sir Godfrey Newbold Hounsfield U.K. development of the CAT scan 1980 chemistry Paul Berg U.S. first preparation of a hybrid DNA Walter Gilbert U.S. development of chemical and biological analyses of DNA structure Frederick Sanger U.K. development of chemical and biological analyses of DNA structure economics Lawrence Robert Klein U.S. development and analysis of empirical models of business fluctuations literature Czesław Miłosz U.S. peace Adolfo Pérez Esquivel Argentina physics James Watson Cronin U.S. demonstration of simultaneous violation of both charge-conjugation and parity-inversion symmetries Val Logsdon Fitch U.S. demonstration of simultaneous violation of both charge-conjugation and parity-inversion symmetries physiology/medicine Baruj Benacerraf U.S. investigations of genetic control of the response of the immune system to foreign substances Jean-Baptiste-Gabriel-Joachim Dausset France investigations of genetic control of the response of the immune system to foreign substances George Davis Snell U.S. investigations of genetic control of the response of the immune system to foreign substances 1981 chemistry Fukui Kenichi Japan orbital symmetry interpretation of chemical reactions Roald Hoffmann U.S. orbital symmetry interpretation of chemical reactions economics James Tobin U.S. portfolio selection theory of investment literature Elias Canetti Bulgaria peace Office of the United Nations High Commissioner for Refugees (founded 1951) physics Nicolaas Bloembergen U.S. applications of lasers in spectroscopy Arthur Leonard Schawlow U.S. applications of lasers in spectroscopy Kai Manne Börje Siegbahn Sweden electron spectroscopy for chemical analysis physiology/medicine David Hunter Hubel U.S. processing of visual information by the brain Roger Wolcott Sperry U.S. functions of the cerebral hemispheres Torsten Nils Wiesel Sweden processing of visual information by the brain 1982 chemistry Aaron Klug U.K. determination of structure of biological substances economics George J. Stigler U.S. economic effects of governmental regulation literature Gabriel García Márquez Colombia peace Alfonso García Robles Mexico Alva Myrdal Sweden physics Kenneth Geddes Wilson U.S. analysis of continuous phase transitions physiology/medicine Sune K. Bergström Sweden biochemistry and physiology of prostaglandins Bengt Ingemar Samuelsson Sweden biochemistry and physiology of prostaglandins John Robert Vane U.K. biochemistry and physiology of prostaglandins 1983 chemistry Henry Taube U.S. study of electron transfer reactions economics Gerard Debreu U.S. mathematical proof of supply and demand theory literature Sir William Golding U.K. peace Lech Wałęsa Poland physics Subrahmanyan Chandrasekhar U.S. contributions to understanding the evolution and devolution of stars William A. Fowler U.S. contributions to understanding the evolution and devolution of stars physiology/medicine Barbara McClintock U.S. discovery of mobile plant genes that affect heredity 1984 chemistry Bruce Merrifield U.S. development of a method of polypeptide synthesis economics Sir Richard Stone U.K. development of national income accounting system literature Jaroslav Seifert Czechoslovakia peace Desmond Tutu South Africa physics Simon van der Meer Netherlands discovery of subatomic particles W and Z, which supports the electroweak theory Carlo Rubbia Italy discovery of subatomic particles W and Z, which supports the electroweak theory physiology/medicine Niels K. Jerne U.K.-Denmark theory and development of a technique for producing monoclonal antibodies Georges J.F. Köhler West Germany theory and development of a technique for producing monoclonal antibodies César Milstein Argentina theory and development of a technique for producing monoclonal antibodies 1985 chemistry Herbert A. Hauptman U.S. development of a way to map the chemical structures of small molecules Jerome Karle U.S. development of a way to map the chemical structures of small molecules economics Franco Modigliani U.S. analyses of household savings and financial markets literature Claude Simon France peace International Physicians for the Prevention of Nuclear War (founded 1980) physics Klaus von Klitzing West Germany discovery of the quantized Hall effect, permitting exact measurements of electrical resistance physiology/medicine Michael S. Brown U.S. discovery of cell receptors relating to cholesterol metabolism Joseph L. Goldstein U.S. discovery of cell receptors relating to cholesterol metabolism 1986 chemistry Dudley R. Herschbach U.S. development of methods for analyzing basic chemical reactions Yuan T. Lee U.S. development of methods for analyzing basic chemical reactions John C. Polanyi Canada development of methods for analyzing basic chemical reactions economics James M. Buchanan U.S. public-choice theory bridging economics and political science literature Wole Soyinka Nigeria peace Elie Wiesel U.S. physics Gerd Binnig West Germany development of special electron microscopes Heinrich Rohrer Switzerland development of special electron microscopes Ernst Ruska West Germany development of special electron microscopes physiology/medicine Stanley Cohen U.S. discovery of chemical agents that help regulate the growth of cells Rita Levi-Montalcini Italy discovery of chemical agents that help regulate the growth of cells 1987 chemistry Donald J. Cram U.S. development of molecules that can link with other molecules Jean-Marie Lehn France development of molecules that can link with other molecules Charles J. Pedersen U.S. development of molecules that can link with other molecules economics Robert Merton Solow U.S. contributions to the theory of economic growth literature Joseph Brodsky U.S. peace Oscar Arias Sánchez Costa Rica physics J. Georg Bednorz West Germany discovery of new superconducting materials Karl Alex Müller Switzerland discovery of new superconducting materials physiology/medicine Tonegawa Susumu Japan study of genetic aspects of antibodies 1988 chemistry Johann Deisenhofer West Germany discovery of structure of proteins needed in photosynthesis Robert Huber West Germany discovery of structure of proteins needed in photosynthesis Hartmut Michel West Germany discovery of structure of proteins needed in photosynthesis economics Maurice Allais France contributions to the theory of markets and efficient use of resources literature Naguib Mahfouz Egypt peace United Nations Peacekeeping Forces physics Leon Max Lederman U.S. research in subatomic particles Melvin Schwartz U.S. research in subatomic particles Jack Steinberger U.S. research in subatomic particles physiology/medicine Sir James Black U.K. development of new classes of drugs for combating disease Gertrude Belle Elion U.S. development of new classes of drugs for combating disease George Herbert Hitchings U.S. development of new classes of drugs for combating disease 1989 chemistry Sidney Altman U.S. discovery of certain basic properties of RNA Thomas Robert Cech U.S. discovery of certain basic properties of RNA economics Trygve Haavelmo Norway development of statistical techniques for economic forecasting literature Camilo José Cela Spain peace Dalai Lama Tibet physics Hans Georg Dehmelt U.S. development of methods to isolate atoms and subatomic particles for study Wolfgang Paul West Germany development of methods to isolate atoms and subatomic particles for study Norman Foster Ramsey U.S. development of the atomic clock physiology/medicine J. Michael Bishop U.S. study of cancer-causing genes called oncogenes Harold Varmus U.S. study of cancer-causing genes called oncogenes 1990 chemistry Elias James Corey U.S. development of retrosynthetic analysis for synthesis of complex molecules economics Harry M. Markowitz U.S. study of financial markets and investment decision-making Merton H. Miller U.S. study of financial markets and investment decision-making William F. Sharpe U.S. study of financial markets and investment decision-making literature Octavio Paz Mexico peace Mikhail Gorbachev U.S.S.R. physics Jerome Isaac Friedman U.S. discovery of atomic quarks Henry Way Kendall U.S. discovery of atomic quarks Richard E. Taylor Canada discovery of atomic quarks physiology/medicine Joseph E. Murray U.S. development of kidney and bone-marrow transplants E. Donnall Thomas U.S. development of kidney and bone-marrow transplants 1991 chemistry Richard R. Ernst Switzerland improvements in nuclear magnetic resonance spectroscopy economics Ronald Coase U.S. application of economic principles to the study of law literature Nadine Gordimer South Africa peace Aung San Suu Kyi Myanmar physics Pierre-Gilles de Gennes France discovery of general rules for behaviour of molecules physiology/medicine Erwin Neher Germany discovery of how cells communicate, as related to diseases Bert Sakmann Germany discovery of how cells communicate, as related to diseases 1992 chemistry Rudolph A. Marcus U.S. explanation of how electrons transfer between molecules economics Gary S. Becker U.S. application of economic theory to social sciences literature Derek Walcott St. Lucia peace Rigoberta Menchú Guatemala physics Georges Charpak France inventor of detector that traces subatomic particles physiology/medicine Edmond H. Fischer U.S. discovery of class of enzymes called protein kinases Edwin Gerhard Krebs U.S. discovery of class of enzymes called protein kinases 1993 chemistry Kary B. Mullis U.S. inventors of techniques for gene study and manipulation Michael Smith Canada inventors of techniques for gene study and manipulation economics Robert William Fogel U.S. contributions to economic history Douglass C. North U.S. contributions to economic history literature Toni Morrison U.S. peace F.W. de Klerk South Africa Nelson Mandela South Africa physics Russell Alan Hulse U.S. identifying binary pulsars Joseph H. Taylor, Jr. U.S. identifying binary pulsars physiology/medicine Richard J. Roberts U.K. discovery of “split,” or interrupted, genetic structure Phillip A. Sharp U.S. discovery of “split,” or interrupted, genetic structure 1994 chemistry George A. Olah U.S. development of techniques to study hydrocarbon molecules economics John C. Harsanyi U.S. development of game theory John F. Nash U.S. development of game theory Reinhard Selten Germany development of game theory literature Oe Kenzaburo Japan peace Yasser Arafat Palestinian Shimon Peres Israel Yitzhak Rabin Israel physics Bertram N. Brockhouse Canada development of neutron-scattering techniques Clifford G. Shull U.S. development of neutron-scattering techniques physiology/medicine Alfred G. Gilman U.S. discovery of cell signalers called G-proteins Martin Rodbell U.S. discovery of cell signalers called G-proteins 1995 chemistry Paul Crutzen Netherlands explanation of processes that deplete Earth’s ozone layer Mario Molina U.S. explanation of processes that deplete Earth’s ozone layer F. Sherwood Rowland U.S. explanation of processes that deplete Earth’s ozone layer economics Robert E. Lucas, Jr. U.S. incorporation of rational expectations in macroeconomic theory literature Seamus Heaney Ireland peace Pugwash Conferences (founded 1957) Joseph Rotblat U.K. physics Martin Lewis Perl U.S. discovery of tau subatomic particle Frederick Reines U.S. discovery of neutrino subatomic particle physiology/medicine Edward B. Lewis U.S. identification of genes that control the body’s early structural development Christiane Nüsslein-Volhard Germany identification of genes that control the body’s early structural development Eric F. Wieschaus U.S. identification of genes that control the body’s early structural development 1996 chemistry Robert F. Curl, Jr. U.S. discovery of new carbon compounds called fullerenes Sir Harold W. Kroto U.K. discovery of new carbon compounds called fullerenes Richard E. Smalley U.S. discovery of new carbon compounds called fullerenes economics James A. Mirrlees U.K. contributions to theory of incentives under conditions of asymmetric information William Vickrey U.S. contributions to theory of incentives under conditions of asymmetric information literature Wisława Szymborska Poland peace Carlos Felipe Ximenes Belo Timorese José Ramos-Horta Timorese physics David M. Lee U.S. discovery of superfluidity in isotope helium-3 Douglas D. Osheroff U.S. discovery of superfluidity in isotope helium-3 Robert C. Richardson U.S. discovery of superfluidity in isotope helium-3 physiology/medicine Peter C. Doherty Australia discovery of how the immune system recognizes virus-infected cells Rolf M. Zinkernagel Switzerland discovery of how the immune system recognizes virus-infected cells 1997 chemistry Paul D. Boyer U.S. explanation of the enzymatic conversion of adenosine triphosphate Jens C. Skou Denmark discovery of sodium-potassium-activated adenosine triphosphatase John E. Walker U.K. explanation of the enzymatic conversion of adenosine triphosphate economics Robert C. Merton U.S. methods for determining the value of stock options and other derivatives Myron S. Scholes U.S. methods for determining the value of stock options and other derivatives literature Dario Fo Italy peace International Campaign to Ban Landmines (founded 1992) Jody Williams U.S. physics Steven Chu U.S. process of trapping atoms with laser cooling Claude Cohen-Tannoudji France process of trapping atoms with laser cooling William D. Phillips U.S. process of trapping atoms with laser cooling physiology/medicine Stanley B. Prusiner U.S. discovery of the prion, a type of disease-causing protein 1998 chemistry Walter Kohn U.S. development of the density-functional theory John A. Pople U.K. development of computational methods in quantum chemistry economics Amartya Sen India contribution to welfare economics literature José Saramago Portugal peace John Hume Northern Ireland David Trimble Northern Ireland physics Robert B. Laughlin U.S. discovery of fractional quantum Hall effect Horst L. Störmer U.S. discovery of fractional quantum Hall effect Daniel C. Tsui U.S. discovery of fractional quantum Hall effect physiology/medicine Robert F. Furchgott U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system Louis J. Ignarro U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system Ferid Murad U.S. discovery that nitric oxide (NO) acts as a signaling molecule in the cardiovascular system 1999 chemistry Ahmed H. Zewail Egypt/U.S. study of the transition states of chemical reactions using femtosecond spectroscopy economics Robert A. Mundell Canada analysis of optimum currency areas and of policy under different exchange rate regimes literature Günter Grass Germany peace Doctors Without Borders (founded 1971) physics Gerardus ‘t Hooft Netherlands study of quantum structure of electroweak interactions Martinus J.G. Veltman Netherlands study of quantum structure of electroweak interactions physiology/medicine Günter Blobel U.S. discovery that proteins have signals governing cellular organization 2000 chemistry Alan J. Heeger U.S. discovery of plastics that conduct electricity Alan G. MacDiarmid U.S. discovery of plastics that conduct electricity Shirakawa Hideki Japan discovery of plastics that conduct electricity economics James J. Heckman U.S. development of methods of statistical analysis of individual and household behaviour Daniel L. McFadden U.S. development of methods of statistical analysis of individual and household behaviour literature Gao Xingjian France peace Kim Dae-Jung South Korea physics Zhores I. Alferov Russia development of fast semiconductors for use in microelectronics Jack S. Kilby U.S. development of the integrated circuit (microchip) Herbert Kroemer Germany development of fast semiconductors for use in microelectronics physiology/medicine Arvid Carlsson Sweden discovery of how signals are transmitted between nerve cells in the brain Paul Greengard U.S. discovery of how signals are transmitted between nerve cells in the brain Eric R. Kandel U.S. discovery of how signals are transmitted between nerve cells in the brain 2001 chemistry William S. Knowles U.S. work on chirally catalyzed hydrogenation reactions Noyori Ryoji Japan work on chirally catalyzed hydrogenation reactions K. Barry Sharpless U.S. work on chirally catalyzed oxidation reactions economics George A. Akerlof U.S. analysis of markets with asymmetric information A. Michael Spence U.S. analysis of markets with asymmetric information Joseph E. Stiglitz U.S. analysis of markets with asymmetric information literature Sir V.S. Naipaul Trinidad peace United Nations (founded 1945) Kofi Annan Ghana physics Eric A. Cornell U.S. achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates Wolfgang Ketterle Germany achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates Carl E. Wieman U.S. achievement of Bose-Einstein condensation in dilute gases of alkali atoms; early fundamental studies of the properties of the condensates physiology/medicine Leland H. Hartwell U.S. discovery of key regulators of the cell cycle R. Timothy Hunt U.K. discovery of key regulators of the cell cycle Sir Paul M. Nurse U.K. discovery of key regulators of the cell cycle 2002 chemistry John B. Fenn U.S. development of techniques to identify and analyze proteins and other large molecules Tanaka Koichi Japan development of techniques to identify and analyze proteins and other large molecules Kurt Wüthrich Switzerland development of techniques to identify and analyze proteins and other large molecules economics Daniel Kahneman U.S./Israel integration of psychological research into economic science, especially concerning human judgment and decision-making under uncertainty Vernon L. Smith U.S. establishment of laboratory experiments as a tool in empirical economic analysis literature Imre Kertész Hungary peace Jimmy Carter U.S. physics Raymond Davis, Jr. U.S. detection of neutrinos Riccardo Giacconi U.S. seminal discoveries of cosmic sources of X-rays Koshiba Masatoshi Japan detection of neutrinos physiology/medicine Sydney Brenner U.K. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) H. Robert Horvitz U.S. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) John E. Sulston U.K. discoveries concerning genetic regulation of organ development and programmed cell death (apoptosis) 2003 chemistry Peter Agre U.S. discoveries regarding water channels and ion channels in cells Roderick MacKinnon U.S. discoveries regarding water channels and ion channels in cells economics Robert F. Engle U.S. development of techniques for the analysis of time series data Clive W.J. Granger U.K. development of techniques for the analysis of time series data literature J.M. Coetzee South Africa peace Shirin Ebadi Iran physics Alexei A. Abrikosov U.S. discoveries regarding superconductivity and superfluidity at very low temperatures Vitaly L. Ginzburg Russia discoveries regarding superconductivity and superfluidity at very low temperatures Anthony J. Leggett U.S. discoveries regarding superconductivity and superfluidity at very low temperatures physiology/medicine Paul Lauterbur U.S. development of magnetic resonance imaging (MRI) Sir Peter Mansfield U.K. development of magnetic resonance imaging (MRI) 2004 chemistry Aaron Ciechanover Israel discovery of ubiquitin-mediated protein degradation Avram Hershko Israel discovery of ubiquitin-mediated protein degradation Irwin Rose U.S. discovery of ubiquitin-mediated protein degradation economics Finn E. Kydland Norway contributions to dynamic macroeconomics Edward C. Prescott U.S. contributions to dynamic macroeconomics literature Elfriede Jelinek Austria peace Wangari Maathi Kenya physics David J. Gross U.S. discovery of asymptotic freedom in the theory of the strong interaction H. David Politzer U.S. discovery of asymptotic freedom in the theory of the strong interaction Frank Wilczek U.S. discovery of asymptotic freedom in the theory of the strong interaction physiology/medicine Richard Axel U.S. discovery of odorant receptors and the organization of the olfactory system Linda B. Buck U.S. discovery of odorant receptors and the organization of the olfactory system 2005 chemistry Yves Chauvin France development of the metathesis method in organic synthesis Robert H. Grubbs U.S. development of the metathesis method in organic synthesis Richard R. Schrock U.S. development of the metathesis method in organic synthesis economics Robert J. Aumann Israel contributions to game-theory analysis Thomas C. Schelling U.S. contributions to game-theory analysis literature Harold Pinter U.K. peace Mohamed ElBaradei Egypt International Atomic Energy Agency (founded 1957) physics Roy J. Glauber U.S. contributions to the field of optics John L. Hall U.S. contributions to the development of laser spectroscopy Theodor W. Hänsch Germany contributions to the development of laser spectroscopy physiology/medicine Barry J. Marshall Australia discovery of bacteria’s role in peptic ulcer disease J. Robin Warren Australia discovery of bacteria’s role in peptic ulcer disease 2006 chemistry Roger D. Kornberg U.S. work on the molecular basis of eukaryotic transcription economics Edmund S. Phelps U.S. analysis of intertemporal trade-offs in macroeconomic policy literature Orhan Pamuk Turkey peace Grameen Bank (founded 1976) Muhammad Yunus Bangladesh physics John C. Mather U.S. discovery of the blackbody form and anisotropy of the cosmic microwave background radiation George F. Smoot U.S. discovery of the blackbody form and anisotropy of the cosmic microwave background radiation physiology/medicine Andrew Z. Fire U.S. discovery of RNA interference—gene silencing by double-stranded RNA Craig C. Mello U.S. discovery of RNA interference—gene silencing by double-stranded RNA 2007 chemistry Gerhard Ertl Germany studies of chemical processes on solid surfaces economics Leonid Hurwicz U.S. work that laid the foundations of mechanism design theory Eric S. Maskin U.S. work that laid the foundations of mechanism design theory Roger B. Myerson U.S. work that laid the foundations of mechanism design theory literature Doris Lessing U.S. peace Al Gore U.S. Intergovernmental Panel on Climate Change (founded 1988) physics Albert Fert France discovery of giant magnetoresistance Peter Grünberg Germany discovery of giant magnetoresistance physiology/medicine Mario R. Capecchi U.S. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells Sir Martin J. Evans U.K. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells Oliver Smithies U.S. discovery of principles for introducing specific gene modifications in mice by the use of embryonic stem cells 2008 chemistry Martin Chalfie U.S. discovery and development of the green fluorescent protein, GFP Osamu Shimomura U.S. discovery and development of the green fluorescent protein, GFP Roger Y. Tsien U.S. discovery and development of the green fluorescent protein, GFP economics Paul Krugman U.S. analysis of trade patterns and location of economic activity literature Jean-Marie Gustave Le Clézio France peace Martti Ahtisaari Finland physics Kobayashi Makoto Japan discovery of the origin of the broken symmetry which predicts the existence of at least three families of quarks in nature Maskawa Toshihide Japan discovery of the origin of the broken symmetry which predicts the existence of at least three families of quarks in nature Yoichiro Nambu U.S. discovery of the mechanism of spontaneous broken symmetry in subatomic physics physiology/medicine Françoise Barré-Sinoussi France discovery of human immunodeficiency virus Luc Montagnier France discovery of human immunodeficiency virus Harald zur Hausen Germany discovery of human papilloma viruses causing cervical cancer 2009 chemistry Venkatraman Ramakrishnan U.S. studies of the structure and function of the ribosome Thomas Steitz U.S. studies of the structure and function of the ribosome Ada Yonath Israel studies of the structure and function of the ribosome economics Elinor Ostrom U.S. analysis of economic governance, especially the commons Oliver E. Williamson U.S. analysis of economic governance, especially the boundaries of the firm literature Herta Müller Germany peace Barack Obama U.S. physics Willard Boyle Canada/U.S. invention of the CCD sensor, an imaging semiconductor circuit Charles Kao U.K./U.S. achievements concerning the transmission of light in fibres for optical communication George E. Smith U.S. invention of the CCD sensor, an imaging semiconductor circuit physiology/medicine Elizabeth H. Blackburn U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase Carol W. Greider U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase Jack W. Szostak U.S. discovery of how chromosomes are protected by telomeres and the enzyme telomerase 2010 chemistry Richard F. Heck U.S. development of techniques to synthesize complex carbon molecules Negishi Ei-ichi Japan development of techniques to synthesize complex carbon molecules Suzmediuki Akira Japan development of techniques to synthesize complex carbon molecules economics Peter A. Diamond U.S. analysis of markets with search frictions Dale T. Mortensen U.S. analysis of markets with search frictions Christopher A. Pissarides Cyprus/U.K. analysis of markets with search frictions literature Mario Vargas Llosa Peru peace Liu Xiaobo China physics Andre Geim Netherlands experiments regarding the two-dimensional material graphene Konstantin Novoselov Russia/U.K. experiments regarding the two-dimensional material graphene physiology/medicine Robert Edwards U.K. development of in vitro fertilization 2011 chemistry Daniel Shechtman Israel discovery of quasicrystals economics Thomas J. Sargent U.S. empirical research on cause and effect in the macroeconomy Christopher A. Sims U.S. empirical research on cause and effect in the macroeconomy literature Tomas Tranströmer Sweden peace Leymah Gbowee Liberia Ellen Johnson Sirleaf Liberia Tawakkul Karmān Yemen physics Saul Perlmutter U.S. discovery of the accelerating expansion of the universe through observations of distant supernovae Adam G. Riess U.S./Australia discovery of the accelerating expansion of the universe through observations of distant supernovae Brian P. Schmidt U.S. discovery of the accelerating expansion of the universe through observations of distant supernovae physiology/medicine Bruce A. Beutler U.S. discoveries concerning the activation of innate immunity 2012 chemistry Brian K. Kobilka U.S. studies of G-protein-coupled receptors Robert J. Lefkowitz U.S. studies of G-protein-coupled receptors economics Alvin E. Roth U.S. work on market design and matching theory Lloyd S. Shapley U.S. work on market design and matching theory literature Mo Yan China peace European Union (founded 1993) Shinya Yamanaka Japan discovery that mature cells can be reprogrammed to become pluripotent 2013 chemistry Martin Karplus Austria/U.S. development of multiscale models for complex chemical systems Michael Levitt U.K./U.S./Israel development of multiscale models for complex chemical systems Arieh Warshel Israel/U.S. development of multiscale models for complex chemical systems economics Eugene F. Fama U.S. empirical analysis of asset prices Lars P. Hansen U.S. empirical analysis of asset prices Robert J. Shiller U.S. empirical analysis of asset prices literature Alice Munro Canada peace Organisation for the Prohibition of Chemical Weapons (founded 1997) physics François Englert Belgium theoretical discovery of a mechanism that contributes to the understanding of the origin of mass of subatomic particles Peter Higgs U.K. theoretical discovery of a mechanism that contributes to the understanding of the origin of mass of subatomic particles physiology/medicine James E. Rothman U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells Randy W. Schekman U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells Thomas C. Südhof Germany/U.S. discoveries of machinery regulating vesicle traffic, a major transport system in cells 2014 chemistry Eric Betzig U.S. development of super-resolved fluorescence microscopy Stefan W. Hell Germany development of super-resolved fluorescence microscopy William E. Moerner U.S. development of super-resolved fluorescence microscopy economics Jean Tirole France analysis of market power and regulation literature Patrick Modiano France peace Kailash Satyarthi India Malala Yousafzai Pakistan physics Akasaki Isamu Japan invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources Amano Hiroshi Japan invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources Shuji Nakamura U.S. invention of efficient blue light-emitting diodes, which has enabled bright and energy-saving white light sources physiology/medicine Edvard I. Moser Norway discoveries of cells that constitute a positioning system in the brain May-Britt Moser Norway discoveries of cells that constitute a positioning system in the brain John O’Keefe U.S./U.K. discoveries of cells that constitute a positioning system in the brain 2015 chemistry Tomas Lindahl Sweden mechanistic studies of DNA repair Paul Modrich U.S. mechanistic studies of DNA repair Aziz Sancar Turkey/U.S. mechanistic studies of DNA repair economics Angus S. Deaton U.K. analysis of consumption, poverty, and welfare literature Svetlana Alexievich Belarus peace National Dialogue Quartet (founded 2013) physics Kajita Takaaki Japan discovery of neutrino oscillations, which show that neutrinos have mass Arthur B. McDonald Canada discovery of neutrino oscillations, which show that neutrinos have mass physiology/medicine William C. Campbell Ireland discoveries concerning a novel therapy against infections caused by roundworm parasites Ōmura Satoshi Japan discoveries concerning a novel therapy against infections caused by roundworm parasites Tu Youyou China discoveries concerning a novel therapy against malaria 2016 chemistry Jean-Pierre Sauvage France design and synthesis of molecular machines J. Fraser Stoddart U.K. design and synthesis of molecular machines Bernard Feringa Netherlands design and synthesis of molecular machines economics Oliver Hart U.K. contributions to contract theory Bengt Holmström Finland contributions to contract theory literature Bob Dylan U.S. peace Juan Manuel Santos Colombia physics David Thouless U.K. theoretical discoveries of topological phase transitions and topological phases of matter Duncan Haldane U.K. theoretical discoveries of topological phase transitions and topological phases of matter Michael Kosterlitz U.K. theoretical discoveries of topological phase transitions and topological phases of matter physiology/medicine Yoshinori Ohsumi Japan discoveries of mechanisms for autophagy 2017 chemistry Jacques Dubochet Switzerland development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution Joachim Frank Germany/U.S. development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution Richard Henderson U.K. development of cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution economics Richard H. Thaler U.S. contributions to behavioral economics literature Kazuo Ishiguro U.K. peace International Campaign to Abolish Nuclear Weapons (founded 2007) physics Barry C. Barish U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves Kip S. Thorne U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves Rainer Weiss U.S. decisive contributions to the Laser Interferometer Gravitational-Wave Observatory detector and the observation of gravitational waves physiology/medicine Jeffrey C. Hall U.S. discoveries of molecular mechanisms controlling the circadian rhythm Michael Rosbash U.S. discoveries of molecular mechanisms controlling the circadian rhythm Michael W. Young U.S. discoveries of molecular mechanisms controlling the circadian rhythm 2018 chemistry Frances Arnold U.S. first directed evolution of enzymes George P. Smith U.S. development of phage display, a method in which a bacteriophage can be used to evolve new proteins Gregory P. Winter U.K. work using the phage display method for the directed evolution of antibodies economics William Nordhaus U.S. integration of climate change into long-run macroeconomic analysis Paul Romer U.S. integration of technological innovations into long-run macroeconomic analysis literature** Olga Tokarczuk Poland peace Denis Mukwege Democratic Republic of the Congo Nadia Murad Iraq physics Arthur Ashkin U.S. invention of optical tweezers and their application to biological systems Gérard Mourou France invention of a method of generating high-intensity ultrashort optical pulses Donna Strickland Canada invention of a method of generating high-intensity ultrashort optical pulses physiology/medicine James P. Allison U.S. discovery of cancer therapy by inhibition of negative immune regulation Tasuku Honjo Japan discovery of cancer therapy by inhibition of negative immune regulation 2019 chemistry John B. Goodenough U.S. development of lithium-ion batteries M. Stanley Whittingham U.K./U.S. development of lithium-ion batteries Yoshino Akira Japan development of lithium-ion batteries economics Abhijit Banerjee U.S. experimental approach to alleviating global poverty Esther Duflo French/U.S. experimental approach to alleviating global poverty Michael Kremer U.S. experimental approach to alleviating global poverty literature Peter Handke Austria peace Abiy Ahmed Ethiopia physics James Peebles Canada/U.S. theoretical discoveries in physical cosmology Michel Mayor Switzerland discovery of an exoplanet orbiting a solar-type star Didier Queloz Switzerland discovery of an exoplanet orbiting a solar-type star physiology/medicine William G. Kaelin, Jr. U.S. discoveries of how cells sense and adapt to oxygen availability Peter J. Ratcliffe U.K. discoveries of how cells sense and adapt to oxygen availability Gregg L. Semenza U.S. discoveries of how cells sense and adapt to oxygen availability 2020 chemistry Emmanuelle Charpentier France development of a method for genome editing Jennifer Doudna U.S. development of a method for genome editing economics Paul R. Milgrom U.S. improvements to auction theory and inventions of new auction formats Robert B. Wilson U.S. improvements to auction theory and inventions of new auction formats literature Louise Glück U.S. peace World Food Programme (founded 1961) physics Reinhard Genzel Germany discovery of a supermassive compact object at the centre of the Milky Way Galaxy Andrea Ghez U.S. discovery of a supermassive compact object at the centre of the Milky Way Galaxy Roger Penrose U.K. discovery that black hole formation is a robust prediction of the general theory of relativity physiology/medicine Harvey J. Alter U.S. discovery of hepatitis C virus Michael Houghton U.K. discovery of hepatitis C virus Charles M. Rice U.S. discovery of hepatitis C virus 2021 chemistry Benjamin List Germany development of asymmetric organocatalysis David W.C. MacMillan U.K./U.S. development of asymmetric organocatalysis economics Joshua Angrist Israel/U.S. methodological contributions to the analysis of causal relationships David Card Canada/U.S. empirical contributions to labour economics Guido W. Imbens Neth./U.S. methodological contributions to the analysis of causal relationships literature Abdulrazak Gurnah Tanz. peace Dmitry Muratov Russia Maria Ressa Phil./U.S. physics Klaus Hasselmann Germany physical modelling of Earth’s climate, quantifying variability and reliably predicting global warming Manabe Syukuro Japan/U.S. physical modelling of Earth’s climate, quantifying variability and reliably predicting global warming Giorgio Parisi Italy discovery of the interplay of disorder and fluctuations in physical systems from atomic to planetary scales physiology/medicine David Julius U.S. discoveries of receptors for temperature and touch Ardem Patapoutian U.S. discoveries of receptors for temperature and touch 2022 chemistry Carolyn R. Bertozzi U.S. development of click chemistry and bioorthogonal chemistry Morten P. Meldal Neth. development of click chemistry and bioorthogonal chemistry K. Barry Sharpless U.S. development of click chemistry and bioorthogonal chemistry economics Ben Bernanke U.S. research on banks and financial crises Douglas Diamond U.S. research on banks and financial crises Philip Dybvig U.S. research on banks and financial crises literature Annie Ernaux France peace Ales Bialiatski Belarus Center for Civil Liberties Ukraine Memorial Russia physics Alain Aspect France experiments with quantum entanglement that laid the foundation for a new era of quantum technology John F. Clauser U.S. experiments with quantum entanglement that laid the foundation for a new era of quantum technology Anton Zeilinger Austria experiments with quantum entanglement that laid the foundation for a new era of quantum technology physiology/medicine Svante Pääbo Sweden discoveries concerning the genomes of extinct hominins and human evolution 2023 chemistry Moungi Bawendi France/U.S. discovery and synthesis of quantum dots Louis Brus U.S. discovery and synthesis of quantum dots Alexei Ekimov Russia/U.S. discovery and synthesis of quantum dots economics Claudia Goldin U.S. research on women’s labour market outcomes literature Jon Fosse U.S. peace Narges Mohammadi Iran physics Pierre Agostini France development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter Ferenc Krausz Hungary development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter Anne L’Huillier France development of experimental methods that generate attosecond pulses of light for the study of electron dynamics in matter physiology/medicine Katalin Karikó Hungary/U.S. discoveries concerning nucleoside base modifications that enabled the development of effective mRNA vaccines against COVID-19
correct_award_00067	FactBench	0	18	https://www.nobelprize.org/prizes/literature/1979/elytis/poetry/	en	Odysseus Elytis – Poetry	https://www.nobelprize.o…scape-medium.jpg	https://www.nobelprize.o…scape-medium.jpg	[ "https://www.nobelprize.org/uploads/2023/10/nobelprizes_2023-1024x676.jpg", "https://www.nobelprize.org/wp-content/themes/nobelprize/assets/images/spinner.gif" ]	[]	[]	[ "" ]	null	[]	null	The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"	en	https://www.nobelprize.o…avicon-50x50.png	NobelPrize.org	https://www.nobelprize.org/prizes/literature/1979/elytis/poetry/	Odysseus Elytis Poetry Excerpt from The Axion Esti From The Gloria /- – -/ PRAISED BE Myrto standing on the stone parapet facing the sea like a beautiful eight or a clay pitcher holding a straw hat in her hand The white and porous middle of day the down of sleep lightly ascending the faded gold inside the arcades and the red horse breaking free Hera of the tree’s ancient trunk the vast laurel grove, the light-devouring a house like an anchor down in the depths and Kyra-Penelope twisting her spindle The straits for birds from the opposite shore a citron from which the sky spilled out the blue hearing half under the sea the long-shadowed whispering of nymphs and maples PRAISED BE, on the remembrance day of the holy martyrs Cyricus and Julitta, a miracle burning threshing floors in the heavens priests and birds chanting the Aye: HAIL Girl Burning and hail Girl Verdant Hail Girl Unrepenting, with the prow’s sword Hail you who walk and the footprints vanish Hail you who wake and the miracles are born Hail O Wild One of the depths’ paradise Hail O Holy One of the islands’ wilderness Hail Mother of Dreams, Girl of the Open Seas Hail O Anchor-bearer, Girl of the Five Stars Hail you of the flowing hair, gilding the wind Hail you of the lovely voice, tamer of demons Hail you who ordain the Monthly Ritual of the Gardens Hail you who fasten the Serpent’s belt of stars Hail O Girl of the just and modest sword Hail O Girl prophetic and daedalic Excerpt from The Axion Esti, by Odysseus Elytis, translated by Edmund Keeley and George Savidis, © 1974. Reprinted by permission of the University of Pittsburgh Press. Excerpt selected by the Nobel Library of the Swedish Academy.
correct_award_00067	FactBench	2	56	https://www.routledge.com/Mediterranean-Modernisms-The-Poetic-Metaphysics-of-Odysseus-Elytis/Pourgouris/p/book/9781138253735	en	Mediterranean Modernisms The Poetic Metaphysics of Odysseus Elytis	https://images.routledge…781138253735.jpg	https://images.routledge…781138253735.jpg	[ "https://secure.ride8stir.com/202702.png", "https://www.routledge.com/images/routledge-logo.png", "https://images.routledge.com/common/jackets/crclarge/978113825/9781138253735.jpg", "https://images.routledge.com/common/jackets/crclarge/978140941/9781409410003.jpg", "https://images.routledge.com/common/jackets/crclarge/978131559/9781315594774.jpg", "https://www.routledge.com/images/vs.png", "https://www.routledge.com/img/covers/loading-image-sm.png", "https://www.routledge.com/images/routledge-logo-lg.png" ]	[]	[]	[ "" ]	null	[ "Marinos Pourgouris" ]	2016-10-16T00:00:00	Engaging with the work of Nobel Prize-winning poet Odysseus Elytis within the framework of international modernism, Marinos Pourgouris places the poet's work in	en	/favicon.ico	Routledge & CRC Press	https://www.routledge.com/Mediterranean-Modernisms-The-Poetic-Metaphysics-of-Odysseus-Elytis/Pourgouris/p/book/9781138253735	Engaging with the work of Nobel Prize-winning poet Odysseus Elytis within the framework of international modernism, Marinos Pourgouris places the poet's work in the context of other modernist and surrealist writers in Europe. At the same time, Pourgouris puts forward a redefinition of European Modernism that makes the Mediterranean, and Greece in particular, the discursive contact zone and incorporates neglected elements such as national identity and geography. Beginning with an examination of Greek Modernism, Pourgouris's study places Elytis in conversation with Albert Camus; analyzes the influence of Charles Baudelaire, Gaston Bachelard, and Sigmund Freud on Elytis's theory of analogies; traces the symbol of the sun in Elytis's poetry by way of the philosophies of Heraclitus and Plotinus; examines the influence of Le Corbusier on Elytis's theory of architectural poetics; and takes up the subject of Elytis's application of his theory of Solar Metaphysics to poetic form in the context of works by Freud, C. G. Jung, and Michel Foucault. Informed by extensive research in the United States and Europe, Pourgouris's study makes a compelling contribution to the comparative study of Greek modernism, the Mediterranean, and the work of Odysseus Elytis.
correct_award_00067	FactBench	1	0	https://www.nobelprize.org/prizes/literature/1979/summary/	en	The Nobel Prize in Literature 1979	https://www.nobelprize.o…scape-medium.jpg	https://www.nobelprize.o…scape-medium.jpg	[ "https://www.nobelprize.org/images/elytis-13314-portrait-medium.jpg", "https://www.nobelprize.org/uploads/2023/10/nobelprizes_2023-1024x676.jpg", "https://www.nobelprize.org/wp-content/themes/nobelprize/assets/images/spinner.gif" ]	[]	[]	[ "" ]	null	[]	null	The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"	en	https://www.nobelprize.o…avicon-50x50.png	NobelPrize.org	https://www.nobelprize.org/prizes/literature/1979/summary/	The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness" To cite this section MLA style: The Nobel Prize in Literature 1979. NobelPrize.org. Nobel Prize Outreach AB 2024. Mon. 22 Jul 2024. <https://www.nobelprize.org/prizes/literature/1979/summary/> Back to top Back To Top Takes users back to the top of the page Nobel Prizes and laureates Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women. See them all presented here.
correct_award_00067	FactBench	1	15	https://www.britannica.com/topic/The-Axion-Esti	en	The Axion Esti \| poem by Elytis	https://cdn.britannica.c…e.jpg?v=3.121.12	https://cdn.britannica.c…e.jpg?v=3.121.12	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/44/195044-131-92574FF7/Lemmings-Really-Commit-Mass-Suicide-illustration.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/190645-131-6408BC80/Lake-Ysyk-body-water-Kyrgyzstan.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/22/232222-050-C7D008B3/Hand-ballot-box-vote-election.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/92/125692-131-43C78F64/Charles-Pete-Conrad-Apollo-12-surface-flag-Nov-19-1969.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/94/182194-131-A1441287/Andrew-Jackson-town-supporters-inauguration-way-1829.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/62/192062-131-96B933EF/mug-shot-Colombia-control-agency-Medellin.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/84/21084-050-97A4CE3D/Odysseus-Elytis-Carl-XVI-Gustaf-Nobel-Prize-1979.jpg?w=300" ]	[]	[]	[ "The Axion Esti", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[]	null	Other articles where The Axion Esti is discussed: Odysseus Elytis: The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/topic/The-Axion-Esti	In Odysseus Elytis The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize. Read More
correct_award_00067	FactBench	0	75	https://www.neustadtprize.org/the-neustadt-prize/neustadt-nobel-prize-convergences/	en	Nobel Prize Convergences	https://www.neustadtprize.org/wp-content/uploads/2019/04/favicon.ico	https://www.neustadtprize.org/wp-content/uploads/2019/04/favicon.ico	[ "https://www.neustadtprize.org/wp-content/uploads/2019/07/cropped-NeustadtPrizes-Website-Header-v2.png", "https://www.neustadtprize.org/wp-content/uploads/2013/06/wltlogo-600x100-300x50.png", "https://neustadtprize.org/wp-content/uploads/2013/06/footerlogo.png" ]	[]	[]	[ "" ]	null	[]	2019-04-05T15:53:26+00:00	One indication of the prestige of the Neustadt International Prize for Literature is its record of 34 laureates, finalists, or jurors who in the past 51 years have been awarded Nobel Prizes following their involvement with the Neustadt Prize, with only one exception: José Saramago (Portugal), who was a Nobel Prize recipient before being considered […]	en	https://www.neustadtprize.org/wp-content/uploads/2019/04/favicon.ico	Neustadt Prizes	https://www.neustadtprize.org/the-neustadt-prize/neustadt-nobel-prize-convergences/	One indication of the prestige of the Neustadt International Prize for Literature is its record of 34 laureates, finalists, or jurors who in the past 51 years have been awarded Nobel Prizes following their involvement with the Neustadt Prize, with only one exception: José Saramago (Portugal), who was a Nobel Prize recipient before being considered for the Neustadt.
correct_award_00067	FactBench	0	22	https://www.narrativemagazine.com/authors/odysseas-elytis	en	Narrative Magazine	https://www.narrativemag…ages/ElytisO.jpg	https://www.narrativemag…ages/ElytisO.jpg	[ "https://www.narrativemagazine.com/themes/custom/nboots5/images/20_years/N20logox-red.png", "https://www.narrativemagazine.com/themes/custom/nboots5/images/20_years/narrative-logo-red.svg", "https://www.narrativemagazine.com/themes/custom/nboots5/images/20_years/narrative-logo.svg", "https://www.narrativemagazine.com/files/styles/258x258/public/images/ElytisO.jpg?itok=d5XgeUvX", "https://www.narrativemagazine.com/files/styles/258x258/public/images/ElytisO.jpg?itok=d5XgeUvX", "https://www.narrativemagazine.com/files/images/popup/people_on_couch2x.png" ]	[]	[]	[ "" ]	null	[ "Odysseas Elytis" ]	2009-08-10T13:00:48-07:00	Odysseas Elytis was born in Crete in 1911. His nom de plume fuses three important Greek concepts, always present in h...	en	/themes/custom/nboots5/favicon.ico	Narrative Magazine	https://www.narrativemagazine.com/authors/odysseas-elytis	Odysseas Elytis was born in Crete in 1911. His nom de plume fuses three important Greek concepts, always present in his poetry: elefthería (freedom), elpitha (hope), and Eléni (Helen of Troy). His first book was published at the outset of World War II, followed by publications spanning more than half a century. The author of some of the most innovative and influential original poetry of this century, Elytis was awarded the Nobel Prize for Literature in 1979. He died in Greece in 1996.