By Costas Constandinides, Yiannis Papadakis

ISBN-10: 1623561310

ISBN-13: 9781623561314

Cyprus, the idyllic “island of Aphrodite,” is best referred to as a website of clash and department among Greek Cypriots and Turkish Cypriots, instead of for its movie creation. Constandinides and Papadakis paintings to rectify this dearth of knowledge via discussing the ouevre of filmmakers attractive with the island's irritating legacies: anti-colonial struggles, post-colonial instability, interethnic clash, exterior interventions and struggle. beginning with the cinema of the Nineteen Sixties, whilst the island turned a republic, the gathering makes a speciality of the new a long time of filmmakers exploring problems with clash, reminiscence, identification, nationalism, migration and gender, in addition to the paintings of filmmakers who selected to cooperate around the ethnic divide. Cypriot Cinemas makes use of a strategy that engages all worthwhile views for an illuminating severe dialogue: old, theoretical and comparative (Greek Cypriot and Turkish Cypriot motion pictures when it comes to neighborhood movie cultures/practices). whereas the quantity develops a dialogue according to the interpreting of the political in Cypriot motion pictures, it additionally seems to be at different movie cultures and debates resembling (s)exploitation motion pictures and transnational cinema.

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Extra info for Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe

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2010. “Kypriaki Teniothiki: Mia Prospathia Akomi sta Spargana” (“Cyprus Film Archive: A Process Still in an Embryonic State”). In Politismos, Technes, MME (Culture, Arts, Media), edited by Andreas Sophocleous, 165–70. Nicosia: Mass Media Institute. Mikes, George. 1965. Eureka! Rummaging in Greece. London: Andre Deutsch. Nikolet, Claude. 2001. United States Policy Towards Cyprus: 1954–1974: Removing the Greek-Turkish Bone of Contention. Manheim and Mohnesee: Bibliopolis. Papadakis, Yiannis. 2000.

In August 2012, the eight-day festival held screenings at the historic B Municipal Market—now a performance space run by Theatro Ena—of films such as the Academy Award-nominated 5 Broken Cameras, a co-production by Emad Burnat and Guy Davidi, about protests in a West Bank village in the shadow of the Israeli West Bank barrier; Saving Face, the 2012 Academy Award-winning short documentary by Daniel Junge and Sharmeen Obaid-Chinoy, about acid attacks on women in Pakistan; and Children of the Riots, by Christos Georgiou, about the experience of the Greek crisis and street protest among Greek youth.

Locally, Aphrodite has been mostly (ab)used by the Cyprus Tourism Organization with an icon of Aphrodite dominating its campaigns, only the graphic based on the statue was given porn-star characteristics that have gone unnoticed and uncommented: fuller lips, notably enhanced breasts, liposuction in the waist, and more pronounced hips. Nayia Kamenou’s contribution in Chapter 6 discusses the films from a gender perspective based on contemporary feminist theory. Given the dearth of relevant public and academic debate in Cyprus, it is perhaps not surprising that she finds them limited, sometimes problematic, even if on many occasions the filmmakers tried to present “progressive” and even critical gender representations.

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Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe by Costas Constandinides, Yiannis Papadakis

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