Book contents
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Acknowledgements
- Introduction: East, West and Centre: ‘Mapping Post-1989 European Cinema’
- Part I Redrawing the Lines: De/Recentring Europe
- Part II Border Spaces, Eastern Margins and Eastern Markets: Belonging and the Road to/from Europe
- 8 Contemporary Bulgarian Cinema: From Allegorical Expressionism to Declined National Cinema
- 9 The Point of No Return: From Great Expectations to Great Desperation in New Romanian Cinema
- 10 ‘Weirdness’, Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari)
- 11 Lithuania Redirected: New Connections, Businesses and Lifestyles in Cinema since 2000
- 12 Lessons of Neo-liberalism: Co-productions and the Changing Image of Estonian Cinema
- 13 Decentring Europe from the Fringe: Reimagining Balkan Identities in the Films of the 1990s
- Part III Spectres of the East
- Notes
- Bibliography
- Index
10 - ‘Weirdness’, Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari)
from Part II - Border Spaces, Eastern Margins and Eastern Markets: Belonging and the Road to/from Europe
Published online by Cambridge University Press: 05 September 2016
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Acknowledgements
- Introduction: East, West and Centre: ‘Mapping Post-1989 European Cinema’
- Part I Redrawing the Lines: De/Recentring Europe
- Part II Border Spaces, Eastern Margins and Eastern Markets: Belonging and the Road to/from Europe
- 8 Contemporary Bulgarian Cinema: From Allegorical Expressionism to Declined National Cinema
- 9 The Point of No Return: From Great Expectations to Great Desperation in New Romanian Cinema
- 10 ‘Weirdness’, Modernity and the Other Europe in Attenberg (2010, Athina Rachel Tsangari)
- 11 Lithuania Redirected: New Connections, Businesses and Lifestyles in Cinema since 2000
- 12 Lessons of Neo-liberalism: Co-productions and the Changing Image of Estonian Cinema
- 13 Decentring Europe from the Fringe: Reimagining Balkan Identities in the Films of the 1990s
- Part III Spectres of the East
- Notes
- Bibliography
- Index
Summary
As part of a distinctly ‘other’ Europe, but not particularly falling under classic postcolonial categories, Greece and Greek cinema offer interesting insights into the state of contemporary European cinemas and global art cinema. Besides the illustrious career of Greek auteur, Theo Angelopoulus, Greek cinema has stayed largely on the periphery of more globally known European cinemas. In fact, the work of Angelopoulos has been deeply invested in Greece's transnational identity within Europe, particularly in the travel between East and West in Topio stin omichli/ Landscape in the Mist (1988) and in To vlemma tou Odyssea/ Ulysses’ Gaze (1995),1 which meditates on the notion of the ‘first gaze’ of Greek cinema being dispersed across multiple borders among the Balkans. The sudden popularity of Greek cinema in the late 2000s is surprising given that ‘it emerged in the context of an almost total alienation of audiences from Greek cinema throughout the 1970s, 1980s and for a large part of the 1990s’ (Papadimitriou, 497). During this period, Greek audiences preferred popular genre cinema and abandoned the largely state-funded art cinema which was stymied by an inability to find distribution, leaving the only exhibition venue for ‘quality’ Greek cinema to the Thessaloniki Film Festival, founded in 1960. (Papdimitriou, 498) More recently, starting in 2009, a spate of independent films from Greece, notably Attenberg (Athina Rachel Tsangari, 2010, Greece), Kynodontas/Dogtooth (Yorgos Lanthimos, 2009, Greece) and Alpeis/Alps (Lanthimos, 2011, Greece/France), have garnered some attention, not only because of the uniqueness of the films’ sense of absurdity but by the very fact that this new wave of films has made the nation of Greece more known to the world. What is, indeed, unique about the new Greek cinema is how the press has labelled it as not simply a new wave but a ‘weird’ Greek new wave. The Guardian has described it thus:
The growing number of independent, and inexplicably strange, new Greek films being made has led trend-spotters to herald the arrival of a new Greek wave, or as some have called it, the ‘Greek Weird Wave’. Whether or not the catchy label fits, if there is a wave, weird or otherwise, Lanthimos and Tsangari are undoubtedly at its crest. Dogtooth won a prize at Cannes and earned an Oscar nomination; Attenberg's Ariane Labed won best actress at the Venice Film Festival last year.
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- East, West and CentreReframing post-1989 European Cinema, pp. 159 - 174Publisher: Edinburgh University PressPrint publication year: 2014