Contents

pp v-vi

List of Figures

pp vii-vii

Acknowledgements

pp viii-viii

Note on the Text

pp ix-ix

Foreword

pp x-xii

Introduction – Angelopoulos and the Lingua Franca of Modernism

pp 1-20

Part I - Authorship

pp 21-22

1 - Theo Angelopoulos as Film Critic

pp 23-38

2 - Two Short Essays on Angelopoulos' Early Films

pp 39-44

3 - Generative Apogee and Elegiac Expansion: European Film Modernism from Antonioni to Angelopoulos

pp 45-63

4 - The Gestus of Showing: Brecht, Tableaux and Early Cinema in Angelopoulos' Political Period (1970–80)

pp 64-79

5 - Angelopoulos' Gaze: Modernism, History, Cinematic Ethics

pp 80-96

Part II - Politics

pp 97-98

6 - Angelopoulos and Collective Narrative

pp 99-113

7 - Theo Angelopoulos' Early Films and the Demystification of Power

pp 114-128

8 - Megalexandros: Authoritarianism and National Identity

pp 129-140

9 - Tracks in the Eurozone: Late Style Meets Late Capitalism

pp 141-156

Part III - Poetics

pp 157-158

10 - Cinematography of the Group: Angelopoulos and the Collective Subject of Cinema

pp 159-174

11 - The Narrative Imperative in the Films of Theo Angelopoulos

pp 175-190

12 - Syncope and Fractal Liminality: Theo Angelopoulos' Voyage to Cythera and the Question of Borders

pp 191-205

13 - Landscape in the Mist: Thinking Beyond the Perimeter Fence

pp 206-218

14 - An ‘Untimely’ History

pp 219-232

Part IV - Time

pp 233-234

15 - Angelopoulos and the Time-image

pp 235-248

16 - Memory Under Siege: Archive Fever in Theo Angelopoulos' Ulysses' Gaze

pp 249-263

17 - ‘Nothing Ever Ends’: Angelopoulos and the Image of Duration

pp 264-274

Afterword – Theo Angelopoulos' Unfinished Odyssey: The Other Sea

pp 275-291

Theo Angelopoulos' Filmography

pp 292-300