The Agora of Techno – Organisational Change - Edinburgh

335 Pages·2009·1.71 MB·English

The Films of Theo Angelopoulos: A Voyage in Time

Evangelos Makrygiannakis

Thesis submitted for the degree of

Doctor of Philosophy

The University of Edinburgh

2008

Abstract

This thesis provides a critical enquiry into the films of Theo Angelopoulos. Dividing
his films into two periods—the one running through the seventies and the other
starting with the advent of the eighties—I will examine the representation of history
in the first period of Angelopoulos and the metaphor of the journey in his subsequent
films. Furthermore, I will trace the development of an aesthetic based on long takes
which evokes a particular sense of time in his films. This aesthetic, which is based on
the internal rhythm of the shot, inscribes a temporality where past, present, and
future coexist in a contemporaneous image. Being free from the requirements of an
evolving plot, this image is an autonomous image which allows the passing of time
to be felt. Autonomy, which I will define after philosopher Cornelius Castoriadis as
an immanent movement towards change, can be also used to describe the process of
changing oneself or a given society from within. In exploring the resonances
autonomy has, I will make a connection between the social and the cinematic; an
attempt which is informed by what Angelopoulos’ films do of their own accord. In
this way, I will suggest that Angelopoulos is important not only for the history of
film but also for one’s modus vivendi.

iii
iv
Acknowledgements

I would like to deeply thank my supervisors, the late Professor Dietrich
Scheunemann, Professor Martine Beugnet and Professor John Orr, for all their
precious feedback and support throughout the years.

I would also like to thank those that have been my friends and companions during
my time here in Edinburgh and who have shaped my every day life: Stella for being
there through this last period and before, Tony for the delightful surplus of words
and for the nights of screenings at your flat, Stefane the world is our rock lobster:
thank you for the little bits of madness that bring the sun back on a cloudy day and
for more, Georgia smoke shall be our shield: thank you for the many discussions
over the phone and for being one of the few smokers left in this country, Penny let
our music flow: for the gigs we went to see and for those that we are about to see and
also for the poster of Kaligari, Niko for being the only classic orchestral punk I know
and for being the leader, Antoni for the time of onica we spent in the kitchen and for
the image with the flowers and the whiskey, Giorgo for the ride with the van after the
night at the Quarry and for keeping F.D. alive, Tijanna for being supportive, Dimitri
and Petro for the great ride in the North which continues and for bringing me in
contact with the Maestro, Sylvana and Christo for the night of the Road to Nowhere,
Anesti for the Sunday meetings for coffee throughout the years, Vangeli and Maria
for embarking the ship right before the end, Antoni for your music selections that
have been a great Friday companion, the vm crew for keeping the concept of radio
still alive, Saki for being there for more than ten years and for your frequent visits to
Edinburgh, Scott for your support in the Library during hard times, David for being
more than a gentleman. And the absent present: the Vangelis Trinity, My dear
brother Giorgo who keeps putting up with my whims, Vana, Aristh, Michali.

Last but not least I want to thank my father who made it all possible: for his endless
faith, love and support.

v
vi
Declaration

I declare that this thesis was composed by myself, that the work contained herein is
my own except where explicitly stated otherwise in the text, and that this work has
not been submitted for any other degree or professional qualification except as
specified.

(Vangelis Makrigiannakis)

vii
viii
Table of Contents

Abstract……………………………………………………………………………iii
Acknowledgements………………………………………………………………...v

INTRODUCTION………………………………………………………………….1

RECONSTRUCTION / ΑΝΑΠΑΡΑΣΤΑΣΗ…………………………………….25
Reconstruction: the herald of N.E.K. (New Greek Cinema)………………………..25
Greece is not sunny any more………………………………………………………31
The narrative of Reconstruction: Against the system of suture…………………….37
The use of Myth…………………………………………………………………….50

DAYS OF ’36 / ΜΕΡΕΣ ΤΟΥ’36…………………………………………………57
Framing the unsaid………………………………………………………………….61
When two sequences collide………………………………………………………..64

THE TRAVELLING PLAYERS / Ο ΘΙΑΣΟΣ………………………………….75
The narrative of The Travelling Players……………………………………………77
The Epic…………………………………………………………………………….87
Time…………………………………………………………………………………97
Death?……………………………………………………………………………...101
Conclusion…………………………………………………………………………106

THE HUNTERS / OI KYNHΓΟΙ………………………………………………..109
Closing the circle…………………………………………………………………..111
“He was talking to the corpse…I could not overhear what they were saying.”…...123
Back into the snow………………………………………………………………...130

ix
MEGALEXANDROS / Ο ΜΕΓΑΛΕΞΑΝΤΡΟΣ……………………………….135
The sublime image of Megalexandros…………………………………………….141
Power Over and Power Against…………………………………………………...148
The Dialectic of the Shot………………………………………………………… 157

VOYAGE TO CYTHERA / ΤΑΞΙΔΙ ΣΤΑ ΚΥΘΗΡΑ…………………………169
“One, two…One, two… I’m losing the tempo…”………………………………...172
Objectivity/subjectivity…………………………………………………………….180

THE BEEKEEPER / Ο ΜΕΛΙΣΣΟΚΟΜΟΣ…………………………………..195
A journey to the south……………………………………………………………..197
The drifter………………………………………………………………………….206

LANDSCAPE IN THE MIST / ΤΟΠΙΟ ΣΤΗΝ ΟΜΙΧΛΗ……………………213
The space between...................................................................................................221

THE SUSPENDED STEP OF THE STORK / ΤΟ ΜΕΤΕΩΡΟ
ΒΗΜΑ ΤΟΥ ΠΕΛΑΡΓΟΥ………………………………………………………227
The silence of the chorus………………………………………………………….233

ULYSSES’ GAZE / ΤΟ ΒΛΕΜΜΑ ΤΟΥ ΟΔΥΣΣΕΑ…………………………259
A new beginning? ...................................................................................................266

ETERNITY AND A DAY / ΜΙΑ ΑΙΩΝΙΟΤΗΤΑ ΚΑΙ ΜΙΑ ΜΕΡΑ…………273
To the Sea…………………………………………………………………………293

CONCLUSION: A HISTORY OF RUINATION……………………………....299

FILMOGRAPHY…………………………………………………………………313

BIBLIOGRAPHY………………………………………………………………...319
x