Suchergebnisse

Review of: I Chameni Leoforos tou Ellinikou Cinema ('The lost highway of Greek cinema'), Afroditi Nikolaidou and Anna Poupou (2019)
Athens: Nefeli, 232 pp.,
ISBN 978-9-60504-238-7, p/bk, €13

Το παρόν άρθρο είναι αποτέλεσμα μεταδιδακτορικής έρευνας που διενεργήθηκε σε συνεργασία με το Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης την περίοδο 2016-2018. Παρουσιάζει ποιοτικά συμπεράσματα για τους κλάδους της δισκογραφίας και των συναυλιών την περίοδο της οικονομικής κρίσης καθώς και ποσοτικά ευρήματα διαδικτυακής έρευνας κοινού σχετικά με τη μουσική κατανάλωση. Με βάση αυτά, το άρθρο θεμελιώνει ως βασική του θέση ότι η διαμόρφωση πολιτικής με αναπτυξιακό πρόσημο για τη μουσική παραγωγή στο τρέχον περιβάλλον της οικονομικής ύφεσης χρειάζεται να στηριχθεί στη φιλοσοφία που διέπει ένα πολιτιστικό οικοσύστημα παρά μια δημιουργική βιομηχανία.

How can one do the history of Modern Greek homosexuality at the present moment, in a country where intersectional precarity, neo-liberal control and proliferating austerity measures ensure that rights and political demands are in jeopardy? How can we historicise the ways in which ethnonationalism and neoconservative rhetoric create a phobic atmosphere, at the very moment when sexual and gender difference become more pronounced and are finally supported by institutional frameworks? This article offers an overview of the major milestones in Greek LGBTQI+ political representation as well as of recent attempts to articulate a Modern Greek queer history. Taking its cue from the shaming campaign against a cross-dressed man found cruising in the outskirts of Athens in 2016 and an analysis of the influential film Strella: A Woman's Way (2009), it argues that we need to develop a new model of doing queer history in the present. Such a model will be both sensitive to the fluidity and historical challenge of queer emergence, but also remain ready to dwell on long histories of disavowal, institutionalized homophobia and suppression.

Abstract
This article provides a detailed reading of Trojans, the medium-length feature film by Constantine Giannaris on the life and work of C. P. Cavafy, released in 1990. Unlike the conventional life trajectory proposed by the more popular biopic Kavafis (Yannis Smaragdis, 1996), Giannaris's film presents the telling of a life of C. P. Cavafy as a radical identity quest. It is a cinematic work as much about the past as it is about the present, as much about the poet's legacy as it is about the director's precarity and autobiographical exposure. As a representative example of the cultural politics of New Queer Cinema, Trojans is influenced by the film aesthetics of Derek Jarman and opens a dialogue with Isaac Julien's Looking for Langston (1989). Even though it follows the frame of a literary biopic up to a point, the film ends up being a meditation on cultural expression, identification and representation. It undermines traditional narratives of Cavafy's life, using cinematic form in order to reflect on the elements of an archival, genealogical and affective reading of Cavafy's life and work. In so doing, it proposes that the pensive spectator and the possessive reader are necessary positions for developing oppositional aesthetics and non-normative identity as public political gestures.

Abstract