By Andrew Horton
Theo Angelopoulos is extensively considered as the most targeted modern filmmakers and a hugely idiosyncratic movie stylist. His paintings, from the early Seventies to The Beekeeper, panorama within the Mist, The Suspended Step of the Stalk and the hot Cannes prize-winner Ulysses' Gaze, demonstrates a special sensibility and a preoccupation with shape (notably, the lengthy take, house, and time) and with content material, really Greek politics and historical past, and notions of the adventure, border-crossing, and exile. This new number of essays surveys his complete cinematic output and offers a dialogue of his significant motion pictures, topics, and concerns.The individuals argue that Angelopoulos' sustained oeuvre
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Theo Angelopoulos is largely considered as some of the most specific modern filmmakers and a hugely idiosyncratic movie stylist. His paintings, from the early Seventies to The Beekeeper, panorama within the Mist, The Suspended Step of the Stalk and the hot Cannes prize-winner Ulysses' Gaze, demonstrates a different sensibility and a preoccupation with shape (notably, the lengthy take, area, and time) and with content material, really Greek politics and background, and notions of the adventure, border-crossing, and exile.
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Additional resources for The Last Modernist: The Films of Theo Angelopoulos
In contrast, the monarchist army had sat out the war in the Middle East, and had served as a pawn for political intrigues. The civil war had not been the result of a Communist bid for total power, but a conflict generated by the vicious persecution of partisan fighters by a conservative government under first British, then American tutelage. Throughout the 1 950s, Greece had remained an authoritarian state and had failed to recover from the war, unllike the rest of Europe. Contributing to Greek underdevelopment was the continued servility of its governments to foreign powers.
One cannot conceive of the Antonioni of the 1 950s making a film about Algeria or the Berlin Wall, but To Vlemma Tou Odyssea ( Ulysses' Gaze, 1 995) shows a continuing desire to bear witness to political crisis. Conversely, even in his "Brechtian" days, Angelopoulos gave his work a strong emotional overlay. Straub and Huillet, crucially influenced by Bresson, achieve a discomfiting emotional neutrality throughout their work, but Angelopoulos' 1 970s films, operating under the aegis of Antonioni, are pervaded by solitude, bleakness and futility.
One school of thought favoured having radical content wedded to popular formats, as this would provide access to the largest possible audience. Rather than having problematic cinematic styles jostle for attention with radical content, the popular format would seamlessly serve it. Purely entertainment genres, in effect, would be hijacked for political discourse. Opposing this strategy was the view that radical content could only be faithfully served by a format that rejected the conventions of dominant media as resolutely as it rejected its ideology.
The Last Modernist: The Films of Theo Angelopoulos by Andrew Horton