The Cinema of Theo Angelopoulos

Edited by Angelos Koutsourakis, Mark Steven

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Demonstrates how the films of Theo Angelopoulos react aesthetically to their historical period

The Cinema of Theo Angelopoulos is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, this groundbreaking collection brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Angelopoulos’ formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches his work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation.

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Notes to the Text
Foreword, Alexander Kluge
Introduction: Angelopoulos and the Lingua Franca of Modernism, Angelos Koutsourakis and Mark Steven
Part 1: Authorship
1: Angelopoulos as Film Critic, Maria Chalkou
2: Two Short Essays on Angelopoulos’ Early Films, Nagisa Oshima
3: Generative Apogee and Elegiac Expansion: European Film Modernism from Antonioni to Angelopoulos, Hamish Ford
4: The Gestus of Showing: Brecht, Tableau, and Early Cinema in Angelopoulos’ Political Period (1970-80), Angelos Koutsourakis: 5: Angelopoulos’s Gaze: Modernism, History, Cinematic Ethics, Robert Sinnerbrink
Part 2: Politics
6: Angelopoulos and Collective Narrative, Fredric Jameson
7: Demystification in the Early Films of Theo Angelopoulos, Vrasidas Karalis
8: Authoritarianism and National Identity in Angelopoulos’ O Megalexandros, Dan Georgakas
9: Tracks in the Eurozone: Late Style meets Late Capitalism, Mark Steven
Part 3: Poetics
10: Cinematography of the Group: Angelopoulos and the Collective Subject of Cinema, Julian Murphet
11: The Storytelling Imperative in the Films of Theo Angelopoulos, Caroline Eades
12: Syncope and Fractal Liminality: Theo Angelopoulos’ Voyage to Cythera and the Question of Borders, Dany Nobus and Nektaria Pouli
13: Landscape in the Mist: Thinking Beyond the Perimeter Fence, Stephanie Hemelryk Donald
14: An ‘Untimely’ History, Sylvie Rollet
Part 4: Time
15: Angelopoulos and the Time-Image, Richard Rushton
16: Memory Under Siege: Archive Fever in Ulysses’ Gaze, Smaro Kamboureli
17: ‘Nothing Ever Ends’: Angelopoulos and the Image of Duration, Asbjørn Grønstad
Afterword: Angelopoulos’ Final Odyssey: The Other Sea, Andrew Horton
Theo Angelopoulos’ Filmography
Notes on the Contributors
A much needed and welcome addition to this corpus of critical literature...The Cinema of Theo Angelopoulos will unquestionably become the key reference point in future anglophone studies of, perhaps, one of the last great European auteurs.'
Sean Homer, American University in Bulgaria, Journal of Greek Media & Culture
Theo Angelopoulos is the cinema’s great untimely director: always restlessly mixing historical periods, political contexts, geographic locations. Today, not long after his death, his films urgently call to us from their era: 50 glorious years of innovative, modernist experimentation put in the service of both mythic poetry and engaged social critique. This superb book, which approaches the director from every conceivable angle from the scholarly to the personal, and also includes fond tributes from fellow filmmakers, at last takes the measure of Angelopoulos’s artistic greatness and his immense, enduring significance.
Adrian Martin, Monash University
Angelos Koutsourakis is Professor in Film and Cultural Studies at the Centre for World Cinemas and Digital Cultures, University of Leeds. He is the author of Rethinking Brechtian Film Theory and Cinema (2018), Politics as Form in Lars von Trier (2013) and the co-editor of Cinema of Crisis: Film and Contemporary Europe (2020), and The Cinema of Theo Angelopoulos (2015).

Mark Steven is a graduate student at the University of New South Wales. His major research project is titled “Red Modernism: Poetry, Communism, and the Anglo-American Avant-Garde.” He has published on literature, film, and philosophy, including the co-edited Styles of Extinction: Cormac McCarthy’s The Road.

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