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This study traces the emergence of Greek-Cypriot Cinema in Cyprus since 1974, arguing that it is ... more This study traces the emergence of Greek-Cypriot Cinema in Cyprus since 1974, arguing that it is the product of a historical moment. 1974 marks a watershed in the island’s protracted political conflict which culminated in ethnic violence, a coup and war. Whilst the war has been the subject of wide ranging scholarly research its impact in forging a distinctive national cinema remains unexamined. This thesis attempts to re-address this absence. My approach is interdisciplinary, drawing on historiographical studies as well as Film Studies, Cultural Theory and Film Philosophy. Primary research includes extensive dialogues with filmmakers. All of the films examined deal explicitly with facets of space, time and memory in connection to the experiences of the war. In view of these prevalent themes the thesis makes the case for reading Greek-Cypriot Cinema through the cinema work of French philosopher Gilles Deleuze, whilst holding the films’ cultural and national contexts in view. It propo...
Synfacts, 2015
Parkinson's disease (PD) known as chronic and progressive movement disorder, means that symptoms ... more Parkinson's disease (PD) known as chronic and progressive movement disorder, means that symptoms continues and becomes worst over time.PD affects on person's moves, also affects how they speak and write. After Alzheimer's disease, around whole world 6.3 million people live with Parkinson's disease which makes it the second most common neurological disorder. The cause of disease is unknown, and also there is presently no cure and no treatment options such as medication and surgery to manage its syndromes. Approximately 90% of PD patients have suffered speech difficultiesi.e., dysphonia which is impaired speech production and dysarthria is referred as speech articulation difficulties. These mobility deficits are difficult to treat with drugs or neurosurgery. Parkinson disease people must visit clinician to track their progressions regularly. It will become simple process to anticipate harshness of disease with the help of voice recording of patients. This can be achieved by using Hoehn Yahr Score and Parkinson disease Rating Scale (PDRS) Score. Combination of machine learning algorithms are used for classification of voice features according to severities of disease.
Time and Space in Contemporary Greek-Cypriot Cinema
Time and Space in Contemporary Greek-Cypriot Cinema
Time and Space in Contemporary Greek-Cypriot Cinema
The Time and Space of Greek-Cypriot Cinema: A Deleuzian Reading, 2015
I Lisa Socrates declare that the work presented in this thesis is my own. Where information has b... more I Lisa Socrates declare that the work presented in this thesis is my own. Where information has been derived from other sources I confirm that this has been indicated in the thesis.
This paper examines the real spaces in Nicosia which have been shattered by ethnic conflict, war ... more This paper examines the real spaces in Nicosia which have been shattered by ethnic conflict, war and division, exploring cinematic interventions from a contextual perspective. With the buffer zone demarcating habitable and abandoned spaces, the city"s cartography of disunity prevails in the imaginary spaces of post-1974 Greek-Cypriot films. Readings of selected films engage with Gilles Deleuze"s paradigm in Cinema 2: The Time-Image [1986], focusing on the interconnection between real and cinematic spaces. Deleuze describes the impact of the postsecond world war landscape on subsequent directions in European Cinema, identifying the disintegration of whole cinematic images as a reflection of outside spatial fragmentation. Deleuze refers to "deconnected spaces". I extend Deleuze"s analysis of a "non-totalisable" cinematic image to the proliferation of spatial disunity pervading post-1974 Greek-Cypriot films. In Under the Stars (Georgiou, 2001) continuity editing and camera movements across the divided city of Nicosia sustain a cinematic illusion of spatial homogeneity. In Buffer Zone (Tofarides, 1996) and Airport for Sale (Farmakas, 2009) I contend with the potential of the cinematic image which is "non-totalisable" to construct layers of time and memory, visualizing experiences of dislocation and loss. How instrumental is the disjunction of sound and visuals to the disintegration of a "totalised" image? Does their autonomous function create imaginary spatial unity or compound its disunity? Through Espresso (Florides and Nicolaides, 1999) I scrutinize the representation of simultaneous time which is shared across the multi-stranded narratives. Can the homogeneity of time compensate for the shattered spaces which divide the inhabitants of Nicosia and Cyprus?
In Cinema 2: The Time Image (1985), Gilles Deleuze argues that post-Second World War cinema has b... more In Cinema 2: The Time Image (1985), Gilles Deleuze argues that post-Second World War cinema has been shaped by a historical transformation which has compelled it to mutate and create new signs and images. Post-1945 European cinema is characterized by time-images as distinct from the movement -images Deleuze discusses in Cinema 1: The Movement-Image (1983), marking a profound subordination of cinematic space, by time. Whilst this represents an abstract deterritorialization of cinematic space by time, Deleuze compels his reader to view cinema as a system which is not closed off from the outside world. Exchanging the post war landscape of Europe for the desolation of Cyprus in the aftermath of war in 1974, the moment of "historical transformation" which is central in Deleuze"s work is transposed to the national context of Cyprus. This paper explores the video-art of Lia Lapithi Shukuroglou as a response to the crisis of real time in relation to geographical spaces post-1974. The continuum of history came to a standstill and time unfolded in the Cypriot landscape. Through a contextualized reading of three short videos the paper explores the applicability of Deleuze"s "time-images" when theorizing Lapithi"s complex multi-layered texts where the time-image becomes a strategy to re-write the nation"s narrative. As Deleuzian "de-chronologized" moments, these texts respond to the territorialization of real spaces by adopting an artistic mode of representation which deterritorializes official national history. Using Martin Jones work , Deleuze, Cinema and National Identity: Narrative Time in National Contexts as an important reference, this inquiry exemplifies how Lapithi"s video art becomes "unruly" in resisting linear narrative strategies and destabilizing public time. Contrary to Martin Jones"s view that time-images constitute a temporary deviation from the national project, I argue that Lapithi"s video art excavates alternative temporalities whilst acknowledging that history overshadows the present in perpetuity. In so doing I contest Martin-Jones"s view that narrative continuity will prevail and suggest that in the case of Cyprus the deterritorialization of space by time postpones the nation"s identity.
This study traces the emergence of Greek-Cypriot Cinema in Cyprus since 1974, arguing that it is ... more This study traces the emergence of Greek-Cypriot Cinema in Cyprus since 1974, arguing that it is the product of a historical moment. 1974 marks a watershed in the island’s protracted political conflict which culminated in ethnic violence, a coup and war. Whilst the war has been the subject of wide ranging scholarly research its impact in forging a distinctive national cinema remains unexamined. This thesis attempts to re-address this absence. My approach is interdisciplinary, drawing on historiographical studies as well as Film Studies, Cultural Theory and Film Philosophy. Primary research includes extensive dialogues with filmmakers. All of the films examined deal explicitly with facets of space, time and memory in connection to the experiences of the war. In view of these prevalent themes the thesis makes the case for reading Greek-Cypriot Cinema through the cinema work of French philosopher Gilles Deleuze, whilst holding the films’ cultural and national contexts in view. It propo...
Synfacts, 2015
Parkinson's disease (PD) known as chronic and progressive movement disorder, means that symptoms ... more Parkinson's disease (PD) known as chronic and progressive movement disorder, means that symptoms continues and becomes worst over time.PD affects on person's moves, also affects how they speak and write. After Alzheimer's disease, around whole world 6.3 million people live with Parkinson's disease which makes it the second most common neurological disorder. The cause of disease is unknown, and also there is presently no cure and no treatment options such as medication and surgery to manage its syndromes. Approximately 90% of PD patients have suffered speech difficultiesi.e., dysphonia which is impaired speech production and dysarthria is referred as speech articulation difficulties. These mobility deficits are difficult to treat with drugs or neurosurgery. Parkinson disease people must visit clinician to track their progressions regularly. It will become simple process to anticipate harshness of disease with the help of voice recording of patients. This can be achieved by using Hoehn Yahr Score and Parkinson disease Rating Scale (PDRS) Score. Combination of machine learning algorithms are used for classification of voice features according to severities of disease.
Time and Space in Contemporary Greek-Cypriot Cinema
Time and Space in Contemporary Greek-Cypriot Cinema
Time and Space in Contemporary Greek-Cypriot Cinema
The Time and Space of Greek-Cypriot Cinema: A Deleuzian Reading, 2015
I Lisa Socrates declare that the work presented in this thesis is my own. Where information has b... more I Lisa Socrates declare that the work presented in this thesis is my own. Where information has been derived from other sources I confirm that this has been indicated in the thesis.
This paper examines the real spaces in Nicosia which have been shattered by ethnic conflict, war ... more This paper examines the real spaces in Nicosia which have been shattered by ethnic conflict, war and division, exploring cinematic interventions from a contextual perspective. With the buffer zone demarcating habitable and abandoned spaces, the city"s cartography of disunity prevails in the imaginary spaces of post-1974 Greek-Cypriot films. Readings of selected films engage with Gilles Deleuze"s paradigm in Cinema 2: The Time-Image [1986], focusing on the interconnection between real and cinematic spaces. Deleuze describes the impact of the postsecond world war landscape on subsequent directions in European Cinema, identifying the disintegration of whole cinematic images as a reflection of outside spatial fragmentation. Deleuze refers to "deconnected spaces". I extend Deleuze"s analysis of a "non-totalisable" cinematic image to the proliferation of spatial disunity pervading post-1974 Greek-Cypriot films. In Under the Stars (Georgiou, 2001) continuity editing and camera movements across the divided city of Nicosia sustain a cinematic illusion of spatial homogeneity. In Buffer Zone (Tofarides, 1996) and Airport for Sale (Farmakas, 2009) I contend with the potential of the cinematic image which is "non-totalisable" to construct layers of time and memory, visualizing experiences of dislocation and loss. How instrumental is the disjunction of sound and visuals to the disintegration of a "totalised" image? Does their autonomous function create imaginary spatial unity or compound its disunity? Through Espresso (Florides and Nicolaides, 1999) I scrutinize the representation of simultaneous time which is shared across the multi-stranded narratives. Can the homogeneity of time compensate for the shattered spaces which divide the inhabitants of Nicosia and Cyprus?
In Cinema 2: The Time Image (1985), Gilles Deleuze argues that post-Second World War cinema has b... more In Cinema 2: The Time Image (1985), Gilles Deleuze argues that post-Second World War cinema has been shaped by a historical transformation which has compelled it to mutate and create new signs and images. Post-1945 European cinema is characterized by time-images as distinct from the movement -images Deleuze discusses in Cinema 1: The Movement-Image (1983), marking a profound subordination of cinematic space, by time. Whilst this represents an abstract deterritorialization of cinematic space by time, Deleuze compels his reader to view cinema as a system which is not closed off from the outside world. Exchanging the post war landscape of Europe for the desolation of Cyprus in the aftermath of war in 1974, the moment of "historical transformation" which is central in Deleuze"s work is transposed to the national context of Cyprus. This paper explores the video-art of Lia Lapithi Shukuroglou as a response to the crisis of real time in relation to geographical spaces post-1974. The continuum of history came to a standstill and time unfolded in the Cypriot landscape. Through a contextualized reading of three short videos the paper explores the applicability of Deleuze"s "time-images" when theorizing Lapithi"s complex multi-layered texts where the time-image becomes a strategy to re-write the nation"s narrative. As Deleuzian "de-chronologized" moments, these texts respond to the territorialization of real spaces by adopting an artistic mode of representation which deterritorializes official national history. Using Martin Jones work , Deleuze, Cinema and National Identity: Narrative Time in National Contexts as an important reference, this inquiry exemplifies how Lapithi"s video art becomes "unruly" in resisting linear narrative strategies and destabilizing public time. Contrary to Martin Jones"s view that time-images constitute a temporary deviation from the national project, I argue that Lapithi"s video art excavates alternative temporalities whilst acknowledging that history overshadows the present in perpetuity. In so doing I contest Martin-Jones"s view that narrative continuity will prevail and suggest that in the case of Cyprus the deterritorialization of space by time postpones the nation"s identity.