"Nunca en domingo" o cómo Jules Dassin reinventa la Grecia cinematográfica, Metakinema, Revista de Cine e Historia, número 13, Octubre 2013 (original) (raw)
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In the year in which, in the city of Toledo, the IV centenary of the death of El Greco is commemorated, the paper discusses the most famous film produced about this artist, filmed in 2007 by the Cretan director Yannis Smaragdis. Whilst this biographical motion picture has many positive aspects, you will find that, in light of the latest research conducted by renowned historians, the movie final message is distorted in a biased way, hiding partially the truth about historical información. The relationship between the Greek artist and the church, both in the Orthodox and the Catholic denominations, was not probably as the director portray it, but instead much more interesting, profound and fruitful.
Resumen. Entre las figuras filosóficas que más atención han despertado en el cine, una de ellas es la Nietzsche, objeto de al menos tres biopics y alguna que otra fantasía. Sin embargo, ninguna de ellas ha tratado su figura como el director brasileño Julio Bressane, en 2001, quien, más que limitarse, como otros, a ilustrar determinadas anécdotas de la vida del filósofo, realiza una verdadera lectura nietzscheniana de los últimos días de éste antes de caer en la demencia en la ciudad de Turín. En este artículo, trato de argumentar dicha afirmación. Abstract. Nietzsche's is among the philosophers that have attracted more attention in cinema through at the least three well known biopics and a few more fantasized movies. However, none of them has portrayed his character and work as the Brazilian director Julio Bressane in 2001. Instead of illustrating certain anecdotes of his life and character, Bressane takes a real Nietzscheanean reading of his last days, before falling into dementia in Turin. The text discusses this difficult and deep film exercise.
Working with the theories of the philosopher Friedrich Nietzsche about the origin of the Greek tragedy, from the spirit of the music, to how the crowning moment of the Delphic Festival, the poet Angelos Sikelianos and his wife Eva Palmer, in the year of 1927, brought Aeschylus´ Prometheus Bound to the stage, combining poetry, music, dance and acting in the process. This play would then be immortalized by one of the greatest directors of European cinema, Demetrios Gaziadis, who manages to adapt an ancient Greek tragedy for the first time with his film, turning it into a model for other great cinematographers, who will ensure that this movie genre will continue to develop until it consolidates the decade of the sixties of the twentieth century (Tsavelas, Cacoyannis). In this process the films will break away from the rigid theatrical conventions, conveying more realism and moving closer toward the interests of the audience.