ANDERSON DIRECTORS, 4 EDITION On ANDERSON: books- social, or spiritual. This theme is consistently present in Anderson's feature films. Manvell, Roger, New Cinema in Britain, New York, 1969. In This Sporting Life, A Sussex, Elizabeth, Lindsay Anderson, New York, 1969 a traditionally structure Barsam, Richard, Nonfiction Film, New York, 1973. story of Frank Machin ar Silet, Charles L. P., Lindsay Anderson: A Guide to References and Sporting Lif Resources, Boston, 1979. into econom Graham, Allison, Lindsay Anderson, Boston, 1981. central p Hedling, Erik, Lindsay Anderson och filmens estetik, Lund, Swe- Ma den,1992 constantly atr Sherwin, David, Going Mad in Hollywood: And Life with Lindsay Despite his at A he is value Lambert, Gavin, Mainly about Lindsay Anderson, New York, 2000. playing rugby. Frank Macl On ANDERSON:articles- change; he la happiness: M Berger, John, "Look at Britain!," in Sight and Sound (London), Summer 1957. ondon) Milne, Tom, "This Sporting Life," in Sight and Sound (London), Summer 1962. Robinson, David, "Anderson Shooting If. ..,"in Sight and Sound (London), Summer takes on the Gladwell, David, "Editing Anderson's If...," in Screen (London), complete, h January/February 1969. Lovell, Alan, and Jim Hillier, "Free Cinema, in Studies in Docu-"separ and mentary, New York, 1972. Sussex. Lovell, Alan, "The Unknown Cinema of Britain, in Cinema Jour- nal (Evanston), Spring 1972. Wilson, D., "0 Lucky Man!," in Sight and Sound (London), Sum- fragmentatio mer1973. the division Taylor, John, "Lindsay Anderson," in Directors and Directions, film intori London, 1975 Lovell, Alan, "Brecht in Britain-Lindsay Anderson," in Screen Ho (London), Winter 1975. Durgnat, Raymond, "Britannia Waives the Rules, in Film Comment (New York), July/August 1976 Lefevre, Raymond, "Lindsay Anderson, ou la fidelite au Free Cin- leads to ema,"in Image et Paris), October 1982. March-April 1984. Houston, Penelope, "Parker, Attenborough, Anderson," in Sight and Sound(London), situatic McCarthy, Todd, "Lindsay Anderson, "in Variety, 5 September 1994. Kenny, Glenn, "The Magnificient Anderson," in Entertainment Weekly, 16 September 1994 Cox, Jay, "Lindsay Anderson, 1923-1994: In Celebration, "in Film Comment, November/December 1994. In a 1958 essay titled "Get out and Push," Lindsay A expressed his approach to working in the cinema. The way An not the individual, approached w world view he put forth in fe the basis of the system within which xistence. Indeed that sustain it and the interests that it se ates, is one of the i he individual to actvely seek a ocess of creation in the medium far confines of the established system; the indiv ome fror hes in the narrative until the two change to come from or through any outsid 26
ANDERSON DIRECTORS, 4th EDITION 26 On ANDERSON: books— Manvell, Roger, New Cinema in Britain, New York, 1969. Sussex, Elizabeth, Lindsay Anderson, New York, 1969. Barsam, Richard, Nonfiction Film, New York, 1973. Silet, Charles L. P., Lindsay Anderson: A Guide to References and Resources, Boston, 1979. Graham, Allison, Lindsay Anderson, Boston, 1981. Hedling, Erik, Lindsay Anderson och filmens estetik, Lund, Sweden, 1992. Sherwin, David, Going Mad in Hollywood: And Life with Lindsay Anderson, London, 1996. Lambert, Gavin, Mainly about Lindsay Anderson, New York, 2000. On ANDERSON: articles— Berger, John, ‘‘Look at Britain!,’’ in Sight and Sound (London), Summer 1957. Milne, Tom, ‘‘This Sporting Life,’’ in Sight and Sound (London), Summer 1962. Robinson, David, ‘‘Anderson Shooting If. . . ,’’ in Sight and Sound (London), Summer 1968. Gladwell, David, ‘‘Editing Anderson’s If. . . ,’’ in Screen (London), January/February 1969. Lovell, Alan, and Jim Hillier, ‘‘Free Cinema,’’ in Studies in Documentary, New York, 1972. Lovell, Alan, ‘‘The Unknown Cinema of Britain,’’ in Cinema Journal (Evanston), Spring 1972. Wilson, D., ‘‘O Lucky Man!,’’ in Sight and Sound (London), Summer 1973. Taylor, John, ‘‘Lindsay Anderson,’’ in Directors and Directions, London, 1975. Lovell, Alan, ‘‘Brecht in Britain—Lindsay Anderson,’’ in Screen (London), Winter 1975. Durgnat, Raymond, ‘‘Britannia Waives the Rules,’’ in Film Comment (New York), July/August 1976. Lefèvre, Raymond, ‘‘Lindsay Anderson, ou la fidelité au Free Cinema,’’ in Image et Son (Paris), October 1982. Schickel, Richard, ‘‘Ford Galaxy,’’ in Film Comment (New York), March-April 1984. Houston, Penelope, ‘‘Parker, Attenborough, Anderson,’’ in Sight and Sound (London), Summer 1986. McCarthy, Todd, ‘‘Lindsay Anderson,’’ in Variety, 5 September 1994. Kenny, Glenn, ‘‘The Magnificient Anderson,’’ in Entertainment Weekly, 16 September 1994. Cox, Jay, ‘‘Lindsay Anderson, 1923–1994: In Celebration,’’ in Film Comment, November/December 1994. *** In a 1958 essay titled ‘‘Get out and Push,’’ Lindsay Anderson expressed his approach to working in the cinema. The way Anderson, the individual, approached working in the cinema paralleled the world view he put forth in feature films: the individual must examine the basis of the system within which he finds himself, ‘‘the motives that sustain it and the interests that it serves.’’ It is the responsibility of the individual to actively seek a new self-definition beyond the confines of the established system; the individual cannot look for change to come from or through any outside authority—political, social, or spiritual. This theme is consistently present in Anderson’s feature films. In This Sporting Life, Anderson approaches the repression of a traditionally structured society through the personal, subjective story of Frank Machin and Margaret Hammond. The setting of This Sporting Life, an industrial northern city, is an environment divided into economic classes, a division which serves to emphasize the central problem of the film—the division within Frank Machin. Machin finds himself limited to the realm of the physical, and constantly attempts to connect with others on an emotional level. Despite his attempts, he is only seen in terms of his physical qualities; he is valued only when he is participating in the physical act of playing rugby. Frank Machin is aware of his limitations but does not know how to change; he lacks direction. He tries to make others responsible for his happiness: Margaret Hammond, the rugby team, and even the elites of society who populate the world of Mr. and Mrs. Weaver, owners of the rugby team. Machin constantly attempts to break into the established system, seemingly unaware that it is this same system which controls and restrains him. Mick Travis, the protagonist of Anderson’s second feature film, If. . . , struggles instead to break out of the established system. Mick takes on the responsibility of action, and although his revolution is not complete, he does not remain trapped like Frank. The environment in If. . . , the English public school system, is a metaphor for the ‘‘separation of intellect from imagination,’’ according to Elizabeth Sussex. The environment of College House does not allow for the creative development of the individual. It encourages separation and fragmentation of the self. Film technique in If. . . also serves to reveal the narrative theme of the division of the self. The chapter headings physically divide the film into rigidly ordered sections, reflecting the separation of intellect and imagination encouraged by the nature of the tradition of College House. These chapter headings, along with the alternation between black and white and color film, function as distancing devices, making the viewer more aware of the medium. A narrative technique Anderson used to illustrate the process that leads to Mick’s eventual break from the system is the establishment of verbal language as an essential part of the structure of College House. When Mick expresses his disdain for College House through words, they are simply absorbed by the system. There is no change in Mick’s situation until he initiates action by bayoneting the college chaplain. After this point, Mick no longer recites revolutionary rhetoric; in fact, he rarely speaks. He is no longer existing within the structure of College House. Totally free of the system, Mick launches into the destruction of the established order. Mick is no longer acted upon but is the creator of action; in this respect, he triumphs where Frank Machin fails. In O Lucky Man!, the thematic sequel to If. . . , the medium of film itself becomes one of the narrative themes, and self-reflexive film techniques serve to reveal not only the narrative theme of selfdefinition, but also the process of filmmaking. The titles used in O Lucky Man! announce the different sections of the film but do not impose order; on the contrary, their abrupt appearance and brevity tend to interrupt the order of the narrative. It is as if the medium of film itself breaks through to remind the viewer of its existence. Indeed the medium, specifically the energy the medium generates, is one of the themes of O Lucky Man! The process of creation in the medium far exceeds anything Mick accomplishes in the narrative until the two meet in the final sequence
DIRECTORS, 4 EDITION ANGELOPOULOS Mick Travis, the character, confronts Lindsay Anderson, the ANGELOPOULOS Theodoros director, at an audition for the film O Lucky Man! Mick obediently projects the different emotions Anderson demands of him until he is asked to smile. It is at this point that Mick finally takes action and Nationality: Greek. Born: Athens, 27 April 1935: surname rejects a direct order: "What is there to smile about? "he asks. Mick spelled Anghelopoulos. Education: Studied in Athens, 1953-59, is looking outside himself for motivation, as he has done throughout Sorbonne, Paris, 1961-64, and at IDHEC, Paris, 1962-63. Military he film, before he will take action. Anderson, exasperated, strikes Service: 1959-60. Career: Film critic for left-wing journal Dimoktat Allaghi until its suppression in 1967 coup; worked as lawyer until Mick with a script. After receiving the blow, Mick is able to smile. He 1969: began association with cinematographer Giorgios Arvanitis on oon finds that he is one of the actors in the film; he too is capable of creating action. Reconstruction, 1970: taught at Stavrakou Film School in 1970s Awards: Georges Sadoul Award, 1971; FIPRESCI Award, 1973, for ts a much darker vision than anderson's previous films.as in Days of 36: FIPRESCI Grand Prix, Golden Age Award,BF1. Best lf..., the physical environment of the film-the hospital-is a meta- phor for a static, repressive system. Unlike If..., this film contains Award, for The Hunters: Golden Lion Award, venice. 1980: Cannes little hope for change or progress, not for the individual and certainly Arts et des lett Film Festival Palme d'Or for Eternity and a Day, 1998: Chevalier des not within the system itself. Mick Travis appears in this film as an investigative reporter who has achieved success by selling"some- thing the people want, a reference to his former position in O Lucky Man! and a description of his motives as a news reporter. He is Films as Director and Scriptwriter attempting to expose the questionable experiments of britannia Hospital staff member Dr. Millar, the same unethical researcher from 1968 Ekpombi (The Broadcast; L'Emission) o Lucky Man! Although Mick puts up a fight, the system finally 1970 Anaparastassi(Reconstruction; Reconstitution)(+ ro) overwhelms him in this film 1972 Meres tou 36(Days of 36: Jours de 36) lory! Glory/, a Home Box Office production, is somewhat of 1975 O Thiasos(The Travelling Players; Le Voyage des comedians) a synthesis of Anderson's previous work in both theme and technique. 1977 IKynighi(The Hunters)(+co-pI The institution that stands as metaphor in this case is one peculiar 1980 O Megalexandros(Alexander the great)(+ pr) the United States, a television evangelism empire--The Church of the 1982 Athens(doc) Companions of Christ. Like the school in If..., this institution has 1984 Taxidi sta Kithira( voyage to Cythera) a verbal language essential to its ture. the use of which sanctions 1986 O Melissokomos(The Beekeeper cople hav or"visions"in which God makes key decisions for them, removing all personal responsibility. Any action is justifiable-deception, fraud, blackmail-as long as it is done in"a holy cause"or"for the The film techniques Anderson uses in Glory! Glory! are related to his earlier works. The medium is present throughout the narrative in the form of chapter headings and blackouts between chapters. Music is important to the narrative, as it is in O Lucky Man but in the later film it is integrated into the narrative structure rather than used as a distar The theme of personal responsibility for self-definition is clearly seen in the character of Ruth. She struggles throughout the film with the idea of who she wants to be and with the identities others want to impose on her. She reaches a key point in her personal progression when she admits that she has always needed some kind of crutch- ex, drugs, God. Not long after realizing that she has been lookin outside herself for an identity, Ruth reveals that she finally under stands God. In essence, she has created her own god, her own mythology. Ruth remains within the system, but for the first time actually believes in what she is"sellin ng because she has defined for herself theauthority"and the basis for the system Anderson's other features, In Celebration and The Whales of August, contain more subjective narratives but still explore the theme of the individuals responsibility for self-definition. In his last film, Is That All There Is an autobiographical documentary made for the BBC, Anderson presents himself as such an individual: an indepen dent artist who actively sought a self-definition beyond the confines of the established system. -Marie sachi Theodoros Angelopoulos
DIRECTORS, 4 ANGELOPOULOS th EDITION 27 Mick Travis, the character, confronts Lindsay Anderson, the director, at an audition for the film O Lucky Man! Mick obediently projects the different emotions Anderson demands of him until he is asked to smile. It is at this point that Mick finally takes action and rejects a direct order: ‘‘What is there to smile about?’’ he asks. Mick is looking outside himself for motivation, as he has done throughout the film, before he will take action. Anderson, exasperated, strikes Mick with a script. After receiving the blow, Mick is able to smile. He soon finds that he is one of the actors in the film; he too is capable of creating action. Britannia Hospital, the final work in the series begun by If. . . , presents a much darker vision than Anderson’s previous films. As in If. . . , the physical environment of the film—the hospital—is a metaphor for a static, repressive system. Unlike If. . . , this film contains little hope for change or progress, not for the individual and certainly not within the system itself. Mick Travis appears in this film as an investigative reporter who has achieved success by selling ‘‘something the people want,’’ a reference to his former position in O Lucky Man! and a description of his motives as a news reporter. He is attempting to expose the questionable experiments of Britannia Hospital staff member Dr. Millar, the same unethical researcher from O Lucky Man! Although Mick puts up a fight, the system finally overwhelms him in this film. Glory! Glory!, a Home Box Office production, is somewhat of a synthesis of Anderson’s previous work in both theme and technique. The institution that stands as metaphor in this case is one peculiar to the United States, a television evangelism empire—The Church of the Companions of Christ. Like the school in If. . . , this institution has a verbal language essential to its structure, the use of which sanctions just about any action. Throughout the film people have ‘‘revelations’’ or ‘‘visions’’ in which God makes key decisions for them, removing all personal responsibility. Any action is justifiable—deception, fraud, blackmail—as long as it is done in ‘‘a holy cause’’ or ‘‘for the church.’’ The film techniques Anderson uses in Glory! Glory! are related to his earlier works. The medium is present throughout the narrative in the form of chapter headings and blackouts between chapters. Music is important to the narrative, as it is in O Lucky Man!, but in the later film it is integrated into the narrative structure rather than used as a distancing device. The theme of personal responsibility for self-definition is clearly seen in the character of Ruth. She struggles throughout the film with the idea of who she wants to be and with the identities others want to impose on her. She reaches a key point in her personal progression when she admits that she has always needed some kind of crutch— sex, drugs, God. Not long after realizing that she has been looking outside herself for an identity, Ruth reveals that she finally understands God. In essence, she has created her own god, her own mythology. Ruth remains within the system, but for the first time actually believes in what she is ‘‘selling’’ because she has defined for herself the ‘‘authority’’ and the basis for the system. Anderson’s other features, In Celebration and The Whales of August, contain more subjective narratives but still explore the theme of the individual’s responsibility for self-definition. In his last film, Is That All There Is?, an autobiographical documentary made for the BBC, Anderson presents himself as such an individual: an independent artist who actively sought a self-definition beyond the confines of the established system. —Marie Saeli ANGELOPOULOS, Theodoros Nationality: Greek. Born: Athens, 27 April 1935; surname also spelled Anghelopoulos. Education: Studied in Athens, 1953–59, Sorbonne, Paris, 1961–64, and at IDHEC, Paris, 1962–63. Military Service: 1959–60. Career: Film critic for left-wing journal Dimoktatiki Allaghi until its suppression in 1967 coup; worked as lawyer until 1969; began association with cinematographer Giorgios Arvanitis on Reconstruction, 1970; taught at Stavrakou Film School in 1970s. Awards: Georges Sadoul Award, 1971; FIPRESCI Award, 1973, for Days of ‘36; FIPRESCI Grand Prix, Golden Age Award, B.F.I. Best Film, Interfilm Award, for The Travelling Players; Golden Hugo Award, for The Hunters; Golden Lion Award, Venice, 1980; Cannes Film Festival Palme d’Or, for Eternity and a Day, 1998; Chevalier des Arts et des Lettres. Films as Director and Scriptwriter: 1968 Ekpombi (The Broadcast; L’Emission) 1970 Anaparastassi (Reconstruction; Reconstitution) (+ ro) 1972 Mères tou 36 (Days of ‘36; Jours de 36) 1975 O Thiasos (The Travelling Players; Le Voyage des comédiens) 1977 I Kynighi (The Hunters) (+ co-pr) 1980 O Megalexandros (Alexander the Great) (+ pr) 1982 Athens (doc) 1984 Taxidi sta Kithira (Voyage to Cythera) 1986 O Melissokomos (The Beekeeper) Theodoros Angelopoulos
ANGELOPOULOS DIRECTORS, 4 EDItION 1988 Topio stia Omichli (landscape in the Mist) Avant-Scene du Cinema(Paris), December 1975 991 The Suspended Step of the Stork(+pr) Giacci, V, in Cineforum(Bergamo), September 1976. 1995 Ulysses'Gaze(+pr); episode in Lumiere et Compagnie(Lumiere Horton, Andrew, Theodoros Angelopoulos and the New Greek Cinema, in Film Criticism(Meadville, Pennsylvania), Fall 1981 998 Mia Aiwniothta kai Mia Mera(Eternity and a Day)(+pr, +sc) Dossier on Angelopoulos, in Cinema(Paris), November 1982. Angelopoulos Section"of Revue du Cinema lmage et Son(Paris), January 1985 Other Films Amengual, Barthelemy, "" Une esthetique theatrale'de la realite: sur Theo Angelopoulos, in Positif(Paris), February 198 1968 Kieron(role) of Revue Belge du Cinema(Brussels). Spring 1985 Publications Brown, Georgia, in Village Voice(New York), 20 February 1990 Holden. S. "'A Search for a Fictive Father. in New york Times. 14 eptember 1990. By ANGELOPOULOS: articles- Rollet, S, " Theo Angelopoulos ou le cinema comme theatre du ten Positif(Paris), December 1991 Mes films sont des appels a la discussion interview with N "'Der Fundamentalismus kennt nur Grenzen. in Filmbulletin vol Ghali, in Cinema(Paris), September/October 1975 33.no.5/6.1991 Le voyage des comedians, interview with J.-P. Brossard and Bolzoni.F..Contro I'effimero, in Rivista del cine thers, in image et Son( Paris), November 1975 March 1993 Interview with Michel Ciment, in Positif(Paris), June 1977. Maslin, Janet, Two Films on Strife in Balkans Win Top Prizes at Interview with D. Rabourdin, in Cinema(Paris), August/Septem Cannes, in New York Times, 29 May 1995. ber 1977 Stevens, Julie, ""Ulysses Gaze, in Empire(London), March 1996 Les Chasseurs, interview with O. Barrot and M. Demopoulos, in Rosenbaum, Jonathan, " Ulysses Gaze, in Chicago Reader( chi- Ecran(Paris), November 1977 cago), 18 October 1996 Animating Dead Space and Dead Time, interview and article with Portuges, Catherine, Ulysses'Gaze, "in American Historical Review T. Mitchell, in Sight and Sound (London), winter 1980-81 (Washington, D.C. ), vol. 101, no 4, October 1996 terviews with Michel Ciment, in Positif(Paris), February 1985, Maslin, Janet, ""Ulysses'Gaze, ".in New York Times, 17 Janu May 1987, and May 1991. ary 1997. Interview with G. Merat, in Revue du Cinema(Paris), Novem- Interview with H. Petrakis, in Positif(Paris), December 1991 Interview with E Castiel, in Sequences, January 1992. National Culture and Individual Vision interview with A. Horton Theodoros Angelopoulos's considerable achievements in cinema and D. Georgakas, in Cineaste, vol. 19, no. 2/3, 1992. during the 1970s and 1980s have made him not only the most rview with C. Siniscalchi, in Rivista del Cinematografo, important Greek filmmaker to date, but one of the truly creative and March 1993 original artists of his time. In 1970 he convinced producer George Interview with A. Faber, in Filmmvilag, vol. 36, no. 1, 1993. Papalios to finance his first film, Anaparastassi. The story follows the pattern of a crime tale a la James Cain. A Greek peasant is killed by his wife and her lover on his return from Germany, where he had gone to On aNGeloPouloS: books- find work. a judge tries to reconstruct the circumstances of the murder but finds himself unable to communicate with the accused Schuster, Mel, The Contemporary Greek Cinema, Metuchen, New who belong to a totally different culture. To shoot this Pirandellian Jersey, 1979. story of misunderstanding, Angelopoulos adopted an austere style Orati, Daniela, Thodoros Angelopoulos, Venice, 1982 featuring long camera movements that show a bleak and desolate Esteve, Michel, Theo Angelopoulos, Paris, 1985 Greek landscape far removed from the tourist leaflets. Reminiscent Ciment, Michel, and Helene Tiarchent, Theo Angelopoulos. Paris, 1989 Viscontis Ossessione, this is a film noir that opens the way to more The daring aesthetic ventures OGrady, Gerald, editor, Theo Angelopoulos(MOMA Exhibition Angelopoulos's trilogy of Days of 36, The Travelling Players, and Catalogue). New York, 1990 he Hunters can be seen as an exploration of contemporary greek Horton, Andrew, The Films of Theo Angelopoulos: A Cinema of history. If his style shows some influences--particularly Jancso's one reel-one take methodology and Antonioni's slow, meditative mood- Horton, Andrew, editor, The Last Modernist: The Films of The Angelopoulos has nevertheless created an authentic epic cinema akin Angelopoulos. Westport, Connecticut, 1997 to Brecht's theatre in which aesthetic emotion is counterbalanced by a reflexive approach that questions the surfaces of reality. The On ANGElOPOulos: articles- audience is not allowed to identify with a central character, nor to follow a dramatic development, nor given a reassuring morality. The Cineforum(Bergamo), September 1975. director boldly goes from the present to the past within the same shot. Positif(Paris), October 1975. and in The Hunters broadens his investigation by including the
ANGELOPOULOS DIRECTORS, 4th EDITION 28 1988 Topio stia Omichli (Landscape in the Mist) 1991 The Suspended Step of the Stork (+pr) 1995 Ulysses’ Gaze (+pr); episode in Lumière et Compagnie (Lumière and Company) 1998 Mia Aiwniothta kai Mia Mera (Eternity and a Day) (+pr, +sc) Other Films: 1968 Kieron (role) Publications By ANGELOPOULOS: articles— ‘‘Mes films sont des appels à la discussion . . . ,’’ interview with N. Ghali, in Cinéma (Paris), September/October 1975. ‘‘Le Voyage des comédiens,’’ interview with J.-P. Brossard and others, in Image et Son (Paris), November 1975. Interview with Michel Ciment, in Positif (Paris), June 1977. Interview with D. Rabourdin, in Cinéma (Paris), August/September 1977. ‘‘Les Chasseurs,’’ interview with O. Barrot and M. Demopoulos, in Ecran (Paris), November 1977. ‘‘Animating Dead Space and Dead Time,’’ interview and article with T. Mitchell, in Sight and Sound (London), Winter 1980–81. Interviews with Michel Ciment, in Positif (Paris), February 1985, May 1987, and May 1991. Interview with G. Merat, in Revue du Cinéma (Paris), November 1988. Interview with H. Petrakis, in Positif (Paris), December 1991. Interview with E. Castiel, in Sequences, January 1992. ‘‘National Culture and Individual Vision,’’ interview with A. Horton and D. Georgakas, in Cineaste, vol. 19, no. 2/3, 1992. Interview with C. Siniscalchi, in Rivista del Cinematografo, March 1993. Interview with A. Faber, in Filmvilag, vol. 36, no. 1, 1993. On ANGELOPOULOS: books— Schuster, Mel, The Contemporary Greek Cinema, Metuchen, New Jersey, 1979. Orati, Daniela, Thodoros Anghelopoulos, Venice, 1982. Estève, Michel, Theo Angelopoulos, Paris, 1985. Ciment, Michel, and Hélène Tiarchent, Theo Angelopoulos, Paris, 1989. Kolovos, Nikos, Theo Angelopoulos, Athens, 1990. O’Grady, Gerald, editor, Theo Angelopoulos (MOMA Exhibition Catalogue), New York, 1990. Horton, Andrew, The Films of Theo Angelopoulos: A Cinema of Contemplation. Princeton, New Jersey, 1997. Horton, Andrew, editor, The Last Modernist: The Films of Theo Angelopoulos. Westport, Connecticut, 1997. On ANGELOPOULOS: articles— Cineforum (Bergamo), September 1975. Positif (Paris), October 1975. Avant-Scène du Cinéma (Paris), December 1975. Giacci, V., in Cineforum (Bergamo), September 1976. Horton, Andrew, ‘‘Theodoros Angelopoulos and the New Greek Cinema,’’ in Film Criticism (Meadville, Pennsylvania), Fall 1981. Dossier on Angelopoulos, in Cinéma (Paris), November 1982. ‘‘Angelopoulos Section’’ of Revue du Cinéma/Image et Son (Paris), January 1985. Amengual, Barthélémy, ‘‘Une esthetique ‘théatrale’ de la realité: sur Theo Angelopoulos,’’ in Positif (Paris), February 1985. ‘‘Angelopoulos Issue’’ of Revue Belge du Cinéma (Brussels), Spring 1985. Sight and Sound (London), Winter 1988 and Autumn 1989. Brown, Georgia, in Village Voice (New York), 20 February 1990. Holden, S., ‘‘A Search for a Fictive Father,’’ in New York Times, 14 September 1990. Rollet, S., ‘‘Theo Angelopoulos ou le cinema comme theatre du temps,’’ in Positif (Paris), December 1991. ‘‘Der Fundamentalismus kennt nur Grenzen,’’ in Filmbulletin, vol. 33, no. 5/6, 1991. Bolzoni, F., ‘‘Contro l’effimero,’’ in Rivista del Cinematografo, March 1993. Maslin, Janet, ‘‘Two Films on Strife in Balkans Win Top Prizes at Cannes,’’ in New York Times, 29 May 1995. Stevens, Julie, ‘‘Ulysses’ Gaze,’’ in Empire (London), March 1996. Rosenbaum, Jonathan, ‘‘Ulysses’ Gaze,’’ in Chicago Reader (Chicago), 18 October 1996. Portuges, Catherine, ‘‘Ulysses’ Gaze,’’ in American Historical Review (Washington, D.C.), vol. 101, no. 4, October 1996. Maslin, Janet, ‘‘Ulysses’ Gaze,’’ in New York Times, 17 January 1997. *** Theodoros Angelopoulos’s considerable achievements in cinema during the 1970s and 1980s have made him not only the most important Greek filmmaker to date, but one of the truly creative and original artists of his time. In 1970 he convinced producer George Papalios to finance his first film, Anaparastassi. The story follows the pattern of a crime tale à la James Cain. A Greek peasant is killed by his wife and her lover on his return from Germany, where he had gone to find work. A judge tries to reconstruct the circumstances of the murder, but finds himself unable to communicate with the accused, who belong to a totally different culture. To shoot this Pirandellian story of misunderstanding, Angelopoulos adopted an austere style featuring long camera movements that show a bleak and desolate Greek landscape far removed from the tourist leaflets. Reminiscent of Visconti’s Ossessione, this is a film noir that opens the way to more daring aesthetic ventures. Angelopoulos’s trilogy of Days of 36, The Travelling Players, and The Hunters can be seen as an exploration of contemporary Greek history. If his style shows some influences—particularly Jancsó’s one reel-one take methodology and Antonioni’s slow, meditative mood— Angelopoulos has nevertheless created an authentic epic cinema akin to Brecht’s theatre in which aesthetic emotion is counterbalanced by a reflexive approach that questions the surfaces of reality. The audience is not allowed to identify with a central character, nor to follow a dramatic development, nor given a reassuring morality. The director boldly goes from the present to the past within the same shot, and in The Hunters broadens his investigation by including the
DIRECTORS, 4 EDITION ANGER of his characters. The sweep of a movie like Travelling it juxtaposes youth and age, national identity and language. which includes songs and dances, is breathtaking. Its tale of and ethnic hatred to create an intensely human look at the group circulating through Greece from 1939 to 1952 of life and its unlikely sources performing a pastoral play is transformed into a four-hour earth odyssey -Michel Ciment, updated by Tina gianoulis of 36. This political thriller about a murder in a prison proved a prelude to events of national importance. It is the directors most radical use of off-screen space and off-screen sound, of the dialectic ANGER. Kenneth tween the seen and the unseen. with its closed doors, whispering voices in corridors, and silhouettes running to and fro. it evokes the Nationality: American Born: Santa Monica, California, 1930. Ca mystery that surrounds the exercise of power reer: Played changeling in Max Reinhardts film A Midsummer Angelopoulos's fifth film, Alexander the great, breaks new Night's Dream, 1934; studied tap-dancing in class including Shirley ground: it deals with myth and develops the exploration of the popular Temple, 1935: completed first film, 1941; after moving to Europe first edition of Hollywood Babylon published in France, 1959:re- nconscious already present in Travelling Players and The Hunters. turned to U.S.. 1962: following destruction of his film Lucifer Rising, At the turn of the twentieth century, a bandit is seen as the reincarna- tion of the Macedonian king. He kidnaps some English residents in placed an ad in Variety""In Memoriam Kenneth Anger 1947-1967, and returned to Europe, 1967; completed second version of Lucifer Greece and leads them to the mountains. The kidnapper tries to blackmail the British government but ends up killing his hostage Rising, 1974(released 1980). Address: c/o American Federation of Arts Film Program, 41 E 65th St, New York. NY 10021, U.S.A. Angelopoulos opposes several groups: the foreigners, the outlaws, some Italian anarchists who have taken refuge in greece and village people who try to establish a utopian community. The directors Films( Conception, Direction, Photography, and Editing indictment of hero-worship and his portrayal of diverse forms of political failure reveal a growing pessimism in his works. But his style 1941 Who Has Been Rocking My Dream Boat is as masterful as ever, reaching a kind of austere grandeur reminis- 1941/42 Tinsel Tre cent of Byzantine mosaics. Few have blended political investigation 1942 Prisoner of Mars with a search for new forms of expression with such satisfying results. 1943 The Nest Ulysses Gaze is exclusively preoccupied with the problems of 1944 Escape Episode historical reconstruction and personal remembrance. The film, co-scripted by the legendary European screenwriter Tonino Guerra, carries out a nostalgic reconstruction of peaceful and colorful ethnic cohabitation at the balkan crossroads between orient and occident The narrative of the film breaks away from the linear not only time- wise, but also spatially, providing an ultimately subjective account of a personal experience of history and regionality In Ulysses'Gaze, Angelopoulus created the prefect cinematic language that allowed him to talk of an individual experience of history as superseding time and space. The remarkable use of elabo- rately manipulated long shots enables the narrative to include com- plex and magnificent subtleties. The mostly hand-held camera of ameraman Yorgos Arvanitis moves very slowly and is often posi- tioned in such a way that it reveals actions taking place in different semantic layers of the screen space. The events lose their objectivity and are constructed through the gaze of the onlooking protagonist. Older historical interpretations intersect with the perceived signifi of In 1995, Angelopoulos was one of for asked to participate in Lumiere and Company, a celebration of one hundred years of filmmaking with the invented by the Lumiere brothers. For this novelty film, each director was asked to create a film in three takes, a maximum of fifty two seconds in leng Though the film was largely forgettable, the inclusion of Angelopoulos among the forty representative filmmakers clearly shows his status in international film His 1998 film, Eternity and a Day, marked a departure in tone from much of his earlier work Less harsh and more accessible than his earlier films, Eternity and a Day is the story of an old and ill Greek writer who finds meaning in the last days of his life by helping a homeless Albanian child. A poetic film with dense and haunting
DIRECTORS, 4 ANGER th EDITION 29 fantasies of his characters. The sweep of a movie like Travelling Players, which includes songs and dances, is breathtaking. Its tale of an actors group circulating through Greece from 1939 to 1952 performing a pastoral play is transformed into a four-hour earth odyssey. Angelopoulos’s masterpiece was preceded by the haunting Days of ‘36. This political thriller about a murder in a prison proved a prelude to events of national importance. It is the director’s most radical use of off-screen space and off-screen sound, of the dialectic between the seen and the unseen. With its closed doors, whispering voices in corridors, and silhouettes running to and fro, it evokes the mystery that surrounds the exercise of power. Angelopoulos’s fifth film, Alexander the Great, breaks new ground: it deals with myth and develops the exploration of the popular unconscious already present in Travelling Players and The Hunters. At the turn of the twentieth century, a bandit is seen as the reincarnation of the Macedonian king. He kidnaps some English residents in Greece and leads them to the mountains. The kidnapper tries to blackmail the British government but ends up killing his hostages. Angelopoulos opposes several groups: the foreigners, the outlaws, some Italian anarchists who have taken refuge in Greece, and village people who try to establish a utopian community. The director’s indictment of hero-worship and his portrayal of diverse forms of political failure reveal a growing pessimism in his works. But his style is as masterful as ever, reaching a kind of austere grandeur reminiscent of Byzantine mosaics. Few have blended political investigation with a search for new forms of expression with such satisfying results. Ulysses’ Gaze is exclusively preoccupied with the problems of historical reconstruction and personal remembrance. The film, co-scripted by the legendary European screenwriter Tonino Guerra, carries out a nostalgic reconstruction of peaceful and colorful ethnic cohabitation at the Balkan crossroads between Orient and Occident. The narrative of the film breaks away from the linear not only timewise, but also spatially, providing an ultimately subjective account of a personal experience of history and regionality. In Ulysses’ Gaze, Angelopoulus created the prefect cinematic language that allowed him to talk of an individual experience of history as superseding time and space. The remarkable use of elaborately manipulated long shots enables the narrative to include complex and magnificent subtleties. The mostly hand-held camera of cameraman Yorgos Arvanitis moves very slowly and is often positioned in such a way that it reveals actions taking place in different semantic layers of the screen space. The events lose their objectivity and are constructed through the gaze of the onlooking protagonist. Older historical interpretations intersect with the perceived signifi- cance of newer ones. In 1995, Angelopoulos was one of forty international directors asked to participate in Lumière and Company, a celebration of one hundred years of filmmaking with the camera invented by the Lumière brothers. For this novelty film, each director was asked to create a film in three takes, a maximum of fifty two seconds in length. Though the film was largely forgettable, the inclusion of Angelopoulos among the forty representative filmmakers clearly shows his status in international film. His 1998 film, Eternity and a Day, marked a departure in tone from much of his earlier work. Less harsh and more accessible than his earlier films, Eternity and a Day is the story of an old and ill Greek writer who finds meaning in the last days of his life by helping a homeless Albanian child. A poetic film with dense and haunting imagery, it juxtaposes youth and age, national identity and language, patriotism and ethnic hatred to create an intensely human look at the meaning of life and its unlikely sources. —Michel Ciment, updated by Tina Gianoulis ANGER, Kenneth Nationality: American. Born: Santa Monica, California, 1930. Career: Played changeling in Max Reinhardt’s film A Midsummer Night’s Dream, 1934; studied tap-dancing in class including Shirley Temple, 1935; completed first film, 1941; after moving to Europe, first edition of Hollywood Babylon published in France, 1959; returned to U.S., 1962; following destruction of his film Lucifer Rising, placed an ad in Variety ‘‘In Memoriam Kenneth Anger 1947–1967,’’ and returned to Europe, 1967; completed second version of Lucifer Rising, 1974 (released 1980). Address: c/o American Federation of Arts Film Program, 41 E. 65th St., New York, NY 10021, U.S.A. Films (Conception, Direction, Photography, and Editing): 1941 Who Has Been Rocking My Dream Boat 1941/42 Tinsel Tree 1942 Prisoner of Mars 1943 The Nest 1944 Escape Episode Kenneth Anger
ANGER DIRECTORS, 4 EDItION 1945 Drastic Demise Interview in City Limits(London), 7 February 1986 1946 Escape Episode(sound version) Interview with Alkarim Jivani, in Time Out (London), 27 Febru 1947 Fireworks*(+ role as The Dreamer) ary 1991 1948 Puce Women(unfinished) Interview with Kate Haug, in Wide Angle(Baltimore), October 1996 1949 Puce Moment*, The Love That Whirls(unfinished) 1950 La Lune des Lapins*(Rabbit's Moon)(conception, d, and ed On ANGER: books- 951/52 Maldoror(unfinished) 1953 Eaux d'artifice*(+ costume design) Le Jeune Homme et la Battcock, Gregory, editor, The New American Cinema, New York, 1967 mort Youngblood, Gene, Expanded Cinema, New York, 1970 1954 Inauguration of the Pleasure Dome (+ role as Hecate 955 Thelema Abbey(conception, d, and ed only) Sitney, P. Adams, Visionary Film, New York, 1974 1962/63 Scorpio Rising* Hanhardt, John, and others, A History of the American Avant-Garde 1965 Kustom Kar Kommandos* Cinema. New York. 1976 Haller, Robert A, Kenneth Anger, St Paul, Minnesota, 1980 969 Invocation of My Demon Brother* 1971 Rabbit's Moon Burchfield, John, Kenneth Anger: The Shape of His Achievements New York. nd 1974 Lucifer Rising* 1980 Lucifer Rising*(second version)(+ role as Magus O Pray, Michael, and Jayne Pilling, Into the Pleasure Dome: The 1989 Mouse heaven Films of Kenneth Anger, London, 1990 On ANGER: articles- Note: indicates films contained and distributed in Angers definitive portfolio "The Magick Lantern Cycle. Filmography of Kenneth Anger, in Film Culture(New York), no. 31.1963/64 Other films Kelman, Kenneth, "Thanatos in Chrome, and P. Adams Sitney, Imagism in Four Avant-Garde Films. in Film Culture(New 985 He Stands in a Desert Counting the Seconds of His Life(role York ), winter 1963/64. as himself) Micha, Rene, '" Le Nouveau Cinema, in Les Temps modernes 1992 Holly abylon(for TV)(ad ( Paris),no.214,1964 993 Jonas in the Desert(role as himself) Kelman, Kenneth, Appendix to Thanatos in Chrome, in Film 1998 Busby Berkeley: Going through the Roof(for TV)(role as Culture(New York), Spring 1964 himself):Donald Cammell: The Ultimate Performance Alexander, Thomas, "San Francisco's Hipster Cinema, in Film (role as himself) Culture(New York), no 44, 1967. neth Anger, in December(New York), Publications Rayns, Tony, " Lucifer: A Kenneth Anger Kompendium, in Cinema Cambridge), October 1969 By ANGER: books- Sitney, P. Adams, The Avant-Garde: Kenneth Anger and George Hollywood Babylon, Phoenix, Arizona, 1965; reprinted San Fran- Mekas, Jonas, Richard Whitehall, and P. Adams Sitney, Three Notes on Invocation of My Demon Brother, in Film Culture isco. 1975 New York), winter/Spring 1970 Magick Lantern Cycle: A Special Presentation in Celebration of the quinox Spring 1966. New York, 1966 Magny, Joel, ""Collectif jeune cinema: 3e nuit blanche, in Cinema (Paris), April 1972. Hollywood Babylon 1, New York, 1984 Anger at Work, in Cinema Rising, April 1972 Rowe, C," Illuminating Lucifer, in Film Quarterly(Berkeley), By ANGER: articles- Saslow, James, ""Kenneth Anger: Holding a Magick Lantern up to the Interview in Spider Magazine, v. 1, no. 13, 1965 Future, in Advocate, 23 July 1981 Interview in Film Culture(New York), Spring 1966. Hardy, Robin, Kenneth Anger: Master in Hell, and Michael Wade, Article in Filmmakers on Filmmaking, edited by Harry Geduld, Kenneth Anger: Personal Traditions and Satanic Pride, in body Bloomington, Indiana, 1967. Politic, April 1982 Interview with Bruce Martin and Joe Medjuck, in Take One(Montr- Hoberman, J, " Sympathy for the Devil, in American Film(Wash eal), August 1967 ington, D. C), March 1981. Interview with Lenny Lipton, in Filmmakers Newsletter(Ward Hill ees, w.C., ""Before Lucifer: Preternatural Light in the Films of Massachusetts ), November 1967. Kenneth Anger, ' in Cine-Tracts(Montreal), Summer-Fall 1982 Correspondence between Kenneth Anger and Paul Johnston, in Film Rayns, Tony," The Elusive Lucifer, in Monthly Film Bulletin Culture(New York), nos 70-71, 1983 (London), September 1982 Interview with J. English, in On Film(Los angeles), Summer 1983 Kenneth Anger, in Film Dope (London), March 1988
ANGER DIRECTORS, 4th EDITION 30 1945 Drastic Demise 1946 Escape Episode (sound version) 1947 Fireworks* (+ role as The Dreamer) 1948 Puce Women (unfinished) 1949 Puce Moment*; The Love That Whirls (unfinished) 1950 La Lune des Lapins* (Rabbit’s Moon) (conception, d, and ed only, + prod. design) 1951/52 Maldoror (unfinished) 1953 Eaux d’artifice* (+ costume design); Le Jeune Homme et la mort 1954 Inauguration of the Pleasure Dome* (+ role as Hecate) 1955 Thelema Abbey (conception, d, and ed only) 1962/63 Scorpio Rising* 1965 Kustom Kar Kommandos* 1969 Invocation of My Demon Brother* 1971 Rabbit’s Moon 1974 Lucifer Rising* 1980 Lucifer Rising* (second version) (+ role as Magus) 1989 Mouse Heaven Note: * indicates films contained and distributed in Anger’s definitive portfolio ‘‘The Magick Lantern Cycle.’’ Other Films: 1985 He Stands in a Desert Counting the Seconds of His Life (role as himself) 1992 Hollywood Babylon (for TV) (advisor) 1993 Jonas in the Desert (role as himself) 1998 Busby Berkeley: Going through the Roof (for TV) (role as himself); Donald Cammell: The Ultimate Performance (role as himself) Publications By ANGER: books— Hollywood Babylon, Phoenix, Arizona, 1965; reprinted San Francisco, 1975. Magick Lantern Cycle: A Special Presentation in Celebration of the Equinox Spring 1966, New York, 1966. Hollywood Babylon II, New York, 1984. By ANGER: articles— Interview in Spider Magazine, v. 1, no. 13, 1965. Interview in Film Culture (New York), Spring 1966. Article in Filmmakers on Filmmaking, edited by Harry Geduld, Bloomington, Indiana, 1967. Interview with Bruce Martin and Joe Medjuck, in Take One (Montreal), August 1967. Interview with Lenny Lipton, in Filmmakers Newsletter (Ward Hill, Massachusetts), November 1967. Correspondence between Kenneth Anger and Paul Johnston, in Film Culture (New York), nos. 70–71, 1983. Interview with J. English, in On Film (Los Angeles), Summer 1983. Interview in City Limits (London), 7 February 1986. Interview with Alkarim Jivani, in Time Out (London), 27 February 1991. Interview with Kate Haug, in Wide Angle (Baltimore), October 1996. On ANGER: books— Battcock, Gregory, editor, The New American Cinema, New York, 1967. Youngblood, Gene, Expanded Cinema, New York, 1970. Sitney, P. Adams, Visionary Film, New York, 1974. Hanhardt, John, and others, A History of the American Avant-Garde Cinema, New York, 1976 Haller, Robert A., Kenneth Anger, St. Paul, Minnesota, 1980. Burchfield, John, Kenneth Anger: The Shape of His Achievements, New York, n.d. O’Pray, Michael, and Jayne Pilling, Into the Pleasure Dome: The Films of Kenneth Anger, London, 1990. On ANGER: articles— ‘‘Filmography of Kenneth Anger,’’ in Film Culture (New York), no. 31, 1963/64. Kelman, Kenneth, ‘‘Thanatos in Chrome,’’ and P. Adams Sitney, ‘‘Imagism in Four Avant-Garde Films,’’ in Film Culture (New York), Winter 1963/64. Micha, Rene, ‘‘Le Nouveau Cinéma,’’ in Les Temps modernes (Paris), no. 214, 1964. Kelman, Kenneth, ‘‘Appendix to Thanatos in Chrome,’’ in Film Culture (New York), Spring 1964. Alexander, Thomas, ‘‘San Francisco’s Hipster Cinema,’’ in Film Culture (New York), no. 44, 1967. Cornwall, Regina, ‘‘On Kenneth Anger,’’ in December (New York), no. 1, 1968. Rayns, Tony, ‘‘Lucifer: A Kenneth Anger Kompendium,’’ in Cinema (Cambridge), October 1969. Sitney, P. Adams, ‘‘The Avant-Garde: Kenneth Anger and George Landow,’’ in Afterimage (Rochester, New York), no. 2, 1970. Mekas, Jonas, Richard Whitehall, and P. Adams Sitney, ‘‘Three Notes on Invocation of My Demon Brother,’’ in Film Culture (New York), Winter/Spring 1970. Magny, Joel, ‘‘Collectif jeune cinéma: 3e nuit blanche,’’ in Cinéma (Paris), April 1972. ‘‘Anger at Work,’’ in Cinema Rising, April 1972. Rowe, C., ‘‘Illuminating Lucifer,’’ in Film Quarterly (Berkeley), Summer 1974. Saslow, James, ‘‘Kenneth Anger: Holding a Magick Lantern up to the Future,’’ in Advocate, 23 July 1981. Hardy, Robin, ‘‘Kenneth Anger: Master in Hell,’’ and Michael Wade, ‘‘Kenneth Anger: Personal Traditions and Satanic Pride,’’ in Body Politic, April 1982. Hoberman, J., ‘‘Sympathy for the Devil,’’ in American Film (Washington, D.C.), March 1981. Wees, W. C., ‘‘Before Lucifer: Preternatural Light in the Films of Kenneth Anger,’’ in Cine-Tracts (Montreal), Summer-Fall 1982. Rayns, Tony, ‘‘The Elusive Lucifer,’’ in Monthly Film Bulletin (London), September 1982. ‘‘Kenneth Anger,’’ in Film Dope (London), March 1988