ReFocus: The Films of Antoinetta Angelidi

Angelidi's work has become synonymous with Greek Experimental Cinema, while her films and her theoretical writings have been the subject of numerous film courses, critical essays and retrospectives. The inversion and juxtaposition of codes, as well as the dream-mechanism and the uncanny, comprise her main creative strategies. The complexity of cinematic heterogeneity and the narrative multiplicity of different filmic elements which characterize her work are examined in depth in this edited collection dedicated to Antoinetta Angelidi's oeuvre.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vi
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List of Figures
pp vii-viii
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Notes on Contributors
pp ix-xi
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Acknowledgements
pp xii-xiv
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Prolegomenon
pp 1-12
- By Penny Bouska
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Part 1 - Feminism and the Avant-Garde
pp 13-14
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Chapter 1 - Weird Mothers: The Feminist Uncanniness of Antoinetta Angelidi’s Topos
pp 15-44
- By Rea Walldén
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Chapter 2 - ‘Every Element in a Film Narrates’: The Complex Language of Heterogeneity in Idées Fixes / Dies Irae as a (Feminist) Critique to the Practice of Methodological Categorisation in Avant-garde Film History
pp 45-64
- By Fil Ieropoulos
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Part 2 - Concepts and Interpretations
pp 65-66
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Chapter 3 - Thief or Reality: Visual Dialectics on Death Instincts
pp 67-90
- By Penny Bouska
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Chapter 4 - Childhood, Desire and Identity in The Hours
pp 91-105
- By Christina Adamou
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Chapter 5 - Erased Ghost: The Deriddean Spectrality of Angelidi’s Signs in Idées Fixes / Dies Irae
pp 106-123
- By Ioannis Mazarakis
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Chapter 6 - The Cinematic Sublime in Antoinetta Angelidi’s Thief or Reality
pp 124-140
- By Evdokia Stefanopoulou
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Part 3 - Means and Media
pp 141-142
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Chapter 7 - From Orchestrated Noise to Elaborated Silence: The Audiovisuality of Antoinetta Angelidi’s Films
pp 143-163
- By Electra Venaki
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Chapter 8 - Dreyer, Magritte and Other Obsessions: Figural Invention in Antoinetta Angelidi’s Idées Fixes / Dies Irae – Variations on the Same Subject
pp 164-185
- By Kyriakos Dionysopoulos
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Chapter 9 - Antoinetta Angelidi: The Visual Gaze
pp 186-196
- By Calliope (Pepy) Rigopoulou
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Giving Birth to her Films: Wandering with Antoinetta Angelidi
pp 199-221
- By Rea Walldén
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Interview with Antoinetta Angelidi
pp 197-198
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Appendix
pp 222-229
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Filmography
pp 230-232
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Index
pp 233-238
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ReFocus: The Films of Antoinetta Angelidi

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of Figures
pp vii-viii

Notes on Contributors
pp ix-xi

Acknowledgements
pp xii-xiv

Prolegomenon
pp 1-12

Part 1 - Feminism and the Avant-Garde
pp 13-14

Chapter 1 - Weird Mothers: The Feminist Uncanniness of Antoinetta Angelidi’s Topos
pp 15-44

Chapter 2 - ‘Every Element in a Film Narrates’: The Complex Language of Heterogeneity in Idées Fixes / Dies Irae as a (Feminist) Critique to the Practice of Methodological Categorisation in Avant-garde Film History
pp 45-64

Part 2 - Concepts and Interpretations
pp 65-66

Chapter 3 - Thief or Reality: Visual Dialectics on Death Instincts
pp 67-90

Chapter 4 - Childhood, Desire and Identity in The Hours
pp 91-105

Chapter 5 - Erased Ghost: The Deriddean Spectrality of Angelidi’s Signs in Idées Fixes / Dies Irae
pp 106-123

Chapter 6 - The Cinematic Sublime in Antoinetta Angelidi’s Thief or Reality
pp 124-140

Part 3 - Means and Media
pp 141-142

Chapter 7 - From Orchestrated Noise to Elaborated Silence: The Audiovisuality of Antoinetta Angelidi’s Films
pp 143-163

Chapter 8 - Dreyer, Magritte and Other Obsessions: Figural Invention in Antoinetta Angelidi’s Idées Fixes / Dies Irae – Variations on the Same Subject
pp 164-185

Chapter 9 - Antoinetta Angelidi: The Visual Gaze
pp 186-196

Giving Birth to her Films: Wandering with Antoinetta Angelidi
pp 199-221

Interview with Antoinetta Angelidi
pp 197-198

Appendix
pp 222-229

Filmography
pp 230-232

Index
pp 233-238

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ReFocus: The Films of Antoinetta Angelidi

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