Masculinity and Gender in Greek Cinema, 1949-1967 : 1949-1967

Between the end of the Civil War (1949) and the colonels°F military coup (1967) Greece underwent tremendous political, economic, and social transformations which influenced gender identities and relations. During the same period, Greece also witnessed an unparalleled bloom in cinema productions. Based on the recently established paradigm that cinema and popular culture viewed as social institutions can inform a historical study, Masculinity and Gender in Greek Cinema explores the relationship between Greek cinema and the society within which it was created and viewed. The book’s double analytical perspective on cinema and masculinity advances both the study of cinema and popular culture as historical sources, and of masculinity and gender relations as valid categories of historical analysis. Cinema as a medium of representation, not only managed to reflect on these issues, it also provided a whole new field for their interpretation. This is the first study to explore the dramatic transformation of masculinity and gender roles, as represented in Greek cinema during the turbulent 1950s and 1960s. Cover Half Title Title Copyright Dedication Contents Acknowledgements Notes for the Reader Prologue 1 Masculinity and Gender Relations in Greece: 1949–67 Greece as presented by social anthropologists Anthropological views of gender: An incomplete picture Greek society in transition and change Redefining gender relations Youth: Opportunities, challenges, continuities and new cultures Rethinking masculinity and gender in post-war Greek society 2 Greek Cinema: 1949–67 Towards a Greek Hollywood: Films, audiences, and companies in post-war Greece The role of the state Reflections of social change Greek popular films: Actors, genres, themes and characters Masculinities, femininities and the rise of a local star system Youth in films: The representation of a crisis Rethinking masculinity, gender and the development of Greek cinema 3 Masculinity and Locality: Rural vs Urban Gender Identities Behind the main story: Representing rural and urban societies Honour, shame and the ‘omnipresent neighbourhood’ Breaking the context ... or not? Subordinating hegemonies: Masculinity in crisis ‘Primitive’ violence Rethinking masculinity and locality 4 Money, Pride or Both? Masculinity and Class Idealizing the working-classes, demonizing the upper classes Class transition: Shifting between hegemony and subordination Renegotiating tradition in the view of a problematic modernity Leading men to crisis: A female task Rethinking masculinity and class 5 Modern Men: Masculinity and the Challenges of a New Age Profitable bodies: Embodying a new morality Challenging ‘undisputed’ hierarchies A generation gap in Greece: Women as agents of change Conflicting typologies: The traditional, the modern and the ‘in-betweens’ Rethinking masculinity and modernity Epilogue Appendix Primary Sources Bibliography Index Between The End Of The Civil War (1949) And The Colonels' Military Coup (1967) Greece Underwent Tremendous Political, Economic, And Social Transformations Which Influenced Gender Identities And Relations. During The Same Period, Greece Also Witnessed An Unparalleled Bloom In Cinema Productions. Based On The Recently Established Paradigm That Cinema And Popular Culture Viewed As Social Institutions Can Inform A Historical Study, Masculinity And Gender In Greek Cinema Explores The Relationship Between Greek Cinema And The Society Within Which It Was Created And Viewed.--publisher Website. Prologue -- Masculinity And Gender Relations In Greece: 1949-1967 -- Greek Cinema: 1949-1967 -- Masculinity And Locality: Rural Vs. Urban Gender Identities -- Money, Pride Or Both? Masculinity And Class -- Modern Men: Masculinity And The Challenges Of A New Age -- Epilogue. Achilleas Hadjikyriacou. Includes Bibliographical References And Index. Between the end of the Civil War (1949) and the colonels' military coup (1967) Greece underwent tremendous political, economic, and social transformations which influenced gender identities and relations. During the same period, Greece also witnessed an unparalleled bloom in cinema productions. Based on the recently established paradigm that cinema and popular culture viewed as social institutions can inform a historical study, this book explores the relationship between Greek cinema and the society within which it was created and viewed. The book's double analytical perspective on cinema and masculinity advances both the study of cinema and popular culture as historical sources, and of masculinity and gender relations as valid categories of historical analysis. Cinema as a medium of representation, not only managed to reflect on these issues, it also provided a whole new field for their interpretation