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Identifier 000462442
Title Τα πολλαπλά πρόσωπα της ελληνικής οικογένειας στην ελληνική κινηματογραφική κωμωδία / Αναστασία Δαδούση.
Alternative Title The multiple faces of the Greek family in the Greek film comedy
Author Δαδούση, Αναστασία
Thesis advisor Μήνη Παναγιώτα
Reviewer Λεοντάρης Γιάννης
Σταυρακοπούλου Άννα
Μικέ Μαρία
Πολυχρονάκης Δημήτρης
Κοσμά Υβόν-Αλεξία
Τσαντηρόπουλος Άρης
Abstract The dissertation “The multiple faces of the Greek family in Greek film comedy” examines how the family is represented through famous Greek comedies of the 1950’s until the1970’s. The dissertation’s goal is to examine the movies’ ideology as far as the representation of the Greek family is concerned, taking also into consideration the image of the Greek family in reality. The basic point is that movies belong to a wider cultural and social frame. The main research question is if the Greek film comedy manages to overthrow or ultimately follows the Greek society and its conservative values. Similarly, other relevant questions include what the movies choose to represent, which themes do they focus on, how the family’s roles are represented, what kind of solutions do the comedies propose and which values do they promote? Another item that is also examined is if there is an evolution through one decade to another. The thesis is organized in two parts: one historical and the other a film analysis. The first part that is based on four unities shows the image of the Greek family historically across the three decades (1950-1970). This part utilizes historical, ethnographic, anthropologic, social and loyal studies, and papers of the era. The themes under focus include the Greek marriage and its elements such the matchmaking, the dowry and the engagement. Changes from one decade to the other and from the rural family to the urban are also examined. The family’s types and their kinship are also themes that are of concern. The second part is separated into four chapters the organization of which is concerned with the central theme of the comedies and basic components of family’s institution and the Greek family customs. The first chapter is about families without children. The families are urban except for the film Marriage Greek Style (Georgiadis, 1964) that is examined as case study. In these kinds of comedies, the husband or the wife – mainly the husband – is obsessed with a passion hence making trouble in the relationship of the couple. Such problems are infidelity, jealousy, stinginess and women’s ambition. Common elements and different ways of using the plot are examined through analysis. The second chapter is about families with children. The chapter opens with The aunt from Chicago (Sakellarios, 1957) and Thodoros with the carbine (Dimopoulos, 1963). The two films are examined via the conflict tradition-modernity. The next unit is about families in chaos. Chaos is seen as a result of the metaphorical or the real absence of the mother or the real father’s absence. Another reason of conflict has to do with the antagonism of the sexes and the imbalance between west and oriental issues as they are represented in the comedy A crazy crazy family (Dimopoulos, 1965). The chapter concludes with the film Chorapha Family (Asimakopoulos, 1965) as a case study. The film is close to commedia all’ italiana and is critical about real social problems such as illegal adoptions and poverty. The third chapter examines the image of the brother using five comedies that are examined in parallel. More specifically, the ways via which the brother is represented, how the representation of women/sisters changes during the years and what exactly the comedies propose as far as dowry and matchmaking are of direct interest The chapter concludes with Atsidas (Dalianidis, 1962) which is examined as case study, specifically as a satire of the image of the protective Greek brother. In the fourth chapter the area of interest has to do with kinship. Two types of comedy are mentioned in this field: those in which the theme of the vendetta is central and others that represent the relatives as an obstacle to the happiness of the hero/heroine. The conclusion is briefly mention what has already arisen in the chapters. Wider results are also included. Overall, Greek film comedy does not manage to make a difference as it was following the conservative values of Greek society. Nevertheless, the way women are represented has improved through and over the years. Moreover, the husband’s power in the household has also decreased, very noticeably near the 1965. After 1965, other problems, such as cases of single parents, widows and widowers are also represented. Some of the modern elements of Greek comedy are the rejection of dowry and matchmaking and also the objection towards sexual harassment. Furthermore, kinship is a matter that is approached critically. As for the relation between reality and film representation, Greek comedy, by choosing specific themes, was essentially reproducing them again and again. Directors who differentiated themselves from this frame include Vasilis Georgiadis, George Skalenakis and Yannis Dalianidis.
Language Greek
Subject Film representation
Greek comedy
Greek family
Ελληνική κωμωδία
Ελληνική οικογένεια
Κινηματογραφική αναπαράσταση
Issue date 2023
Collection   School/Department--School of Philosophy--Department of Philology--Doctoral theses
  Type of Work--Doctoral theses
Permanent Link https://elocus.lib.uoc.gr//dlib/0/d/d/metadata-dlib-1707475725-611973-15789.tkl Bookmark and Share
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