Elena Christopoulou writes about films, and about people, news and issues relating to films. She also works as the Head of the Foreign Press Office of the Thessaloniki International Film Festival and the Thessaloniki Documentary Festival. She has edited the books Ulrich Seidl (TIFF, 2011) and Aki Kaurismäki (TIFF, 2012). She holds an MA in Video and a BA in Film Studies, both from Middlesex University, London.
Reading the book World Film Locations: Athens – part of Intellect Books’ World Film Locations series that includes, among others, New York, Paris, and London – feels like riding a hop-on hop-off bus through time and, of course, space. The editors write: “A kind of urban nostalgia, a constant comparison between the present and the past of the city can be traced in many of the texts that comment on the films and in the photos of the locations in their contemporary state, attesting to an aesthetic and political re-evaluation of cinematic urban forms of the past and present”.
This constant comparison is evident in everyday life, still and always: A friend walking his dog in front of the Acropolis museum was approached by a family of Russian tourists. He was asked for directions towards the “Old Athens”. He tried to define what type of “old” they were looking for. Ancient old – meaning ruins and marbles and the Parthenon – or the Old City like Plaka and Monastiraki? Alas, as much as my friend tried, the Russians’ command of the English language was quite poor so that the communication ended up fruitless. Yet the city of Athens is truly old. It can afford to be divided into periods of ancient, post-revolutionary, pre-modern, quasi-modern, and what-have-you. Cinema on the other hand is – in comparison and as the cliché has it – pretty much like a baby. That does not mean, however, that it does not have a past of its own, not that it is any less intriguing. Together, they make for an exhilarating combination. ... More