ABSTRACT

This paper applies a statistical style analysis on one of Theo Angelopoulos’s most prominent stylistic features, camerawork, in his acclaimed film Eternity and a Day (1998). Then, it contextualizes the results in order to trace Angelopoulos’s cultural background and his limits as filmmaker. At the end, through the statistics it is revealed the signature style of Angelopoulos, that is a ‘real’ complicated space and a concrete piece of time, lasting minutes, with no effects and no editing, which is depicted by a moving camera in a constant process of forming an artificial ‘stage’ for contemplation. This paper is a contribution to how Angelopoulos further developed film auteurism and the political cinematic modernism of his generation.

Keywords: Angelopoulos, camerawork, cinematography, Greek cinema, statistics, style