Angelopoulos’ distict style is one that allows his films to simultaneously embody autobiographical and universal themes. I admittedly found the film difficult to watch at first. The techniques used by most successful Hollywood directors tend to favor excessive action and sound, “reaching immediately for the climax of each scene” and ...
... middle of paper ...
... everyone in the Balkans, Europe, and the world.
Angelopoulos, Thodōros, and Dan Fainaru. Theo Angelopoulos : interviews. Jackson: University Press of Mississippi, 2001. Web. December 2013.
Fox, Margalit. “Theo Angelopoulos, Greek Filmmaker, Dies at 76.” New York Times. 25 January 2012. Web. December 2013.
Grunes, Dennis. “Ulysses’ Gaze.” Grunes. Wordpress. Web. December 2013.
Iordanova, Dina. “Conceptualizing the Balkans in Film.” Slavic Review. 55.4 (Winter 1996): 882-190. Web. December 2013.
Maslin, Janet. “Ulysses, Ozymandias And Lenin in the Balkans.” New York Times. 17 January 1997. Web. December 2013.
Papadogiannis, Nikolaos. "Between Angelopoulos and The Battleship Potemkin: Cinema and the Making of Young Communists in Greece in the Initial Post-dictatorship.” European History Quarterly 42.2 (2012): 286-308. Web. December 2013.
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