Ελίζα-Αννα Δελβερούδη, Οι Νέοι στις κωμωδίες του Ελληνικού κινηματογράφου 1948–1974 (review)

In this film studies book, Eliza-Anna Delveroudi provides a detailed overview of an original and, until now, overlooked subject—the representation of youth in an impressive 510 postwar Greek comedies, spanning the period from 1948 to 1974. Through a well-researched and systematic account of narrative patterns, Delveroudi explicitly states her main objective to trace historically and thematically the evolution of “youth” within its cinematic context, on-screen characterization, and dramatization. The book is intended predominantly for undergraduate students, but is also suitable for postgraduate students and scholars who want to be introduced to specific aspects of Greek cinema. Since its language is accessible, it might also appeal to the non-academic cinephile.

Apart from the Introduction and the Epilogue, the body of the book is organized into two parts, containing seven chapters. It also includes a list of film photographs, followed by the actual photographs, a concise filmography arranged chronologically, an index of names and films, and a brief English summary, useful to the non-Greek reader. In the Introduction the author explains the general objectives, the bibliographical limitations, the chosen methodological approach, and the structure of the book. In the first chapter, Delveroudi defines the chosen period and films, discussing the genre of comedy and placing it within the Greek context, specifing the writer’s critical choices and limitations (both external and self-imposed), and concluding with an overview of the production companies and their policies. In Chapter Two, she argues about comedy as historical evidence, discusses stereotypes and realism in Greek comedy, defines the term “youth” as a category in its cinematic existence and performance, and draws parallels between the persona of the star and that of their “young” on-screen character.

In the first chapter of the book’s second part, Delveroudi investigates the young person’s character as an organic part of the family and his position in it, as well as his/her role and dynamics in the domestic environment. Education is the subject of Chapter Two where the author explores the placement of young people in high school, university, and national service. In the third chapter she examines youth and their attitudes toward love, marriage, and relationship challenges, both during courtship and afterwards, while in Chapter Four she provides a detailed index of the types of professions enacted by the cinematic youth and discusses aspects of their on-screen persona as socio-economic entities. In the fifth chapter Delveroudi categorizes and discusses the on-screen pastimes of youth. The Epilogue is a summary of the most important points and arguments presented in the main two parts, highlighting consistencies and changes in the cinematic representation of “youth.” Overall, both the general structure of the book and the transition from one part to another are clear and well-thought out.

Despite the fact that Delveroudi relies heavily on presenting a detailed narrative description of a specific cinematic type, she introduces and utilizes theoretical contextual frameworks, such as that of authorship, audience, genre, gender, film industry/studio, stardom, theater, socio-political history (particularly during the military junta), and economic factors such as tourism, all related to the Greek context. These multiple frameworks allow a plethora of critical possibilities to be tested and Delveroudi is quick to signal interesting and often more complex perspectives in relation to the subject. Unfortunately, at times they are neither fully integrated with the filmic text discussed nor utilized systematically to their full potential, due to space limitations.

In the Introduction, Delveroudi highlights the notion that cinema as a medium, and film as its direct product, can be used as valid historical sources, reflecting society and providing information on ideologies and norms of past times. This is a well-founded observation, which nevertheless presumes the critical ability to identify clearly and separate cinematic fiction from reality, most often with the use of supplementary historical sources. Within this context the book’s success varies as assumptions are sometimes drawn without adequate...