ISSN: 20523971
First published in 2015
2 issues per volume
Volume 2 Issue 2
Cover Date: October 2016
Sex, violence, dogs and the impossibility of escape: Why contemporary Greek film is so focused on family
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Authors:  Tatjana Aleksić 
DOI: 10.1386/jgmc.2.2.155_1

Keywords
family,violence,crisis,sex,discipline,surveillance,Greece

Abstract
The article reads two recent Greek films, Kinodontas/Dogtooth (Lanthimos, 2009) and Miss Violence (Avranas, 2013), as offering a critique of the model of family repression. It argues that the films in their seemingly different aesthetic choices make similar points about the familial necropolitics that does not merely reflect social pathologies but likely also produces them. The families in both films are exposed to forms of control by a fatherly figure who dominates and almost entirely determines the content of the families’ daily lives. They inhabit lives and living spaces that visually, as well as narratively, offer no space for dissent or escape. However, the family members themselves, and especially their mother figures, are likewise perceived as semi-willing accomplices in the repressive scheme, as afraid of the male tyrants, as of the idea of their own liberation. Overall, the article argues that while the family control mechanisms presented in these and other recent Greek films can be read in response to the contemporary Greek crisis, this need not be the case, as the reach and implications of their critique are far wider.
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