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• W1559202686 abstract "Click to increase image sizeClick to decrease image size Notes 1. As quoted in Abadzi and Tasoulas Abatzi, Helen and Tasoulas, Emmanuel. 1998. Indoprepon Apokalypsi, Athens: Atrapos. [Google Scholar], 1998, 44. 2. The title of the book translates loosely as ‘Revelation of the Indian‐like’ and it refers to popular songs imitating the tunes of Indian films. The book proposes causal links between Indian films imported and the popularity of the ‘Indian‐like’ music: the imported films offered the raw material for the (imitating or plagiarizing) composers who exploited the popularity of the films (and their tunes) with Greek audiences. 3. Kouanis Kouanis, Panos. 2001. Athens: Finatec. I Kinimatografiki Agora stin Ellada, 1944–1999 (The film market in Greece, 1944–1999) [Google Scholar]' figures are equally unreliable put together from a variety of sources including magazines and official (but not necessarily accurate) statistics. 4. See Thomas Guback Guback, Thomas. 1969. The International Film Industry: Western Europe and America Since 1945, Bloomington & London: Indiana University Press. [Google Scholar], 1969, esp. pp. 82–90. Guback Guback, Thomas. 1969. The International Film Industry: Western Europe and America Since 1945, Bloomington & London: Indiana University Press. [Google Scholar] notes that small distributors in America are being ‘squeezed out’ in the late 1960s after a period of significant activity. 5. Abadzi and Tasoulas Abatzi, Helen and Tasoulas, Emmanuel. 1998. Indoprepon Apokalypsi, Athens: Atrapos. [Google Scholar] offer an illuminating table comparing the original titles of the 111 films that they have identified as exhibited in Greece with the Greek titles; the vast majority of the Greek titles are often completely unrelated to the originals (171–175). 6. In fact an Indian/USSR co‐production, see Sudha Rajagopalan Rajagopalan, Sudha. 2006. “Emblematic of the Thaw: Early Indian Films in Soviet Theatres.”. South Asian Popular Culture, 4: 83–100. [Taylor & Francis Online] , [Google Scholar], 2006. 7. See Soldatos Soldatos, Giannis. 1989. Athens: Aigokeros. Istoria tou Ellinikou Kinimatografou (History of Greek Cinema). Vol. 2 [Google Scholar]; Kartalou Kartalou, Athina. 2002. “Protasi gia ena Plaisio Anagnosis ton eidon ston Elliniko Kinimatografo” (Proposing a Framework for the Reading of Genre in Greek Cinema).. Optikoakoustiki Koultoura, 1: 25–35. [Google Scholar]. 8. New releases were usually exhibited in first run cinemas with the second and third run venues showing older films. The system was very similar to the Italian one detailed by Chris Wagstaff Wagstaff, Christopher. 1998. “Italian genre films in the world market.”. In Hollywood & Europe: Economics, Culture, National Identity 1945–95, Edited by: Nowell‐Smith, G and Ricci, S. n. 74–85. London: BFI. [Google Scholar] (1992). 9. Soldatos Soldatos, Giannis. 1989. Athens: Aigokeros. Istoria tou Ellinikou Kinimatografou (History of Greek Cinema). Vol. 2 [Google Scholar] suggests that in the 1960s illiteracy was running at 18% and semi‐literacy at 35%; (15). 10. This only refers to Athens and the first and second run venues; one can assume a much better overall performance if third run venues and the rest of Greece as well as the considerable re‐runs of the film are taken into consideration. There were only two foreign films that exceeded Mother India in the box office that year: Solomon and Sheba (King Vidor, USA, 1959) in fifth place and Some Like It Hot (Billy Wilder, USA, 1959) in seventh place (Kouanis Kouanis, Panos. 2001. Athens: Finatec. I Kinimatografiki Agora stin Ellada, 1944–1999 (The film market in Greece, 1944–1999) [Google Scholar] 249). 11. There is a vast bibliography on the role of song and dance sequences in Indian cinema (see for example Vasudevan Vasudevan, Ravi. 1995. “Adressing the spectator of a ‘third world’ national cinema: the Bombay ‘social’ film of the 1940s and 1950s.”. Screen, 36: 305–24. [Google Scholar] and Thomas Thomas, Rosie. 1985. “Indian cinema – pleasures and popularity”.. Screen, 26: 116–31. [Crossref], [Web of Science ®] , [Google Scholar]. Equally the ‘arbitrary’, ‘autonomous’ nature of musical numbers in Greek cinema has been identified by many critics (see for example, Eleftheriotis, 2001; Soldatos Soldatos, Giannis. 1989. Athens: Aigokeros. Istoria tou Ellinikou Kinimatografou (History of Greek Cinema). Vol. 2 [Google Scholar]; Karakitsou‐Dougé Karakitsou‐Dougé, Niki. 2002. “To Elliniko Melodrama: I Aisthitiki tis Ekplixis” (Greek melodrama: the aesthetic of surprise).. Optikoakoustiki Koultoura, 1: 37–52. [Google Scholar]). 12. My translation. 13. While censorship is not considered in the present essay, it is worth noting that the practice of ‘trimming’ films to fit screening schedules (as discussed above in relation to Indian films) was wide spread in Greece. 14. See for example, Giorgios Papadakis Papadakis, Giorgios. 1999. “Indika … ki agirista”.. Difonon, 54: 48–51. [Google Scholar], 1999; the title of his article can be loosely translated as ‘Indian and unpaid’, a pan on the slang expression ‘daneika ki agirista’ referring to unpaid debts'. 15. ‘The “Interval” is the ten‐minute break in every Indian popular film after eighty minutes of film screening. Lights are turned on, the projector is turned off, and viewers step out of the theatre to smoke a cigarette, eat a snack, or visit the restroom’ (Gopalan Gopalan, Lalitha. 2002. Cinema of Interruptions, London: BFI. [Crossref] , [Google Scholar] 19). 16. For a strikingly similar description of the open‐air cinema viewing experience, see Eleftheriotis, 2001, 189–92. 17. It must be recognised, however, that the dependency of the Indian music industry on cinema was far more extensive than was the case with Greece: ‘Until the early 1980s, these film songs were the only form of popular music in India that was produced, distributed, and consumed on a mass scale, and even today film music accounts for the majority – nearly 80% – of music sales in India’ (Ganti Ganti, Tejaswini. 2004. Bollywood: A Guidebook to Popular Hindi Cinema, New York & London: Routledge. [Crossref] , [Google Scholar] 78). 18. Thousands of Greek communists and ‘sympathisers’ were imprisoned or exiled in remote islands of the Aegean. 19. Abadzi and Tasoulas Abatzi, Helen and Tasoulas, Emmanuel. 1998. Indoprepon Apokalypsi, Athens: Atrapos. [Google Scholar] categorize Greek versions of Indian songs according to degrees of similarity. One version of ‘Mera Joota Hai Japani’ released in 1963 is characterised as a ‘3’ (‘versions where Indian and Greek musical themes co‐exist’) whereas a 1964 version is a ‘1’ (‘significant similarities’). They also identify another five Greek songs with clear links to Shree 420 (178–88). 20. For a more extensive analysis of the international orientation of Greek popular culture in the 1960s see Eleftheriotis, 2001, 188, 193–95. 21. See Tomai‐Konstantopoulou Tomai‐Konstantopoulou, Fotini, ed. 2004. Athens: Papazisi. I Metanasteusi ston Kinimatografo (Emigration in Cinema) [Google Scholar]. 22. Vasilis Tsitsanis, perhaps the most respected in Greece composer of popular and ‘rebetiko’ songs, is quoted as saying: ‘I was trying my hardest to write songs to compete with theirs. How could I know that their songs were Indian? Despite all my efforts, I couldn't compete. Nobody can compete against Indian music because it is infinite.’ (Papadakis Papadakis, Giorgios. 1999. “Indika … ki agirista”.. Difonon, 54: 48–51. [Google Scholar] 51). 23. Abadzi and Tasoulas Abatzi, Helen and Tasoulas, Emmanuel. 1998. Indoprepon Apokalypsi, Athens: Atrapos. [Google Scholar] esp. pp. 117–37; Papadakis Papadakis, Giorgios. 1999. “Indika … ki agirista”.. Difonon, 54: 48–51. [Google Scholar]." @default.
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