ABSTRACT

This article explores aspects of the Greek crisis through the reception of its biggest blockbuster film Ένας άλλος κόσμος [Worlds Apart] by Christopher Papakaliatis (2015). Based on articles, interviews, reviews and virtual ethnography findings, it argues that before the crisis Papakaliatis’ work had largely encapsulated through millennium’s careless life politics. During the crisis, however, Papakaliatis shifted to political topics, combining emotive and anti-austerity rhetorics with pretty aesthetics and abundant referents to the pre-crisis prosperity. Blending aesthetics of the leisurely 2000s with the (re)politicized 2010s Papakaliatis attracted mixed audiences, and intrigued viewers who were previously reluctant to his work. Hence, he became one of the few 2000s pop icons who survived in the crisis era.

摘要

本文通过接收其最大的大片Ένας άλλος κόσμος [ Worlds Apart来探讨希腊危机的各个方面] 克里斯托弗·帕帕卡利亚蒂斯 (Christopher Papakaliatis)（2015 年）。基于文章、采访、评论和虚拟民族志研究结果，它认为在危机之前，帕帕卡利亚蒂斯的工作在很大程度上已经概括了千禧年粗心的生活政治。然而，在危机期间，帕帕卡利亚蒂斯转向政治话题，将情绪化和反紧缩的言辞与漂亮的美学和对危机前繁荣的大量参考相结合。将 2000 年代悠闲的美学与 2010 年代（重新）政治化的 Papakaliatis 相结合，吸引了不同的观众，并引起了以前不愿观看他作品的观众的兴趣。因此，他成为了在危机时代幸存下来的少数 2000 年代流行偶像之一。