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This chapter provides a brief history of Greek cinemaGreek cinema and the so-called Greek weird waveGreek weird wave before it discusses the book’s premise and argument. As this book argues, the Brechtian aestheticsBrechtian aesthetics and in particular the Brechtian tradition of defamiliarised performancesDefamiliarised performances that we also find in the modernist cinemaModernist cinema of Theo AngelopoulosTheo Angelopoulos, in combination with the aesthetics of the uncannyUncanny and the unnatural narratives, is what marks, and links, formally the films by Yorgos LanthimosYorgos Lanthimos. In other words, this book is a systematic exploration of the uncannyUncanny in Lanthimos’sLanthimosYorgos Lanthimos cinema and the way it redefines Brechtian aestheticsBrechtian aesthetics. Then the chapter introduces BrechtBrecht and the concept of the uncannyUncanny, the theoretical framework of my analysis of Lanthimos’s feature films.

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Introduction

  • 章节

  • 发表日期：

    2026年

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  • Eleftheria Rania Kosmidou

摘要

This chapter provides a brief history of Greek cinemaGreek cinema and the so-called Greek weird waveGreek weird wave before it discusses the book’s premise and argument. As this book argues, the Brechtian aestheticsBrechtian aesthetics and in particular the Brechtian tradition of defamiliarised performancesDefamiliarised performances that we also find in the modernist cinemaModernist cinema of Theo AngelopoulosTheo Angelopoulos, in combination with the aesthetics of the uncannyUncanny and the unnatural narratives, is what marks, and links, formally the films by Yorgos LanthimosYorgos Lanthimos. In other words, this book is a systematic exploration of the uncannyUncanny in Lanthimos’sLanthimosYorgos Lanthimos cinema and the way it redefines Brechtian aestheticsBrechtian aesthetics. Then the chapter introduces BrechtBrecht and the concept of the uncannyUncanny, the theoretical framework of my analysis of Lanthimos’s feature films.