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Informationen zum Autor Konstantinos Kalantzis is Research Associate in PhotoDemos, Department of Anthropology, University College London. He is director of the ethnographic film Dowsing the Past: Materialities of Civil War Memories. Klappentext Sfakians on the island of Crete are known for their distinctive dress and appearance, fierce ruggedness, and devotion to traditional ways. Konstantinos Kalantzis explores how Sfakians live with the burdens and pleasures of maintaining these expectations of exoticism for themselves, for their fellow Greeks, and for tourists. Sfakian performance of masculine tradition has become even more meaningful for Greeks looking to reimagine their nation's global standing in the wake of stringent financial regulation, and for non-Greek tourists yearning for rootedness and escape from the post-industrial north. Through fine-grained ethnography that pays special attention to photography, Tradition in the Frame explores the ambivalence of a society expected to conform to outsiders' perception of the traditional even as it strives to enact its own vision of tradition. From the bodily reenactment of historical photographs to the unpredictable, emotionally-charged uses of postcards and commercial labels, the book unpacks the question of power and asymmetry but also uncovers other political possibilities that are nested in visual culture and experiences of tradition and the past. Kalantzis explores the crossroads of cultural performance and social imagination where the frame is both empowerment and subjection. Zusammenfassung Kalantzis explores the crossroads of cultural performance and social imagination where the frame is both empowerment and subjection. Inhaltsverzeichnis ContentsList of IllustrationsList of MapsAcknowledgmentsNote on TransliterationIntroductionPart 1 Spatial and National Contexts1. Driving Up the Yellow Lines: Geography and Imagination2. Sfakians in the Nation-StatePart 2 On Hegemony3. Mountain Men as Photographic Subjects and Spectators4. Performing the Stereotype: Between Containment and "Recalcitrant Alterity"5. The Experiential in the Fictive: A Film Shoot as Visceral History6. Who Is Imagining? The Encounter between Shepherds and ScientistsPart 3 Modernity and Its Discontents7. Polluting Modernity, Disturbing Pasts: Photography and Montage Logic8. Sfakians and TouristsEpilogueBiobliographyIndex...
