Truths Up His Sleeve: The Times of Michael Cacoyannis

Truths Up His Sleeve: The Times of Michael Cacoyannis
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This first critical biography of radio broadcaster, stage director, and auteur filmmaker Michael Cacoyannis examines his prolific body of work within the socio-political context of his times. Best known as a bold modernist for triple-Oscar-winner 'Zorba the Greek', Michael likewise was hailed as an astute classicist for his inventive interpretations of Euripides. Working across several continents and languages, he forwarded feminist, humanist, and pacifist agendas, as he further innovated crafty LGBT narratives of unprecedented artistry and complexity. Despite intense persecution during the Cold War red scare and lavender scare, his casts and crews of frugal cosmopolitans critiqued racism, militarism, sexism, homophobia, and transphobia. Avoiding censorship, job loss, and jail, Michael thereby laid foundations for the 1990s new queer cinema and set the stage for empowering dramas of socio-economic justice in the third millennium. Over his long life and productive career, Michael exposed and espoused the vital truths up his sleeve.

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John Howard. Truths Up His Sleeve: The Times of Michael Cacoyannis

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BIBLIOTECA JAVIER COY D’ESTUDIS NORD-AMERICANS

https://puv.uv.es/biblioteca-javier-coy-destudis-nord-americans.html

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Four Siblings and an Outsider

In the unpublished autobiographical short story “Exterminating Leslie,” drafted and reworked over the 1980s and 1990s, Michael depicts Christmas season 1933 in Limassol, when a young visitor to the Cacoyannis household tests family allegiances and exposes regional taboos of race and sexuality. As the four siblings ostracize the newcomer with formulaic insults of ethnicity and paternity, as they even come to blows, Michael reconsiders his loyalty to family and locality, as he at last empathizes with a gangly boy of uncertain origins. The story shows Michael on the cusp of higher knowledge about the world’s structures of inequality. It signals one of many moments in which he becomes, in Sara Ahmed’s theorization, a willful child primed for the collective possibilities of adult dissent.24

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