170:, when two young characters begin to have sex and a cross appears above them on the wall symbolizing the relationship of the practice of marriage with regard to intercourse. She was also recognized for her skills in representing the individual as a focal point within the social fabric. She was consistently meticulous with regards to the designs of her work despite budget restrictions, prejudice, and rejection based on her gender and lack of experience.
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only in the whole of the story but also in the direction. For example, if someone was stubborn, we took it out through a close-up of the clenched fist." She used physicality and physical elements within her scenes to establish metaphors in her melodramatic movies, such as the depiction of alienation through domestic chores, or coercion through brief glimpses into the bedroom. The most obvious example of this skill can be found in the 1962 film,
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last name was hyphenated until 1954. She stated once that she never pictured herself working in film until she found herself "alone and with little money", presumably after becoming a single woman. She worked as a novelist and playwright prior to stepping into the film industry. Following the German occupation, she released her first novels,
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Not much is available regarding Plyta’s personal life as she maintained a relatively quiet life and spent much of her time away from the spotlight. She was born in
Thessaloniki on November 26, 1915, and became a single mother in adulthood, it is not known what happened to her partner, only that her
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Plyta was known for her use of the melodramatic as a genre. Her work is characterized by dark atmospheres depicting trauma and loss through her interior settings, lighting, and effective camera shots. When asked what she thought the melodramatic consisted of, she replied: “The melodramatic was not
99:. She was known for her work with the melodramatic and her capacity to convey a distinctly feminine sense of culture, civilization and identity. Through her work, she managed to create the space that is necessary for a female voice to speak in the first person and be heard.
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Plyta worked over the span of two decades to provide a unique perspective into the lives of societies marginalized outcast individuals. From her first film to her last she presented strong-willed, individual women, disrupting the societal expectations of the viewers.
158:, she managed to slowly begin creating a name for herself in a heavily male-dominated field. For the first time in Greek cinematic history, female experience was becoming a central narrative through the newfound establishment of the female gaze. Her debut film,
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She recounts, in the only known interview she ever gave, in 1979 that she was inclined to become a filmmaker for two reasons: to see her characters portrayed on screen and to support herself financially.
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Maria Plyta is considered a pioneer in Greek cinema. Working alongside
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in 1946. Her first role in the film industry was that of artistic director and producer for the films
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753:"Από τα αρχεία | Μια συνομιλία με την Μαρία Πλυτά, την πρώτη Ελληνίδα σκηνοθέτιδα - FLIX"
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723:"Από τα αρχεία | Μια συνομιλία με την Μαρία Πλυτά, την πρώτη Ελληνίδα σκηνοθέτιδα - FLIX"
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182:*please note that translations vary regarding the film titles
685:"The first Greek Female Director Maria Plyta by V Karalis"
126:. Her directing career began in 1948 with her adaption of
134:(T’arravoniasmata), released in 1950 and featuring
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91:(27 November 1915 – 4 March 2006) was a Greek
82:Being the first female Greek cinema director.
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583:*as Maria Plyta-Hatzinakou
565:*as Maria Plyta-Hatzinakou
547:*as Maria Plyta-Hatzinakou
527:*as Maria Plyta-Hatzinakou
245:Unknown Woman of the Nightv
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895:20th-century screenwriters
838:A History of Greek Cinema
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615:The Duchess of Plakendia
486:The Duchess of Plakendia
809:History of Greek Cinema
296:Proxenitra, Praktor 017
840:. A&C Black, 2012.
759:(in Greek). 2021-03-08
729:(in Greek). 2021-03-08
700:Cite journal requires
138:in the leading role.
50:4 March 2006 (age 90)
890:Greek film directors
592:Selected filmography
885:Greek screenwriters
683:Karalis, Vrasidas.
469:Jeep Kiosk and Land
211:A Mother is Accused
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836:Vrasidas Karalis.
778:"Dimitrios Bogris"
580:Director, writer*
562:Director, writer*
524:Director, editor*
452:Only for One Night
384:The Shoe-Shine Boy
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168:The Shoe-Shine Boy
156:Giorgios Tzavellas
152:Alekos Sakellarios
819:978-1-4411-9447-3
812:. A&C Black.
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507:Director, editor
435:Moment of Passion
422:Director, writer
401:You Came Too Late
388:Director, writer
354:Director, writer
337:Director, writer
320:Director, writer
279:Between Two Women
266:Director, writer
262:The Poor Merchant
249:Director, writer
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831:Bibliography
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786:, retrieved
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731:. Retrieved
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693:cite journal
662:. Retrieved
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635:Karalis p.60
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36:Thessaloniki
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870:1915 births
851:Maria Plyta
658:monopoli.gr
303:uncredited
178:Filmography
110:Bound Wings
89:Maria Plyta
55:Citizenship
23:Maria Plyta
864:Categories
788:2023-11-03
763:2023-11-03
733:2023-11-02
664:2023-11-03
660:(in Greek)
623:References
544:Director*
540:The Godson
316:The Victor
103:Early life
782:Knowledge
473:Director
456:Director
439:Director
405:Director
74:1948-1972
367:Jealousy
757:flix.gr
727:flix.gr
371:Writer
300:Writer
283:Writer
232:Writer
215:Writer
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618:(1956)
610:(1953)
602:(1951)
333:Uphill
199:Notes
146:Career
124:Marina
114:Chains
40:Greece
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193:Film
190:Year
58:Greek
855:IMDb
814:ISBN
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202:Ref
154:and
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29:Born
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607:Eva
520:Eva
130:'s
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