Director: Angela Melitopoulos
Germany, 1999, 66', DCP, color
Greek, German with Turkish, English subtitles
Passing Drama is a multi-voice diary recounting the intertwined migration path of the inhabitants of Drama, a small town in northern Greece still inhabited by refugees who survived Nazi deportations. During the Second World War, many inhabitants of Drama were forced to exodus to labour camps in Nazi Germany, and not all of them returned to their hometown. This migratory and diasporic fate is common to the parents of Angela Melitopoulos (who was in fact born in Germany) and to entire generations of refugees, involved in a progressive cracking of collective memory, the restoration of which is attempted by the dense visual and sound texture that the artist restores in the film. Conceived as a veritable “video texture”, Melitopoulos thus restores the migrant history of her own family, emphasizing how the experience of diaspora undermines any order of perception of subjective memory. This idea of oblivion is expressed through an interwoven montage of images that reflects the deforming action of time: the older the events, the more the montage of images has undergone manipulation. The repeated fragments of industrial looms that appear between the sequences provide not only sociological representations (many refugees did in fact work in the textile industry), but also reflect the actual “textile-urological” paradigm of the film’s narrative construction.
Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803.
I remembered a game as I was waiting in the passenger lounge for the ferry to arrive just a few minutes ago. A game we used to play at home when I was young, in my country that is very far away from here, a relic from the distant past; I don’t even remember how we used to play it. The kind of game that makes me feel a thousand times lonelier than I already am among the crowd waiting to get on the ferry.
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