Support materials HSC 2014–2018
Modern Greek Extension
Stage 6 Extension
Contents
Copyright and acknowledgments ............................................................................................2
General information ...............................................................................................................3
Introduction to the Extension course support materials ...................................................... 3
Structure of the Modern Greek Extension course ............................................................... 5
Preparing students to present opinions and argue a case ................................................... 6
Suggestions for teaching film ................................................................................................15
Film ................................................................................................................................... 17
Overview of syllabus text types ............................................................................................26
Glossary of key words (Languages) .......................................................................................29
First Time Godfather (2007): Historical background and setting ...........................................30
The film ............................................................................................................................. 30
Main characters ................................................................................................................ 31
Historical background ....................................................................................................... 31
Crete ................................................................................................................................. 33
Theme and prescribed issues ............................................................................................ 34
Teaching notes on the film extracts ......................................................................................36
Extract 1............................................................................................................................ 36
Extract 2............................................................................................................................ 40
Extract 3............................................................................................................................ 53
Extract 4............................................................................................................................ 63
Extract 5............................................................................................................................ 70
Extract 6............................................................................................................................ 78
Extract 7............................................................................................................................ 82
Copyright and acknowledgments
Copyright
This resource contains information, data, documents, pages and images ('the material') prepared by
the Department of Education and Communities. The material is subject to copyright under the
Copyright
Actmaterials
1968 (Cth), HSC
and it2014–2018
is owned by the State of New South Wales through the Department
Support
of Education and Communities and the Association of Independent Schools of NSW Ltd, although it
may contain material that is owned by other parties.
Chinese Extension
© State of NSW through the Department of Education and Communities, and the Association of
Independent Schools of NSW Ltd, 2013.
This work may be freely reproduced and distributed for non-commercial educational purposes only.
Permission must be received from the owners for all other uses.
Disclaimer
In compiling the information contained in and accessed through this resource, the Department of
Education and Communities and the Association of Independent Schools of NSW have used their best
endeavours to ensure that the information is correct and current at the time of publication but take
no responsibility for any error, omission or defect therein.
The interpretations presented in this publication should not be regarded as definitive. Although the
notes provide support to the Extension Course prescribed text(s), they are not to be considered
authoritative.
Controversial issues in schools
In exploring the issues prescribed for Languages Extension courses, teachers in government schools
are to adhere to the NSW DEC policy: Controversial Issues in Schools. The policy provides direction for
management of controversial issues in schools, whether by the use of teaching and learning material
or views expressed by teachers or visiting speakers. The policy can be accessed at:
https://www.det.nsw.edu.au/policies/index.shtml
Third party sites
This resource may contain links to third party websites and resources. Neither the Department of
Education and Communities nor The Association of Independent Schools of NSW Ltd is responsible
for the condition or content of these sites or resources, as they are not under the control of the
Department or the AIS.
Acknowledgments
Although this resource is owned by the State of New South Wales through the Department of
Education and Communities and the Association of Independent Schools of NSW Ltd, it may contain
material that is owned by other parties.
Screenplay extracts from Proti fora nonos (First Time Godfather) (2007), directed by Olga
Malea, produced by Manos Krezias, screenplay by Nikos Papandreou (Reproduced with the
permission of the copyright owner)
This material is licensed under the National Educational Access Licence for Schools (NEALS).
Schools administered or represented by parties to NEALS may freely reproduce and/or make
available online or electronically transmit this material in whole or part for educational uses.
© State of New South Wales, Department of Education and Communities 2013
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General information
Introduction to the Extension course support materials
These materials were prepared for teachers of the Modern Greek HSC Extension course.
They aim to support the teaching of the prescribed text and issues, thereby helping students
achieve the outcomes of the Extension syllabus.
The Extension course comprises 60 hours of study, as set out in the Stage 6 Modern Greek
Extension Syllabus 2000, available on the Board of Studies NSW website:
www.boardofstudies.nsw.edu.au
The organisational focus of the Extension course is the theme: The individual and
contemporary society. A number of issues that exemplify aspects of the theme are
prescribed for study. Students engage with these issues through the study of the prescribed
text and related texts.
Prescribed issues 2014–2018
The prescribed issues for Modern Greek are:

acceptance of others

culture and tradition

the search for personal identity.
For further details of each issue and some example sub-topics within the issues, see the
Board of Studies document Modern Greek Extension Course Prescriptions, Higher School
Certificate 2014–2018: http://www.boardofstudies.nsw.edu.au/syllabus_hsc/modern-greekextension.html
Note that the example sub-topics are not intended to be a complete list.
Prescribed text 2014–2018
The prescribed text is the film First Time Godfather (2007) released by CL Productions,
Odeon A.E., East Media, EKK, Nova, Filminmind, Finos Films.
Director:
Olga Malea
Producer:
Costas Lambropoulos
Classification:
G
Seven extracts from the film have been prescribed for study. For details of the extracts see:
Modern Greek Extension Course Prescriptions, Higher School Certificate 2014–2018.
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Organisation
This material is organised into general and introductory information for teachers, followed
by teaching notes on the seven extracts from the film. Each extract contains:

the script of the extract combined with the related prescribed issues in a table

vocabulary from the extract

study guide questions

language tasks (speaking, reading, writing)

support material.
This resource is intended only as an introduction to the study of the prescribed text and
prescsribed issues and does not attempt to cover all aspects of the Extension course. It is
envisaged that teachers will draw from this material according to the needs of their students
rather than using every item, and that they will supplement these notes with additional
material.
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Structure of the Modern Greek Extension course
The organisational focus of the Modern Greek Extension course is the theme: The individual
and contemporary society. The theme is exemplified by the prescribed issues.
The prescribed issues are explored through the study of:

a text prescribed by the Board of Studies NSW (the prescribed text)

additional texts related to the prescribed issues (related texts), identified by the
teacher and/or students.
Exploring the prescribed issues through the prescribed text
The study of the issues through the prescribed text will involve:

exploring the relationship between the issues and the prescribed text

creating original text in response to aspects of the prescribed text

identifying meaning and how it is conveyed in the prescribed text

evaluating linguistic and cultural features of the prescribed text

analysing the sociocultural context of the prescribed text.
Exploring the prescribed issues through related texts
To assist teachers and students in selecting suitable related texts through which they can
explore the issues, suggested sub-topics are provided in the Board of Studies NSW document
Modern Greek Extension Course Prescriptions, Higher School Certificate 2014–2018. It is
important to note that these sub-topics are not prescribed, exhaustive or definitive. They are
suggestions only, to give a sense of scope of the prescribed issues. Teachers should not limit
the exploration of the issues to these sub-topics, and may use them in addition to, or instead
of, other possible sub-topics (provided that these sub-topics also relate to the prescribed
issues).
Study of the issues through other related texts will allow students to:

read, view and/or listen to a range of texts

further develop knowledge of Modern Greek and Greek-speaking communities

evaluate how the issues are presented in these texts.
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Preparing students to present opinions and argue a case
To achieve the outcomes of the Extension syllabus, students must be able to use the target
language to discuss attitudes, opinions and ideas and to formulate and justify an argument.
To prepare students to respond capably to a broad range of questions, beyond just the
sample ssub-topics of the prescribed issues, teachers need to use strategies that encourage
students to think in terms of opinions and arguments.
Emphasis needs to be placed on developing skills that can be applied to any content.
Students should not attempt to fit a prepared response to a question, but rather use general
structures and prepare a range of phrases that could be used to present any opinion and
justify any argument. Students need to be exposed to a variety of topics and trained to
quickly develop a logical argument with their own point of view embedded in the response.
Activities and resources that could be used to develop this include:
1
soapbox activity
2
brainstorming and mind-mapping
3
class discussions
4
presenting a point of view
5
using other Languages Extension syllabuses
6
developing skills for monologues and short essays
7
developing knowledge of specialist vocabulary
8
recording responses
9
Board of Studies NSW Standards Packages.
1. Soapbox activity
To familiarise students with current affairs and to encourage speaking, do Soapbox in
English. Ask students to discuss something that has occurred in world current affairs that
week that is of interest to them. The emphasis should be on expressing themselves in
English without using specialist vocabulary, as they would if they were speaking in the target
language. The activity does not take long and should be used regularly.
After a term or so, an extension to the activity is to do Soapbox in the target language. To
engage the whole class, have students complete a table like the one below, while listening to
their classmates speak. Review unfamiliar vocabulary before moving on to the next student.
Language structures used
Unfamiliar vocabulary
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2. Brainstorming and mind-mapping
Have students brainstorm the prescribed issues and complete a mind-map to organise their
thoughts. Students should think broadly about subjects that would relate to specific issues,
even if only tenuously. Graphic organisers are useful tools to assist them in organising each
prescribed issue into topics and sub-topics.
Useful graphic organisers include:

placemat protocols

plus/minus/interesting (PMI) charts

affinity diagrams

lotus diagrams.
Placemat protocols
These are useful for achieving breadth and depth in monologues and short essays on a topic.
They can be used to:

critically assess texts

develop a comprehensive range of strategies and skills appropriate to the text being
read

justify a point of view.
Procedure:

Use a marker pen to divide an A3 sheet of paper into the format shown below.
Topic of text

Divide the class into groups of four and give each group one ‘placemat’ (A3 sheet).

Nominate a group leader. The group leader then cuts sections of the placemat and
gives each student in the group one of the outside sections.

Give students (including the group leader) a selected text to ready individually.

The group leader writes the topic of the text in the centre section of the placemat.
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
After a predetermined period (the length of time will depend on the length and
complexity of the text), ask students to summarise the most important points they
have read in the text in dot point form on their section of the placemat.

Reassemble the placemat.

In the centre of the placemat, the group leader lists common points identified by all
four students.

When this is complete, give each student a specific period of uninterrupted time (e.g.
three minutes) to justify orally the inclusion of individual points not listed by others
(i.e. that are not listed in the centre of the placemat.)

The group leader presents a summary of findings to the whole class.
Plus/minus/interesting (PMI) charts
These graphic organisers are useful for looking at both sides of an argument, or seeing things
from a different perspective. The PMI chart is a creative thinking strategy used in Edward De
Bono’s CoRT Thinking Program.
PMI charts help students to:

see both sides of an argument

view things from a different point of view

think broadly about an issue

suspend judgment

make informed decisions

work as individuals, in pairs or as members of a group.
Procedure:
The strategy can be used in a range of classroom activities, including analysing texts and
exploring issues. Give students a format for recording their ideas such as the table below.
Plus
Minus
Interesting
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Individually, in pairs or in small groups, students apply three questions to a statement or task
provided by the teacher:

What are the positive ideas about this?

What are the negative ideas about this?

What is interesting about this?
Within a specified time limit, students brainstorm their responses, having appointed a
recorder and a reporter. At the end of the designated time, the reporter reports back on the
group’s most original or creative ideas from each of the categories.
It is useful to model the activity first, using as a topic a statement such as: ‘In the future,
everyone will carry around personal mobile phones like wristwatches’ or a recently shared
text or experience.
A range of outcomes can be assessed using PMI-based activities. For example:

understands and interprets the task

uses strategies to assist or facilitate brainstorming

contributes to discussion

comprehends and explains opinions and information

evaluates a range of viewpoints and can distinguish them from their own

applies the process of PMI to a range of situations.
Affinity diagrams
These are useful for brainstorming issue-related ideas and organising them into topics. The
affinity diagram is an interactive data collection method that allows groups of people to
identify and sort large quantities of ideas within a short time frame.
Procedure:

Clearly define and write the question or topic for the session at the top of a flip chart.
All class members individually brainstorm ideas relating to the question or topic.

While brainstorming, individuals, without discussion, write each of their ideas on a
separate sticky note and place these in front of them.

Class members randomly place ideas on the topic flip chart.

Class members, working as a group, silently place ideas into like categories.

Label the idea for each category by writing it on the flip chart.
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Lotus diagrams
This graphic organiser is useful for issues and sub-topics. The lotus diagram takes its name
from the lotus flower, whose petals open in an overlapping way.
The diagram comprises nine boxes. The main topic goes into the unlabelled centre box.
Around the centre box are eight numbered boxes. What a student knows about the main
topic is placed in each of the numbered boxes. Each of the eight boxes has a lotus diagram of
its own. Students can place the information in the box labelled number 1 in the centre box
into the box labelled number 1 in the outer box. In the outer box the student can put more
ideas about that information in the eight boxes around it.
1
2
1
8
8
7
7
2
3
3
4
6
5
6
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4
5
3. Class discussions
Use class discussions, most likely in English, to gather ideas and the debate pros and cons
related to a particular topic or question. The results of the discussions can then be organised
and used to formulate responses to particular topics and questions in the target language.
Use material already published on the topic as a discussion starter. Discussion could involve
expanding ideas or identifying vocabulary, phrases and structures in the target language that
will be useful in any response.
Useful resources include:

HSC Extension course support material CD-ROM 2009–2013 (DET)

articles in text books

past HSC papers/questions

HSC online: www.hsc.csu.edu.au/

a brainstormed list of possible prescribed issue-related topic questions

news items/newspaper/internet articles related to the prescribed issues.
4. Presenting a point of view
Encourage students to think about both sides of the argument for the stimulus statement or
question before deciding which stance they will take: for or against/agree or disagree.
Students should take the point of view they feel they are best equipped to argue.
Exercise 1
In order to practise presenting a point of view through classroom discussion, as described
above, students formulate a response to a question in the target language and then present
a different point of view on the same topic.
Exercise 2
Students brainstorm HSC-style questions in pairs, based on sub-topics from their mind-maps:

Give each pair a different topic.

Ask one student to speak for the affirmative and one for the negative.

Each pair prepares a one-and-a-half to two minute speech in English. This is
conducted as a debate, where the other students act as adjudicators after hearing
each of the arguments. The other students must justify their decision based on the
logic of the argument. This exercise can be done in the target language when
students become more confident.
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5. Using other Languages Extension syllabuses
Download relevant sections of other language syllabuses from the Board of Studies website
and look at the prescribed issues and suggested sub-topics. If they are similar to those set
for Extension, use them as a source of ideas for practice speaking and writing questions. Be
aware that the sub-topics listed for any one prescribed issue are many and varied. They are
not limited to the dash points in the syllabus or to those that have been examined in
previous HSC examinations.
6. Developing skills for monologues and short essays
Students should develop the skills necessary to prepare monologues and write short essays
and the ability to present and support a point of view or to develop an argument in the
target language. These skills are necessary for the speaking and writing sections of the HSC
examination. However, note that short essay writing is not the only text type specified for
productive use in the Extension course.
Exercise
Give students a question/stimulus statement. For example: Do you think mobile phones
should be banned in schools, hospitals and theatres? Give reasons for your answer.

As a class, brainstorm ideas in English and record them on the board.

Organise points/ideas into ‘for’ and ‘against’ the argument.

As a class, decide which side of the argument is easier to present, i.e. for or against.

Using the ideas gathered, ask individual students to write their own response in
simple English (sample response in English).

Share the sample responses as a class.

Deconstruct the sample responses and come up with a skeleton structure common to
all good responses: introduction, main body and conclusion.

Go through the sample response structure below.

Joint construction: students create a group response in the target language to the
same question by fleshing out their argument using the sample structure. Working in
pairs or groups of three, students take an example and write a paragraph on it.

When all students in the group have finished, put the paragraphs together to make a
whole response. The opening statement, brief outline and concluding statements can
be written at the same time. There may be some repetition through the argument,
but students should gain confidence and the ability to put together a response before
writing individual responses.

Individual construction: students write their own response to the same question
using ideas and skills gathered in this exercise.
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Sample response structure

Take a stance (for or against) or make an opening statement (if not argument).

Give a short introduction (i.e. briefly state the reasons that you are for or against or
summarise what you are about to say or write).

Present your first example and detail.

Present your second example and detail.

Present your third example and detail.

Draw your conclusion (reiterate your stance, for or against, and summarise your
argument).
7. Developing knowledge of specialist vocabulary
Learning some commonly-used vocabulary and expressions related to the Extension issues
will help students respond to speaking and writing tasks.
Exercise 1
Cut up the specialist words or expressions and put them into a hat. Students then take turns
drawing one out and translating it into the other language.
Exercise 2
Have students make a domino game where they have to match the target language words or
expressions with the English equivalent. You can set up this activity as a group or individual
activity (you will need several sets) and make it into a competition by timing students. This is
useful as a revision activity.
Exercise 3
In order to develop students’ ability to express complex ideas in simple language rather than
relying on a dictionary, put a list of difficult (and hard to translate) English words into a hat.
Have students draw words one at a time and express them using the target language they
are already familiar with. You may need to rephrase some words in English before the
students express them in the target language.
This exercise is particularly relevant practice for the speaking exam where dictionaries are
not permitted. However, even in writing tasks, students should try to avoid using unknown
words from the dictionary as much as possible. Trying to find an alternative way of
expressing an idea is an excellent skill to develop. It’s what we all do to communicate in a
foreign language!
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8. Recording responses
For the oral examination, students respond with a monologue to one question from a choice
oftwo. They are given seven minutes to prepare their responses and may make notes and
refer to them during the examination. Students are expected to speak for approximately
three minutes. The monologueis recorded, so students need to become accustomed to this
process. They also need to learn how to make effective use of the preparation time and be
well-practised in planning and writing dot points for their monologues.
Exercise 1
Students take a question or stimulus statement out of a hat and give themselves seven
minutes preparation time. At the end of the seven minutes they record their response. They
should not stop the recording until they have completed their response. When finished, they
play back the recording. This is an excellent exercise to help students become accustomed to
forming ideas and developing a response within the time limit of the HSC oral examination.
Exercise 2
Have students record a monologue and bring it to school for peer assessment. This will help
them to develop confidence in recording their voice and to become used to speaking clearly
and at an even pace. Peer assessment is recommended for this exercise, as other students
learn from their peers’ strengths and weaknesses. The exercise should be used as a stimulus
for a constructive discussion aimed at improving the performance of the whole class as well
as that of the student whose performance is being assessed. An explanation of the marking
guidelines is necessary at this point so that students are made aware of the criteria
examiners will apply.
9. Board of Studies NSW Standards Packages
It is important that students are familiar with the marking rubric and guidelines for each
section of the HSC examination. Board of Studies Standards Packages (2001 and 2002)
contain the marking guidelines as well as a sample examination paper, syllabus, answers and
sample student responses at band cut-off points. The Standards Packages are an invaluable
teaching and learning tool. These CD-ROMs were sent to all schools by the Board of Studies.
Exercise 1
Select a number of sample answers from the Standards Package speaking and writing
sections and have students award marks to them by applying the marking guidelines.
Students can discuss the marking criteria and justify their marks from an examiner’s
perspective.
Exercise 2
Students listen to and read a number of speaking and writing samples from across the range
of bands. They can use the exemplar samples as a model for their own monologues and
writing.
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Suggestions for teaching film
This section is a collection of suggested approaches to the teaching of film in the Stage 6
Extension and Background Speakers languages courses.
The proposed activities provide maximum opportunities for students to engage with the text
in a range of activities beyond usual textual analysis exercises. It is not intended that all
activities will be completed. Teachers should select those activities that best suit their
students and their students’ needs.
The language of the response may vary depending on the task. Teachers will be able to judge
whether English or the target language is most appropriate for the task. However, most of
these activities will provide students with opportunities to develop their skills in the target
language while developing their understanding of the text and associated issues.
The play or film can be introduced by a discussion of the issues raised. Students should
predict possible content.
When studying film, the initial viewing of the whole film is important. A suggested first
exercise is for students to write down their impressions of the film as soon as possible after
this initial viewing. This will be interesting to look back on after students have studied the
film in detail.
Activities
The following activities based on the transcript or script can be used for the development of
written and/or oral skills. Many are suitable for group work.

Choosing a tag line for each character – one line from the script to sum up a
character.

Writing a press release or advertisement to encourage an audience to see the film.

Designing a poster to promote the film. This could involve selecting exciting scenes,
showing a range of characters, moods, conflicts and issues.

Writing the history of a character. What is known about this person? Why is he or she
now in this situation?

Imagining yourself as a character in the film and writing a letter explaining your
actions.

Rewriting a small section of the script in indirect speech. How does this alter the
effect of the words?

Rewriting the ending, giving consideration to points such as style and plausibility.

Discussing how issues unfold in the film.

Recording an interview or writing a newspaper article about an event in the film.

Improvising a scene that occurs offstage.

Drawing a diagram or mind-map showing the relationships between the characters.

Studying the key scenes and considering the principles underlying the relationships
and the importance of the scene to the film as a whole.
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
Considering parallels and conflicts (e.g. young and old, country and city).

Choosing a point approximately ten minutes into the film and considering how the
director has established who the characters are, where they are, what has occurred
up to this point, and how the audience’s interest has been aroused.

Making a list of props for a particular scene.

Considering how the atmosphere is created.

Considering the structure of the film. Students could take a scene and consider why it
starts at that point and how it fits into the overall structure of the film.

Considering individual characters. Have they remained the same or changed during
the scene? If so, how?

Discussing whether the play or film entertains. Is there conflict, humour, suspense or
romance? Does it consistently hold our interest?

Debating whether the film offers new perspectives on the issues raised. Can it change
perceptions? What does the audience gain from it?

Considering the original audience for whom the film scenario was written. Is it
relevant to a wider audience? Does it have universal appeal?

Devising ‘Trivial Pursuit’ type questions. Who said what, where, when and to whom?

Reading or performing a section of the film.

Designing a classroom frieze to illustrate the film. Individuals or small groups could be
responsible for each section. The relevant quotation from the film, or a summary of
each section, should be included in each illustration.

Compiling a list of interview questions to ask the diector about his or her ideas.

Writing a letter to the director explaining what they like or dislike about it. They
could ask questions about the validity of their own interpretations.

Composing questions on sections of the film, or issues they feel need further
explanation or comment. Lists of questions can be exchanged between groups for
further discussion.

Considering what the characters know about each other. Are the characters
stereotypes or individuals?

Taking a character and performing a ‘This is your life’ segment.

Holding a press conference for a character (interviewing a character, adopting the
persona of the character and recording the interview).

Writing a report on an event from the story. Who was there, what they were doing,
why they were doing it, and so on.

Considering the setting. Is it important? Why? Is it integral to the whole story? Could
it take place elsewhere?

Writing the diary entry of a character for one day.
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
Creating a cloze test on a prescribed extract to show the effect of images or words or
a particular word.

Taking some key sentences from the film out of order and rearranging them in
sequence.

Summarising the plot in a number of sentences, mixing them up then arranging them
in sequence.

Selecting tag lines that reveal a character, attitude etc.

Analysing the vocabulary. Is there repetition? Is regional dialect used?

Considering how the level of language reflects the relationship between the
characters.
Film
The tools of movie production
The tools of production are the director, the cast, the screenplay, the production design and
the film techniques.
The tools of production are important in gaining an understanding of film. There are so many
effects and subtle technical changes that add to the mood and meaning of the screenplay,
creating a complete and new entity, sometimes even totally different to the original script.
Therefore it is important to go over these tools of production with students at an early stage
of their study so that they may use the tools when focusing on the film as a whole, and more
specifically within the chosen film extracts.
A film may gain meaning through the use of some or all of these means of production.
Sometimes it can particularly gain meaning through leaving out an important tool during the
film to create an effect. It is up to the teachers to guide the students to look for these effects
and how the tools have been utilised in the film.
The director
The director is responsible for each and every scene shot, every effect and how every word
is uttered in a film. He or she is the ‘divine creator’ and has poetic license to change the
original screenplay to convey the meaning of the film, and works on the film with
appropriate technical staff from the conception stage to the finished product. It is no
wonder that it is the director who deserves an Academy Award when a film receives
accolades it deserves or who must carry the burden if a film should fail.
The screenplay
The screenplay is the script of the film with the addition of directions specifically for film, just
as in a play there are directions for the characters on stage. The directions for a film may
include other information such as lighting, sound effects, music and camera angles.
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The production design
Production design includes the exterior and interior location for the shots, the sets and
colours used. The colour palette, for example, can reflect the mood such as depressed,
happy or exciting. Wardrobe, hair and make-up are also important in setting the scene, the
era and the location, such as Crete, Greece or Europe. There must be no errors if the film is
shot in a particular historical period. Another role of the production team is to sometimes
create a so-called ‘action vehicle’ in a film. This could be any tangible image that carries
meaning throughout the film or even within a specific extract of the film. For example, in
First Time Godfather, we have a basketball, which symbolises the innocence of the young
boy.
Film techniques
Framing and shot composition
Framing refers to the placement of the subject matter within each shot. The subject may be
centrally or laterally placed. A character may be seen in profile, from the back or the front.
The numbers of characters in each frame, how much of the background is included and for
what purpose are also elements of framing. The framing, and the way in which all the
elements within it are placed, form the shot composition.
The shot composition consists of all the elements within a shot. It is a selective
representation of reality, as seen within the confines of a frame. It is carefully thought
through, very rarely the product of a chance happening.
Some useful questions to ask when examining a shot composition are:

What are the elements within the frame?

How many people can be seen?

Where are the people positioned within the frame (e.g. right, left, centre, front,
back)?

How are they shown (e.g. front, back, profile)?

Is there any eye contact or physical contact between the people in the frame?

How much of the background is shown?
By examining shot composition, students will be able to discern certain subtleties used by
the director to manipulate the audience.
Type of shot
A shot is all that is recorded on film from the time the clapboard has been shut to the time
the director calls out ‘Cut!’. A lengthy shot (20 to 30 seconds) may convey a feeling of
tranquillity, whereas a succession of short shots (1 to 5 seconds) will hasten the pace and
movement. Film shots are taken from different distances to serve different purposes.
The six basic shots that a cinematographer uses are long shots, medium long shots, medium
shots, medium close-ups, close-ups and extreme close-ups:
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
Long shot or wide shot: The long shot, also known as the wide shot, shows the entire
object or character and places the object or character in its surroundings. With the
camera shooting at a distance from the characters or the centre of the setting, long
shots are commonly used as an introduction to grab the viewer’s attention and to
invite involvement. A long shot is often used to anticipate the events that will follow
or transport us to a different environment.

Medium long shot: This technique serves the purpose of setting the action within a
confined environment. It shows what the characters are doing.
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
Medium shot: These are used to focus on the dialogue and the interaction between
characters in a group.

Medium close-up: This shot is generally used to reveal the psychological state of the
characters rather than their actions.
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
Close-up: Close-ups are often used to display the feelings and emotions of the
characters and to gain an insight into their thoughts. Close-ups are dramatic and
effective devices used to portray characters and character development.

Extreme close-up: The extreme close-up is used for dramatic emphasis. Framing only
an actor’s eyes or mouth can emphasise the comedy, drama, suspense or tension of
the moment. This shot can be seen when Alex finally submits and allows Panagakena
to put the snail in his mouth but he spits it out and it lands on Menedakis’s shoe.
The close-up camera shot of the shoe and the women’s horrified expressions as
Manedakis looks at the snail and angrily tosses it off his shoe all add to the humour
in this scene.
Camera angles
As well as being filmed from different distances, shots are taken from a variety of angles.
Every camera position is chosen to focus our attention on certain aspects of a scene. Some
of the angles are low, high and eye level.

Low angle shots: In low angle shots the camera looks up at what is being filmed. A
low angle shot lends more authority, more weight to the subject. Also, if a director
wants to show the viewpoint of a small child, the camera will be in a low angle
position. The low angle shot of the snails makes the subject look more imposing and
threatening and adds humour to the scene.
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
High angle shots: In these shots the camera looks down on what is being filmed. This
shot reduces the subject to lower proportions in relation to the surroundings. It is
often used to indicate a feeling of helplessness, loneliness or isolation. The high angle
shot of the Foundedakis family gathered together as they wait for Alex and Panagaki
to arrive, allows us to witness a traditional Cretan gathering around the table. The
camera remains at a high angle, looking down, giving us a bird’s eye view of the
action.

Eye level/straight-on angle shots: In these shots the camera is looking directly at
what is being shot. This is the most common angle used in filmmaking. Unlike the
other two angles mentioned, it conveys objectivity. For example, the camera focuses
on Panagakis and Foundedakis coming face-to-face. Panagakis reassures Foundedakis
that after he is successfully elected, the 200 goats will be returned.
Tracking/travelling shot
In this type of shot, the camera films while moving, carried by a cameraman or robotic arm
or wheeled on a trolley. In Extract 3, the camera moves along the row of men sitting in the
square, as they threateningly move forward towards Panagakis and his family.
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Zooming
In zooming, the shot goes closer or far away from the subject, adjusting the focal length of
the lens. An extreme close-up shot captures Alex’s disappointment as his father has once
again let him down.
The soundtrack
Elements to consider with the soundtrack include:

verbal exchanges

sound effects

music

silence.
The physical presence or absence, and quality of, the verbal exchanges are important
features in the overall effect of any film. Tone, pitch, speed and volume of dialogue all make
a significant contribution to our perception of a character and the part he or she plays in a
scene. For example, the Cretan dialect, the costumes and the traditional features create
tragic-comic scenes.
Scenes without any speaking may communicate their message via the visual elements
combined with background music. The type of music used also plays an important part in the
creation of the film; however, the director may choose to have no sound at various times
throughout the film. This can be a powerful device, as the viewer has to rely on the visual
elements only.
Music is added either as a complete soundtrack or as a series of songs played in certain
scenes. Feelings of excitement, surprise, fear, love and hatred are evoked through the music.
In the case of First Time Godfather, the music is of paramount importance to the setting of
the film. For example, the traditional Cretan music tells us straight away that this is Crete,
thus helping to set the scene. The credits, however, begin with the sound of rock and roll
music, which emphasises the conflict between modern and traditional worlds. Music can
also reinforce or create the mood and is often used to manipulate the viewer’s emotions or
to create a sense of expectation.
The soundtrack of a film includes not only music but also the dialogue and ambient sounds
such as sounds of the environment, children’s voices, etc.
The special, visual and sound effects
Special effects and visual effects are often added to a film but can sometimes be so subtle
and realistic that the film audience may not notice them as an effect at all. Whole scenes,
shadows, lights or even sounds can be generated this way. For example, special effects may
be generated by machines to create wind, cloud or smoke, or computer-generated effects
may add add fake light, colour or movement to inanimate objects. Film is sometimes handpainted after production to add an historical or effect.
Special effects and visual effects are not a key feature of First Time Godfather. Music is
included in the sound effects but it is the effective use of dialogue such as the loud
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conversations, unexpected sound effects (e.g. the gun shot) or carefully chosen background
noises of Crete that set the scene immediately.
Lighting
Lighting sets the mood and invites an emotional and intellectual response from the viewer.
In scenes where the director wants to create a happy and pleasant mood, bright, natural
lighting with very few shadows may be used. This can be seen in most of the scenes of First
Time Godfather, which is shot in summer so the lighting is bright.
In scenes where the atmosphere is one of misery, terror or sadness, low-key lighting may be
used. Backlighting, as the name suggests, comes from behind the subject being filmed. The
light source can be positioned at many angles: high above the figure, at various angles off to
the side, pointing straight at the camera, or from below. Used with no other sources of light,
backlighting creates silhouettes.
Lighting quality refers to how strong the illumination is. ‘Hard’ lighting creates clearly
defined shadows, whereas ‘soft’ lighting creates a diffused image.
Colour
Colour helps to convey meaning by visually expressing the characters’ moods and feelings.
For example, blue can create a mood of coldness, sadness and loneliness, whereas warm
colours such as orange or brown can create an atmosphere of warmth or intimacy. This is
the case in First Time Godfather where the natural colours of the Cretan environment and
the warm colours of women’s clothes create a hospitable atmosphere that is inviting and
welcoming to the audience.
Costuming and props
Costuming and props (decor) comprise the way people dress, interior décor and any other
personal or collective look. Props and costumes not only set a scene within its geographical
and historical context, but they also reveal the social status or personality of the characters.
The use of costuming can reinforce characterisation. An example of this is the clothing worn
by the Cretan people in the film.
Together with the setting and the sound effects, the costuming highlights the socio-political
environment the director wants to achieve. Costuming and colour together reinforce the
message of each scene. The traditional costumes of Cretan men make a great contrast with
Alex’s costume, which is more formal. The props used in each scene are important and
symbolic to the setting of the scene, and create authenticity. For example, the different
Cretan sweets or dishes, especially the snails, the hedgehogs and the basketball given to
Panos by Alex as a farewell present.
Plot development
Plot development can be simply described as the progression of events leading to a
resolution. The events can provide obstacles and questions, making the going difficult for the
protagonist and exciting for the viewer to follow.
In First Time Godfather, the plot is developed through the use of two parallel and contrasting
worlds: that of the father, a notable politician, and that of the American-born son who is
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trying to find his identity. This tale dives into Greek culture with abundant humour but with
a realistic edge due to the fact that is based on an autobiographical short story by Nikos
Papandreou, the son of a former Greek prime minister.
Editing
When a film is being shot, it is often not in sequence. This means that the editing process
cuts and pastes the scenes in the correct sequence. Editing consists of putting together, in a
given order, the thousands of shots that have been taken and to which the sound track will
be added. This very complex task involves selecting, deleting, clipping, lengthening and
rearranging shots before gaining the final stamp of approval from the director. It also
involves the choice and order of opening and closing credits, sound effects and voice-overs.
Editing a film can change its orientation completely, depending on the director’s cuts. A lot
of film shots are culled at this process. Special or sound effects and computer-generated
effects, if used, are added here. Editing sets the rhythm of the film.
First Time Godfather has a slow pace, using many panning camera shots and showing whole
scenes together, with close-ups of faces and expressions added when something important
is being portrayed.
Points for discussion on tools of production

The role of the director: There are not good or bad movies, only good and bad
directors. Discuss.

Plot development: Choose a scene and explain how it is important to the storyline as
a whole in the film.

Shot composition: What is the purpose of the director’s choice of shots in each of the
opening scenes?

Framing: Consider the director’s use of framing shots in any scene. How does the use
of this type of shot help to put the setting into perspective? How does the framing of
the panoramic scenes differ from the close-up shots, with regard to the subjects?

Editing: What is the purpose of the shift of setting from outside to inside?

Setting: What props are used to show the setting in the spice shop?

Lighting and colour: Explain the lighting and colours used throughout each of the
extracts for study.

Soundtrack: What elements combine to make up the composition of the soundtrack
in each extract?

Costuming: Differences in clothing are often cultural. Discuss in regard to this film.

Imagery and symbolism: Choose a scene where symbolism and/or imagery is one of
the main elements and discuss its impact.
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Overview of syllabus text types
The text types listed in the Continuers Stage 6 syllabus are assumed knowledge for Extension
students. Each Extension syllabus lists text types for production in the external examination.
Below is an overview of some of the text types with which Extension students should be
familiar. Refer to the Continuers and Extension syllabuses for complete lists. The table below
is a guide to the purpose, structure and language features typical of each type.
Syllabus text
type
Purpose
Structure
Language features
article
 to sustain an
argument
 to describe
 to inform, to
persuade, to
amuse or entertain
 titles or headings
 development of ideas
or argument
 sequencing and linking
of ideas
 statement of
conclusion or advice
 range of tenses
 linking words
 language can be
descriptive, factual,
judgmental, emotive or
persuasive depending on
context
conversation
 to exchange
information,
opinions and
experiences
 to maintain and
sustain
communication
 exchange of opening
salutations
 question or statement
followed by response
 two-way interaction
(sustained)
 question forms
 strategies to maintain
conversation (fillers)
 interjections
 incomplete sentences
 language level depends on
context and relationship
between participants
description




 general statement or
classification
 introduction and
elaborated description
of characteristic
features






diary or
journal entry
 to record personal
reflections or
experiences
 chronological or
stream of
consciousness
 first person
 abbreviated words or
sentences
 subjective or informal
language
discussion
 to give different
points of view
 to examine issues
from more than
one perspective
 to make
recommendations
based on evidence
 to sustain an
argument
 presentation of main
idea in introduction
 evidence or data to
support main idea
 interaction between
participants to clarify
understandings
 conclusion or
reiteration of main
idea
 balanced presentation
 linking words to sequence
ideas logically
 qualifying words (e.g.
usually, probably)
 persuasive, descriptive,
discursive or personal
language, depending on
context
 comparative expressions
to inform
to entertain
to describe
to classify
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specific details
descriptive words
a range of tenses
varied vocabulary
comparative expressions
literary devices (e.g. simile,
imagery)
 conventions (i.e.
subject line, email
addresses)
 specific details
without elaboration
 salutations and
endings
 orientation or
introduction
 presentation of
argument, judgment
or evaluation
 conclusion or
reiteration of main
argument
 often has embedded
description and/or
explanation
 abbreviated words and
sentences
 simple language structures
 to communicate in
writing in formal
contexts
 to request
information
 to lodge a
complaint
 to express an
opinion
 salutations
 letter conventions
(e.g. layout, address,
dates)
 logical and cohesive
sequence of ideas
 use of full sentences and
paragraphs
 more complex sentence
structure
 objective language
 frequent use of formulaic
expressions
informal
letter
 to communicate in
writing with
acquaintances,
friends, family
 to inform or amuse
 salutations
 letter conventions
(e.g. layout, address,
date)
 frequent colloquial
language
 subjective language
 sentence structure often
less complex than in
formal letters
interview
 to seek and convey
information, views
or opinions
 question and response
form
 question words
 link words
 strategies to maintain
communication
narrative
account
 to entertain, amuse
or instruct
 time words used to
connect events
 use of action words
 descriptions of characters
and settings
personal
profile
 to describe
 to outline personal
details
 series of events
presented in logical
progression
 resolution or
conclusion
 may contain a series
of complications
 may be in point form
(appropriate to
situation)
 use of headings and
subheadings
email or fax
 to use technologybased methods of
communication
 to inform
 to seek a response
essay




formal letter
to discuss
to analyse
to assess
to guide or teach
 formal, objective language
 linking words to sequence
ideas and paragraphs
 qualifying words
 abstract nouns and
concepts
 complex sentence
structure
 evidence or examples
included to support or
enhance argument




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factual
descriptive language
present tense
simple phrases or
sentences
postcard
 to provide
information
 to retell events
 salutations
 brief description or
message
 formulaic ending






recount
 to retell what
happened
 to tell a series of
events
 introduction or
orientation
 events sequenced in
chronological order
 descriptive language
 past tense
 time words to connect
events
 expressions that tell us
when, where, with whom
and how
report
 to classify and/or
describe
 to organise facts
 to draw
conclusions
 general statement or
classification
 description
 logical progression
 supporting evidence (e.g.
statistics, examples)
 factual
 usually present tense
 language specific to the
topic
 objective language
review
 describe context of
 to respond to a
text or work
text or stimulus
 describe the text or
 to summarise,
work
analyse or interpret
a text and to assess  judgment or
evaluation of text or
its value
work
 descriptive language
 more complex structures
with frequent abstract
language
 words that express
judgment
 possible comparisons
 expressions of aesthetic
nature
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descriptive language
incomplete sentences
abbreviated words
colloquial expressions
clichés
personal impressions
Glossary of key words (Languages)
The table below lists a selection of words and their meanings in the context of tasks for HSC
Languages courses. The list will help teachers and students understand how to respond to
tasks that use these terms.
Account
Account for, state reasons for, report on. Give an account of; narrate a
series of events or transactions.
Analyse
Identify components and the relationship between them; draw out and
relate implications.
Compare
Show how things are similar or different.
Construct
Make, build; put together items or arguments.
Contrast
Show how things are different or opposite.
Critically analyse or
evaluate
Add a degree or level of accuracy, depth, knowledge and understanding,
logic, questioning, reflection and quality to analyse or evaluate.
Define
State meaning and identify essential qualities.
Demonstrate
Show by example.
Describe
Provide characteristics and features.
Discuss
Identify issues and provide points for and/or against.
Evaluate
Make a judgment based on criteria; determine the value of.
Explain
Relate cause and effect; make the relationships between things evident; say
why and/or how.
Identify
Recognise and name.
Interpret
Draw meaning from.
Justify
Support an argument or conclusion.
Outline
Sketch in general terms; indicate the main features of.
Propose
Put forward (e.g. a point of view, idea, argument, suggestion) for
consideration or action.
Recommend
Provide reasons in favour.
Recount
Retell a series of events.
Summarise
Express, concisely, the relevant details.
Adapted from Board of Studies NSW, A Glossary of Key Words (HSC):
www.boardofstudies.nsw.edu.au/syllabus_hsc/glossary_keywords.html
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First Time Godfather (2007): Historical background
and setting
The film
The film Πρώτη Φορά Νονός (First Time Godfather) was released in 2007 and is considered
one of the most successful modern Greek films. It was released in more than eighteen
countries and was screened in Sydney in September 2012 during the Greek Film Festival.
Duration
90 mins
Classification in Australia
G
Director
Olga Malea
Composer
Costas Livadas
The film is a comedy, based on an autobiographical short story by Niko Papandreou. The
story unfolds with young Alex, the American-born son of a notable politician, being told by
his father that he must travel to Crete in his father’s place, to baptise the baby of a
parliamentary candidate in order to win votes. The twelve-year-old Alex will become a ‘First
Time Godfather’ for the good of the Democrats and to please his father.
Alex arrives on the island of Crete to a mixed reception, as many of the villagers are initially
divided over the local issues and apprehensive over the motives of Alex’s father. It is left to
Alex to win the hearts and minds of the villagers, just like a professional politician. Alex is
well coached by the local party delegate, Panagaki, and through the boy’s tragi-comic trials
we see Alex develop into an individual with true democratic thoughts, uncorrupted by
adults.
Panagaki’s son, Panos, a boy Alex’s own age, doesn’t get on at all with his father, as his
father feels he doesn’t fit the traditional mould of the Cretan male. Through a variety of
adventures and a conflict of ideologies, a strong bond of friendship develops between the
two boys as they earn each other’s respect and the respect of the very traditional villagers.
In the end the boys manage to unify the village and strengthen their resolve to bring
democracy to Crete and Greece. The film makes reference to real political events in Greece
in the early 1960s without mentioning specific political identities or parties.
The film is set in Athens and Crete during the period 1960-1963. The political ambiguity that
prevailed in Greece at the time and people’s hopes in a liberal country’s governance is
depicted through the agonising effort of gathering votes at any cost. This corruption is
masked behind a traditional Greek event, a baptism, without specifically referring to political
events. However, the dominant theme of the film is the relationship between father and son
and the search for personal identity above and beyond the influence of tradition, and of
political or stereotypical situations.
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Main characters
Alex is a twelve-year-old boy, the son of a well-known politician. He must travel to Crete in
place of his father to baptise the child of a parliamentary candidate. His father stresses the
importance of this baptism but also the fact that Alex must deliver a speech after the
baptism which is of paramount importance. Alex’s Greek is limited, however, and he is not
sure whether he will manage it or not. He doesn’t want to disappoint his father though, so
he agrees to go. Alex tries to fulfil his role as the son of a politician but deep down he is only
a child who wants to be carefree and play basketball.
Panagakis is the Cretan candidate, who will do anything to win votes in his local area. He is
portrayed as someone ambitious who will go to any lengths, promising both sides that he
will fulfil the promises made to them even if this means lying to them. Panagakis makes fake
promises and is not worried about the consequences. He is a traditional Cretan male who is
disappointed with his son Panos, because he does not fulfil his expectations. Panagakis
compares him to Alex and wishes that he could be like him.
Panos has grown up in Crete. He is alienated from his family and in particular his father.
When he first meets Alex he resents him but a strong friendship develops between the two
boys. Panos makes many pertinent points throughout the film that highlight the hypocrisy of
political promises and indeed of politicians. Panos has his own dreams and aspirations and
this causes friction with his father. He is a romantic and not at all traditional.
Panagakaina is the loyal, stereotypical wife of Panagakis. She supports her husband;
however, she is presented as an individual with her own thoughts and ideas. She has a good
relationship with her husband and Panagakis respects her opinion and advice. She is also an
affectionate mother who shows motherly, tender, attention to Alex, in contrast to his own
mother.
Mirto is the young, eight-year-old daughter of Panagakis, who helps Alex throughout the
film and offers him advice.
Nikitas is Panagakis’s younger brother, who supports him in his aspirations to win the
elections but states that after the elections he will ask the girl he loves, who is from the
‘opposing’ family, to marry him. He can see his nephew’s potential, unlike Panagakis, and he
tries to encourage him to speak up and thus impress his father.
Historical background
The 1960s saw the emergence of ‘youth culture’, which stimulated a cultural revolution and
widened the generation gap. It was a good period for the world economy, helped by the fact
that European Union (EU) countries removed custom duties when they traded with each
other. They also agreed to have joint control over food production, and soon there was
surplus agricultural produce. May 1968 is famous for student riots in Paris, and many
changes in society and behaviour became associated with the so-called ‘68 generation’.
During the 1960s, Greece was shaken by conflict between political parties and by violent
social confrontations, which were sealed by the military dictatorship in 1967. The
dictatorship ended when Turkey invaded and occupied the northern part of Cyprus in 1974.
However, these political conflicts had begun years before with corrupt election frauds
(1961), political assassinations and the instability of the throne.
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The political scene in 1961 was marked by corruption, resulting in social instability and
fraudulent elections. This culminated in the assassination of the United Democratic Left’s
(Ενιαία Δημοκρατική Αριστερά) deputy, Grigoris Lambrakis, in 1963.
The Austerity Policy pursued by the governing ERE (Εθνική Ριζοσπαστική Ένωσις) party,
despite ensuring stability and economic development for Greece through low inflation,
greatly affected lower income groups. This led to the defeat of the ERE party in the elections
of 1963. The Centre Union was to obtain an absolute majority in the 1964 elections.
Despite the electoral victory of Georgios Papandreou, the Centre Union was not able to
govern the country for more than eighteen months. The provocative dismissal of
Papandreou in July 1965 by the young King Constantine marked a series of open and
calculated interventions by the monarchy in the country’s political life. On 21 April 1967, the
parliamentary constitution was abolished by a group of colonels under the leadership of
Colonel Georgios Papadopoulos.
At the same time, the Greek economy developed rapidly. One of the main events of the
period was the country’s accession in the EEC (European Economic Community), in an
attempt to create a common market (realised in 1962).
This decade, which ended with the military coup of 1967, was especially significant with
regard to literary production. In poetry, the 30s generation achieved remarkable creative
accomplishments. Undoubtedly, the greatest moment of recognition of Greek poetry during
this period was the awarding of the Nobel Prize to G. Seferis in 1963. At the same time, the
second post-war generation of novelists expressed themselves in a more direct way,
addressing the social and ideological changes of the time.
In music, a new generation of composers emerged and their new style of music met with
unexpected success, while the ‘golden’ age of the popular song continued. Theatre
flourished at the beginning of the decade, but cinema was the most popular form of
entertainment. Particularly interesting is that there were many new film directors who were
popular despite being outside the commercial circuit of that period.
The dictatorship of 1967 brought a dark cloud over intellectual creativity, since the
overwhelming majority of writers, poets, producers and song writers, when they were not in
prison or in exile, were censored or chose to censor themselves. The regime’s prohibitions
led to symbolic acts of protest by the intelligentsia, culminating in a public denouncement of
the dictatorship by G. Seferis in March 1969.
Brief timeline of the 1960s and early 1970s
1960
‘youth culture’
1961
election frauds
1962
Hellas’ accession in the EEC, in an attempt to create a common market
1963
political assassination of EDA’s deputy Grigoris Lambrakis
Nobel Prize in Literature awarded to Giorgos Seferis
1964
electoral victory of 53 per cent won by ERE under the leadership of Georgios
Papandreou
1965
Apostasia or Iouliana – arbitrariness of the throne
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1967
military dictatorship (χούντα) under the leadership of Colonel Georgios
Papadopoulos
1973
Athens Polytechnic uprising (November)
1974
end of the dictatorship
Turkey invaded and occupied the northern part of Cyprus
Crete
Culture and traditions
Tradition is integral to the Cretan way of life. Cretans have not abandoned their past and
serve it faithfully today on every occasion. The Cretan dialect is considered the oldest in
Greece and has become a subject for study and research. Dozens of words have links to
archaic or ancient Greek, while many show linguistic influences from Arabic, Venetian and
Turkish.
Greek dances and music first appeared in Crete, where it is said that the mother of the gods,
Rhea, taught them to the Curetes (a Cretan tribe). The most famous Cretan dance was the
pyrrhic (πεντοζάλης). Today, Cretan dances, popular throughout Greece, recall the dances of
the Curetes or pyrrhic.
Mantinades (singular mantinada, Greek: μαντινάδα, μαντινάδες) are a means of
spontaneous expression in many parts of Greece, especially on the island of Crete. They
typically consist of Cretan rhyming couplets, often improvised during dance music.
Many handicrafts thrive on the island today, while they have been abandoned in other parts
of Greece.
Chania
Chania, where the film is set, is the second largest city in Crete. It can be divided in two
parts: the old town and the modern city, which is the larger one. The old town is situated
next to the old harbour and is the matrix around which the whole urban area was
developed. It used to be surrounded by the old Venetian fortifications, of which the eastern
and western parts survive. The centre of the modern city is the area extending from the old
town towards the south.
Chania was redeveloped during the 1950s, in an effort to overcome the aftermath of World
War Two. During the 1970s, Crete became a major tourist destination for Greek and
international tourists, which gave a significant boost to the city’s economy. Chania and the
rest of the island of Crete, unlike the mainland of Greece, are not suffering as much from the
current economic crisis, as the local economy is based on horticultural products such as olive
oil.
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Theme and prescribed issues
The theme for study is: The individual and contemporary society.
Course prescriptions
The issues may be studied through a number of sub-topics. Most of those listed below are
examples from Modern Greek Extension HSC 2014–2018 Course Prescriptions but the list is
by no means exhaustive.
Acceptance of others
For example:

integration versus alienation

responsibility to others

prejudice and divisions in society.
Note: There may be other sample sub-topics that can be explored through these extracts.
Acceptance of others is exemplified through the relationships between father and son. Alex
tries to please his father and eventually win his affection. He agrees to go Crete to become
the godfather in his father’s place. His father has a sense of responsibility to the party and to
democracy and always prioritises his work over spending time with Alex.
Panagakis does not accept the fact that his son Panos does not conform to the traditional
Cretan mould and therefore suppresses him and his ideological beliefs. This is the reason
why Panos feels alienated from his family as he does not feel wanted, loved or understood.
Divisions in society are evident as the villagers are divided according to their political
preferences. Panagakis goes to great lengths to win them over and secure their votes.
Culture and tradition
For example:

impact of socio-political events

gender stereotypes

loss of traditional values.
Note: There may be other sample sub-topics that can be explored through these extracts.
Culture and tradition is the predominant issue in the film. Cretan traditions play a pivotal
role in the lives of the people, especially during the decade of the 1960s. The traditional
Cretan dress, the dialect, the instruments and the mantinades all play important roles in the
lives of the characters. The culture and traditions surrounding food and its preparation are
also very significant. For example, Alex has to congratulate all the women for their cooking
skills in order to win their votes.
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Despite the stereotypical representation of the role of women as that of primarily taking
care of the household, Cretan women are also presented as having a strong though subtle
influence on the men and the community.
The impact of socio-political events can be seen through the manipulation of the baptism
and, in particular, the speech itself used to influence the guests to vote for Panagakis.
The search for personal identity
For example:

living between two worlds

peer and family pressure

personal values.
Note: There may be other sample sub-topics that can be explored through these extracts.
The search for personal identity is explored through Alex’s development in the film. He starts
his journey to Crete in order to please his father. He lives between two worlds. This can be
interpreted on several levels: the world of the adult versus the world of the child, and the
world of the ‘progressive’ modern American/Greek versus that of the traditional Cretan
village boy, who is, ironically, far more progressive in thought than his counterpart. When
Panos asks Alex what he wants to do when he grows up, Alex cannot separate his aspirations
from those of his father. The trip to Crete makes him realise what he really wants: to play
basketball and to live the innocent life of a boy. It is a trip of self-fulfilment.
Alex feels pressured both by his father and Panagakis to do certain things for the good of
democracy and put his personal values aside to please them. However, in the end he comes
full circle and realises that he needs to do what in fact pleases him. Thus by doing so, he is
more comfortable with himself than by pretending to understand and abide by the rules of
the adult world.
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Teaching notes on the film extracts
Extract 1
From
To
Time: 00:10
From the children playing basketball
06:25
To Alex entering the car
Transcript
Κήπος σπιτιού Άλεξ
Prescribed issues
ΚΟΣΜΟΣ
Είναι ο γιος. Ο γιος
Acceptance of
others.
Personal identity.
ΠΑΤΕΡΑΣ
Να ποιος θα πάει στην Κρήτη
Living between
two worlds.
Έλα δω.
Δεν νομίζω να σε έχω στείλει ποτέ για βαφτίσια;
ΑΛΕΞ
No. But in Akrata I was para-koumbaros and in Patra para-parakoumbaros.
ΓΙΩΡΓΟΣ
Πρόεδρε. Το χωριό αυτό είναι πολύ δύσκολο.
Για να βγούμε, χρειαζόμαστε ψήφους από όλες τις
μεριές.
Μήπως είναι καλύτερα να στείλουμε έναν έμπειρο;
ΑΝΤΩΝΗΣ
Τους τιμάς άμα στείλεις το γιο σου. Δεν είναι κακή ιδέα
πρόεδρε.
ΠΑΤΕΡΑΣ
Είσαι μικρός ε;
ΑΛΕΞ
Μικρός αλλά δυνατός. I will be 12 next month.
ΠΑΤΕΡΑΣ
Κοίταξε Άλεξ, λοιπόν, εγώ πρέπει να φύγω τώρα για την Πάτρα
…
ΑΛΕΞ
But I thought that ...
ΠΑΤΕΡΑΣ
… και θέλω εσύ να πας στην Κρήτη εκ μέρους
Family pressure.
μου, και να βαφτίσεις το μωρό του κυρίου Παναγάκη.
Responsibility to
others.
Impact of social
and political
events.
ΑΛΕΞ
But you promised! Three o’clock just the two of us we were
going for a volta.
Responsibility to
others.
ΠΑΤΕΡΑΣ
Δεν το έχω ξεχάσει.
ΠΑΤΕΡΑΣ
Δεν το έχω ξεχάσει.
ΑΛΕΞ
It’s not the first time.
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Culture and
tradition.
Stereotypes.
ΠΑΤΕΡΑΣ
Το ξέρω … αλλά τώρα είναι μία μοναδική ευκαιρία για
σένα να βοηθήσεις σ’ αυτές τις εκλογές.
Θα βοηθήσεις;
Μμμ;
Personal values.
Pressure to
others.
Μετά τη βάφτιση θα διαβάσεις αυτό.
ΑΛΕΞ
But it’s all in Greek.
Μπορώ.
ΠΑΤΕΡΑΣ
Σίγουρα;
ΠΑΤΕΡΑΣ
Πόσο δύσκολο είναι να αναβάλουν τη βάφτιση;
ΑΝΤΩΝΗΣ
Την έχουν αναβάλει ήδη δύο φορές οι άνθρωποι.
ΠΑΤΕΡΑΣ
Κοίτα αν δεν μπορείς να πας, δεν πειράζει, θα δούμε,
θα βρούμε μια άλλη λύση.
ΑΛΕΞ
Μπορώ.
ΠΑΤΕΡΑΣ
Σίγουρα;
ΠΑΤΕΡΑΣ
Και δεν χρειάζεται να το πεις όλο. Και ούτε απέξω.
Μόνο να το διαβάσεις. Είναι σημαντικό όμως να πεις
αυτή την ομιλία. Τα δικά μας όπλα είναι οι λέξεις, τα
λόγια, η ομιλία. Μ’ αυτά δίνουμε τη μάχη εμείς.
Και μετά … μια μεγάλη βόλτα …
ΑΛΕΞ
Just the two of us for a ride.
ΠΑΤΕΡΑΣ
Όπως τα Σάββατα στην Καλιφόρνια. Στην
Κρήτη όμως μόνο ελληνικά. Έτσι;
Personal values.
Living between
two worlds.
Impact of social
and political
events.
Μανόλη! Ετοίμασε τον Άλεξ. Φεύγει για Κρήτη!
ΑΛΕΞ
Mom!
ΜΗΤΕΡΑ
Honey! You look so good in your suit. What’s up?
ΑΛΕΞ
I’m going to Crete. Could you come with me please!
ΜΗΤΕΡΑ
So, he is sending you to the baptism. I really wish could come.
But you know your father needs me here.
ΑΛΕΞ
But I’ll be all by myself.
ΜΗΤΕΡΑ
You’ll do just fine. And your father will be so proud of you.
ΜΑΝΟΛΗΣ
Έλα βρε μη στεναχωριέσαι! Ο Παναγάκης θα σε έχει στα όπα,
όπα!
Όχι από δω! Εδώ!
Περάστε κύριε Άλεξ!
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Responsibility to
others.
Personal values.
Responsibility to
others.
Peer and family
pressure.
Vocabulary
βαφτίσια
christening
para-koumbaros
second best man
para-para-koumbaros
third best man
ψήφους
votes
έμπειρο
experienced
τιμάς
you honour
εκ μέρους μου
on my behalf
εκλογές
elections
αναβάλουν
postpone
ήδη
already
Study guide questions
1
How is the father portrayed in this opening extract?
2
Discuss the issues presented in this extract.
3
Comment on the film techniques used in this extract and give examples.
Sample speaking task
Η πίεση από την οικογένεια και την κοινωνία μας κάνουν πιο δυνατούς. Ποια είναι η γνώμη
σου;
Pressures from society and family make us stronger. What is your opinion?
Sample reading and responding task
Read the following scene and respond in Greek (200 words).
ΠΑΤΕΡΑΣ
Πόσο δύσκολο είναι να αναβάλουν τη βάφτιση;
ΑΝΤΩΝΗΣ
Την έχουν αναβάλει ήδη δύο φορές οι άνθρωποι.
ΠΑΤΕΡΑΣ
Κοίτα αν δεν μπορείς να πας, δεν πειράζει, θα δούμε,
θα βρούμε μια άλλη λύση.
ΑΛΕΞ
Μπορώ.
ΠΑΤΕΡΑΣ
Σίγουρα;
ΠΑΤΕΡΑΣ
Και δεν χρειάζεται να το πεις όλο. Και ούτε απέξω.
Μόνο να το διαβάσεις. Είναι σημαντικό όμως να πεις αυτή την ομιλία. Τα δικά μας
όπλα είναι οι λέξεις, τα λόγια, η ομιλία. Μ’ αυτά δίνουμε τη μάχη εμείς.
Και μετά … μια μεγάλη βόλτα …
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Φαντάσου ότι είσαι ο πατέρας. Γράψε στο ημερολόγιό σου πώς αισθάνεσαι μετά από
αυτή τη συζήτηση με τον γιο σου.
Imagine you are the father. Write a diary entry expressing your thoughts and emotions
after this conversation with your son.
Related text: Sample question
Read the words to the following song and discuss how the issue of acceptance of others is
evident here:
Το αγγελούδι Νότης Σφακιανάκης
Μουσική/ στίχοι- Δήμας Βασίλης: http://www.youtube.com/watch?v=GJQoHjEJPW8
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Extract 2
From
To
Time: 06.25
From the preparation for the arrival of the
leader in Crete
25.00
Explaining to Alex the importance of visiting
the families
Transcript
Έξω από το αρχοντικό του Παναγάκη
Prescribed issues
ΠΑΝΑΓΑΚΗΣ
Όι εκιά μπρε. Όι. Έπαε θε να κάτσει ο αρχηγός. Δεν το
καντίζεις κι αμοναχός σου πως θέλουμε να τον θωρούνε
κι από αλάργο; Ετόσινα κεφαλόκριση θέλει;
Acceptance of
others.
Personal identity.
ΠΑΝΑΓΑΚΑΙΝΑ
Ετούτονα θε να βάνουμε, το καινούριο. Όι εκείνο.
Living between
two worlds.
Όι φέρτο δω. Αυτό.
Όι , όι Μυρτώ. Βγάλτα. Ετούτα να θα βάνουμε, που’ναι
μεγάλα και δροσερά.
ΠΑΝΑΓΑΚΗΣ
Αδερφέ, ανεμαζώξου να φύγουμε …
Culture and
tradition.
ΠΑΝΑΓΑΚΑΙΝΑ
Έρχεται ο νουνός! Ο νουνός σου, ένας άντρας ως εκεί
πάνω. Λεβέντης μεγάλος και τρανός.
Stereotypes.
ΣΤΟ ΛΙΜΑΝΙ
ΑΛΕΞ
Γεια σας!
ΝΙΚΗΤΑΣ
Αδερφέ θαρρώ πως σου μιλεί. Ντα ποιο είναι τουτονέ το
κοπέλι;
ΑΛΕΞ
Γεια σας. Είμαι … Ο γιος.
ΠΑΝΑΓΑΚΗΣ
Ο γιος; Ποιανού;
ΠΑΝΑΓΑΚΗΣ
Καλώς το, το αντράκι μας, στην κεφαλή μας από πάνω. Η
Κρήτη ήτανε, είναι και θα είναι δημοκρατική. Λευτέρης
Παναγάκης. Ντα πώς σε λένε καμάρι μου;
Impact of social
and political
events.
Culture and
tradition
ΑΛΕΞ
Άλεξ.
ΠΑΝΑΓΑΚΗΣ
Άλεξ, ντα που’ναι ο πατέρας σου μπρε Άλεξ;
ΑΛΕΞ
Στο Πάτρα.
ΠΑΝΑΓΑΚΗΣ
Στην Πάτρα;
ΑΛΕΞ
He went to ... Έπρεπε να πάει … στην Πάτρα.
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Responsibility to
others.
Living between
two worlds.
Personal values.
Pressure to
others.
ΠΑΝΑΓΑΚΗΣ
Και δεν θα ν’έρθει;
ΑΛΕΞ
Δεν μπορούσε … γι’αυτό έστειλε εμένα.
Δεν σας το μίλησαν;
ΠΑΝΑΓΑΚΗΣ
Αν μας το μηνύσανε; Από χτες ψες μας επέψανε μας το
μαντάτο.
ΝΙΚΗΤΑΣ
Αμάν
ΠΑΝΑΓΑΚΗΣ
Ίντανε;
ΝΙΚΗΤΑΣ
Εγώ φταίω, κακορίζικο, εγώ.
ΠΑΝΑΓΑΚΗΣ
Iντάνε;
ΝΙΚΗΤΑΣ
Επέψανε σήμα από τον ΟΤΕ οψάργας, μα ξέχασα να στο
πω. Για τουτονά θα μας εθέλανε.
ΠΑΝΑΓΑΚΗΣ
Παναζία μου, Παναζία μου.Κι εδά μου τολες μπρε!Εσύ
που δεν ξεχνάς ποτέ πράμα!
ΝΙΚΗΤΑΣ
Χίλια καλωσορίσετε
Χίλια και δυο χιλιάδες
Ο κήπος με τα λούλουδα και με τσι πρασινάδες
ΚΡΗΤΙΚΟΣ Α
Καλωσορίσετε!
ΚΡΗΤΙΚΟΣ Β
Καλωσορίσετε!
ΚΡΗΤΙΚΟΣ Γ
Καλωσορίσετε!
ΠΑΝΟΣ
Welcome!
ΠΑΝΑΓΑΚΗΣ
Έπαε θα κάτσεις, έπαε που θα καθότανε δίπλα μου κι ο
κύρης σου.
ΠΑΝΑΓΑΚΗΣ
Καλώς τόνε τον αργόσπορο που δεν έχει στον ήλιο
Μοίρα.
ΠΑΝΟΣ
Όι όι σταμάτα.
ΠΑΝΑΓΑΚΗΣ
Στους χίλιους μαύρους σπιρτωμένους διαόλους να Πας.
Στον Αγιάγυρτο!
ΝΙΚΗΤΑΣ
Άστονε μωρέ το σκατζόχοιρο άστονε.
ΠΑΝΟΣ
Σταμάτα, σταμάτα.
ΝΙΚΗΤΑΣ
Άστονε μωρέ. Μα ψυχή έχει κι αυτός.
ΠΑΝΟΣ
Όι όι σταμάτα, σταμάτα.
ΠΑΝΑΓΑΚΗΣ
Βούλωσε το μπρε που να σε πάρει ο διάοτσος. Του
διαόλου είναι η σπορά. Ετσά;Ετσά μπράβο. Όι σαν το
μοσκάρι που βλέπει το μαχαίρι ν’ αστράφτει και
ζαρώνει. Ντροπή.
Ετούτο να είναι το χωριό μας. Εφτάξαμε.
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Personal identity.
Culture and
tradition.
Personal values.
Culture and
tradition.
Acceptance of
others.
Στο Αρχοντικό του Παναγάκη
Prescribed issues
ΠΑΝΑΓΑΚΗΣ
Ανείμενε μπρε. Εγώ θα σ’ανοίξω
Acceptance of
others.
ΜΟΥΣΤΑΚΑΣ
Μια καρδιά, έναν πόδα, δύο πλεμόνια.
Impact of sociopolitical events.
ΠΑΝΑΓΑΚΗΣ
Ξέσυρε ρε Μουστάκα. Όι εδά.
Culture and
tradition.
ΜΟΥΣΤΑΚΑΣ
Ιντάνε μπρε τονά; Πούναι ο Αρχηγός;
Πούναι ο Αρχηγός;
ΠΑΝΑΓΑΚΗΣ
Ξέσυρε Μούστακα , ξέσυρε
ΜΥΡΤΩ
Ετούτοσας είναι ο νονός; Ετούνες είναι μικιό σαν κι εμάς.
ΠΑΝΑΓΑΚΑΙΝΑ
Καλώς ορίσετε. Καλοδεχούμενος.
ΓΙΑΓΙΑ ΕΥΓΕΝΙΑ
Καλωσόρισες παιδί μου. Καλωσόρισες. Άρχοντα και
Βασιλιά μου.
ΠΑΝΑΓΑΚΑΙΝΑ
Ο γιος του είναι μάνα.
ΓΙΑΓΙΑ ΕΥΓΕΝΙΑ
Το ίδιο κάνει και πιο καλιά.
ΠΑΝΑΓΑΚΑΙΝΑ
Έπαε θα θέσετε, απούχαμε στρωμένα για το μπαμπά
σας.
Impact of sociopolitical events.
Δεν είναι για τα κοπέλια . Για τον μπαμπά σας ήτανε.
ΑΛΕΞ
Score.
ΠΑΝΑΓΑΚΗΣ
Μωρέ δεν είναι μόνο η βάφτιση που
ντουχιουντίζω. Επαέ, ετοσές μουδέ να μιλήσει
καλά καλά τα ρωμαίικα δεν κατέχει.
ΑΛΕΞ
Τα ρωμαίικα;
ΠΑΝΑΓΑΚΑΙΝΑ
Δεν κατέχει ε;
Personal values.
ΠΑΝΑΓΑΚΗΣ
Δυο κουβέντες, τρία λάθη κάνει. Κι ετσά που’ναι τα
πράματα, βάφτιση δίχως προσλαλιά ίντα διάολο θα την
εκάνουμε; 150 ψηφαλάκια δεν είναι χωρατά. Δεν είναι
ψιλολιές να τσι μαζώνεις χαχαλιές.
Παναζία μου, Παναζία μου. Μπρε πούναι το κοπέλι;
Loss of traditional
values.
Peer and family
pressure.
ΠΑΝΑΓΑΚΑΙΝΑ
Στην κάμαρη. Τώρα θάρθει.
Σύρε Μυρτώ να τον φωνάξεις.
ΑΛΕΞ
Come here. Τι είναι τα ρωμαίικα;
ΜΥΡΤΩ
Τα ρωμαίικα; … Τα ελληνικά.
ΑΛΕΞ
Τι λένε;
ΠΑΝΑΓΑΚΗΣ
Πάνε τα ψηφαλάκια μας, πάνε.
Δεν γίνεται αλλιώς. Πρέπει να εμετακουνήσουμε
Τη βάφτιση.
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Prejudice.
ΠΑΝΑΓΑΚΑΙΝΑ
Τρίτη βολά; Και να μένει πάλι αβάπτιστο το κοπελάκι;
Loss of traditional
values.
ΠΑΝΑΓΑΚΗΣ
Γυναίκα. Εγώ θαρείς δεν έχω κεφαλόκριση;
Gender
stereotypes.
ΑΛΕΞ
Τι λένε;
ΜΥΡΤΩ
Λένε να μη γίνει.
ΑΛΕΞ
Ποιο;
ΜΥΡΤΩ
Η βάφτιση
ΠΑΝΑΓΑΚΑΙΝΑ
Και οι εκλογές που κοντοσιμώνουνε; Πότε θα μαζώξουμε
τα ψηφαλάκια;
Impact of sociopolitical events.
Personal values.
ΠΑΝΑΓΑΚΗΣ
Αν είχαμε τον Αρχηγό θα τα μαζώναμε από γύρου γύρου.
Επάε με το μικιό ίντα να κάνουμε;
ΠΑΝΑΓΑΚΑΙΝΑ
Ίντα να πω; Ας την μετακουνήσουμε.
ΠΑΝΑΓΑΚΗΣ
Με το κοπέλι ίντα θα κάνουμε;
ΠΑΝΑΓΑΚΑΙΝΑ
Θα μείνει επαέ μιαολιά, κι απόκιας γιαγύρει οπίσω.
ΜΥΡΤΩ
Λένε να γιαγύρεις οπίσω.
ΑΛΕΞ
Τι;
ΜΥΡΤΩ
Να πας πίσω.
ΠΑΝΑΓΑΚΗΣ
Πούναι μωρέ το κοπέλι;
ΠΑΝΑΓΑΚΑΙΝΑ
Μυρτώ.
ΜΥΡΤΩ
Έλα κάτω. Φαί.
ΑΛΕΞ
Μυρτώ
Culture and
tradition.
Φίλες και φίλοι. Προχωρούμε μαζί, το δύσκολο,
Ευγενικό, ωραίο έργο να φτιάξουμε την Ελλάδα Μας.
Μιαν Ελλάδα που θα κυβερνιέται από το λαό της.
ΠΑΝΟΣ
Ίντα κάνει;
ΠΑΝΑΓΑΚΗΣ
Μπα και κατέω;
ΠΑΝΑΓΑΚΑΙΝΑ
Τα κοπέλια πούναι κοπέλια πολιτικών, ετσά κάνουνε.
Προπονούνται συνέχεια. Αντί για τον σταυρό ντως
καθ’αργά, βγάνουνε λόγους.
ΠΑΝΑΓΑΚΗΣ
Λες μπρε;
ΠΑΝΑΓΑΚΑΙΝΑ
Ετουτοσές είναι μπαλκονάτος από γεννησιμιού του.
ΠΑΝΑΓΑΚΗΣ
Εσύ να τα θωρείς ετανά Πανάγο, που μια μαντινάδα δεν
κατέχεις να ριγοστελιάσεις.
ΑΛΕΞ
Ζήτω η Δημοκρατία.
ΠΑΝΑΓΑΚΗΣ
Μα ιντάκανες, θεόψυχά μου, στο μπαλκόνι; Ιντάκανες;
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Living between
two worlds.
Stereotypes.
Culture and
tradition.
ΠΑΝΑΓΑΚΑΙΝΑ
Επροπονούντανε. Ετσά;
Προπόνηση. Μπράβο, μπράβο.
ΠΑΝΑΓΑΚΗΣ
Γροίκα κοπελάκι μου … το βαφτίσι τουτονά δεν είναι ένα
απλό βαφτίσι. Είναι για να φέρουμε τη Δημοκρατία σε
τουτονέ τον πονεμένο τόπο.
Γιάκιονα λέμε να το πάμε μια ολιά αλαργά πιο μετά.
ΑΛΕΞ
Ο πατέρας μου λέει εγώ θα είμαι το νονός.
ΠΑΝΑΓΑΚΗΣ
Και μπορείς να τα πεις όλα τανά;
ΑΛΕΞ
Είμαι μικρός, αλλά δυνατός.
ΠΑΝΑΓΑΚΑΙΝΑ
Μια χαρά θα τα καταφέρει.
Είναι μικιός αλλά δυνατός και θάναι ο νονός και ο
σύντεκνος ο μυρωδικός. Έτσι αντρί μου
ΠΑΝΑΓΑΚΗΣ
Το λοιπόν, ότι είχαμε στεμένο για τον πατέρα, θα το
κάμεις εσύ, ο γιος.
OK?
ΑΛΕΞ
OK.
Το επόμενο πρωί στην τραπεζαρία
ΠΑΝΑΓΑΚΑΙΝΑ
Έλα και θα σε φτιάξω εγώ, πιο όμορφο κι από τον
πατέρα σου. Αλήθεια
ΠΑΝΑΓΑΚΗΣ
Για έλα να πούμε πέντε πράματα πριν ντακάρουμε τη
μέρα μας, γιατί και σήμερο και αύριο είναι δυο πολύ
σημαντικές μέρες.
Κατέεις
ΑΛΕΞ
Για τη βαφτίσια.
ΠΑΝΑΓΑΚΗΣ
Για τη Δημοκρατία.
Τα λοιπό, το λοιπό … Σήμερο θα πάμε σε δυο σπίθια,
δυο σπίθια. Στσι Φουντεδάκηδες
απόκιας στσι Μονεδάκηδες. Δεν ψηφίζουνε το δικό μας
κόμμα αλλά εσύ είσαι έπαε για να τσι φέρομε με το
μέρος μας ... Τσι χρειαζόμαστε και τσι δυο αύριο στη
πλατέα. Εννόησες;
Αύριο που θα κατέβουμε στην πλατέα
Impact of sociopolitical events.
Peer and family
pressure.
Responsibility to
others.
χρειαζόμαστε και τσι Φουντεδάκηδες και τσι
Μανεδάκηδες. Μόνο ετσά θα μαζέψουμε την 150άρα.
Ετόσανα ψηφαλάκια χρειαζόμαστε για να βγούμε.
ΑΛΕΞ
Ψηφαλάκια;
ΠΑΝΑΓΑΚΗΣ
Άι γεια σου.Όλους πρέπει να τσι χαιρετάς Και να τσι
διπλοχαιρετάς. Κατέχεις πώς; Τη χέρα σου.
Με τα δυο τα χέρια.
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Culture and
traditions.
ΠΑΝΑΓΑΚΗΣ
Διάολε. Τι είναι τουτανά μπρε κοντυλιές;
Αλευροκινησμένος θα μας έβγεις; Αλλά πού θα πάει; Θα
σε κάμω εγώ ντελικανή, θες δεν θες. Λοιπόν
συνεχίζουμε. Ό,τι σου δίνουνε να το τρως. Τρώγε ,
τρώγε, τρώγε και μη ρωτάς.
ΑΛΕΞ
Κι ο πατέρας μου αυτό θα έκανε;
ΠΑΝΑΓΑΚΗΣ
Αυτό κι άλλο τόσο. Ένα θα του δίνανε, δύο θα έπαιρνε.
Γιατί ετσά θα σύρομαι τσι γυναίκες με το μέρος μας.
Κατέχεις ντα κάνουν ετετσές; Τως εζητάει ο άντρας τως
να ψηφίσουν ένα γκόμμα, αυτές λένε ναι και μετά
κρυφά ψηφίζουν το άλλο. Για κιονά πρέπει να τσι
φέρομε μια μια με το μέρος μας.
ΜΥΡΤΩ
Και να λες γεια στα χέρια σας.
ΑΛΕΞ
Γεια στα χέρια σας.
ΠΑΝΑΓΑΚΗΣ
Μπράβο. Έλα έπαε καμάρι μου. Έλα έπαε. Βρε εσύ
έπρεπε να’σαι το κοπέλι.
Τώρα, τα αρσενικά θα σου ζητούνε πράματα
ΑΛΕΞ
Πράματα;
ΝΙΚΗΤΑΣ
Πράματα, μπρε πράματα. Μη σκιάζεσαι. Χάρες. Ε;
Ξάνοιξε δα. Εκείνοι θα μας εβοηθήσουνε να φέρουμε τη
Δημοκρατία, Δημοκρατία. Ε και εμείς το ύστερο να μη
τσι βοηθήσουμε με τα δικά τως; Με τα προβλήματά
τους.
Κατάλαβες αντράκι μου;
ΠΑΝΑΓΑΚΗΣ
Άνε σου ζητήσουνε το ηλεκτρικό, θα τως επείς ηλεκτρικό.
ΝΙΚΗΤΑΣ
Άνε σου πούνε για τηλέφωνο, θα τως επείς τηλέφωνο.
ΑΛΕΞ
Τηλέφωνο
ΠΑΝΑΓΑΚΗΣ
Άνε σου πούνε ο δρόμος, θα τως επείς
ναίσκες ο δρόμος.
ΑΛΕΞ
Ναίσκες ο δρόμος.
ΠΑΝΑΓΑΚΗΣ
Μπράβο. Σε όλα θα λες ναι.
ΑΛΕΞ
Ο πατέρας μου αυτό θα έκανε;
ΠΑΝΑΓΑΚΗΣ
Αμέ. Αυτά κι άλλα τόσα.
Αααα …
ΝΙΚΗΤΑΣ
Αδερφέ, άστο μωρέ ήσυχο το κοπέλι.
ΠΑΝΑΓΑΚΗΣ
Εδά θα σε σάσω εγώ.
ΝΙΚΗΤΑΣ
Ετσά μόνο λάδι στη φωτιά ρίχνεις.
ΠΑΝΑΓΑΚΗΣ
Μη μιλείς εσύ. Μη.
Έλα επάε. Διάολε. Ίντανε αυτά που κάνεις μπρε; Έλα
επάε.
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Gender
stereotypes.
Prejudice.
Stereotypes.
Acceptance of
others.
ΠΑΝΑΓΑΚΑΙΝΑ
Έλα έλα. Πάμε στο νονό.
Έλα πάρτο το νταχντιριντί που σε θέλει. Πώς θα γίνεις ο
νονός;
ΜΥΡΤΩ
Σκιάζεσαι μη σου πέσει η μπέμπα;
Πάντως, αν θέλεις να κάμεις πρόβα, σήκωσε εμένα, δε
με πειράζει.
ΠΑΝΑΓΑΚΗΣ
Τα ίδια ο σερσέμης ο γιος σου.
ΠΑΝΑΓΑΚΑΙΝΑ
Γιάντα ψυχή μου πάλι; Ε;
ΠΑΝΑΓΑΚΗΣ
Κάτι όμως δεν πρέπει να πεις; Πράμα δικό σου;
Πολιτικός και μουγγός, γίνεται μπρε;
ΓΙΑΓΙΑ
Ωραία που τα λέει το κοπέλι!
ΠΑΝΑΓΑΚΑΙΝΑ
Πες κάτι που λέει κι ο κύρης σου.
Ο μπαμπάς σου.
ΑΛΕΞ
Ζήτω η δημοκρητία.
ΠΑΝΑΓΑΚΗΣ
Παναζία μου, Παναζία μου!
ΠΑΝΟΣ
Δημοκρητία! Καλό! Αυτή της Κρήτης!
ΠΑΝΑΓΑΚΗΣ
Όρσε. Μπερδεύεις τον κύριο Άλεξ.
Κοπέλι. Ζήτω η Δημοκρατία.
ΑΛΕΞ
Ζήτω η Δημοκρητία.
ΠΑΝΑΓΑΚΗΣ
Παναζιά μου, Παναζία μου. Όι μωρέ.
Δη-μο-κρα-τί-α! Κρα κρα …
ΠΑΝΟΣ
Κρα, κρα, κρα. Όπως κάνουν οι σκαντζόχοιροι όταν τσι
πατούνε.
Vocabulary
αναστατωμένος
upset
όϊ (όχι)
no
καντίζεις (καταλαβαίνεις)
understand
μπρε-βρε
hey you
εκιά- εκεί
there
θε να – θέλει να
wants to
ετούτονα- αυτό εδώ
this one
αμοναχός (μόνος)
alone
θωρείται (φαίνεται)
to be seen
αλάργο (από μακριά)
from a distance
ετοσινά (τόση)
that much
κεφαλοκρίση (σκέψη)
thought
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κάτεχα (γνώριζα)
knew
αγλακά (τρέχει)
runs
ψοματινά (ψεύτικα)
fake
κανακάρα (χαϊδεμένη)
spoiled
ντάγκο
dry barley bread with tomato, feta, olive oil and onion
γροικάς (προσέχεις)
look carefully
ανεμαζώξου (ετοιμάσου)
get ready
κουζουλός
stupid
ανοσθιές (άνοστα, βαρετά)
boring
τουτονέ (αυτό)
this
κοπέλι (αγόρι)
boy
καμάρι
someone to be proud of
μηνύσανε, επέψανε (στείλανε)
sent message
ψες
yesterday
τρανός-
famous
θαρρώ-νομίζω
I think
στην κεφαλή
on top of everything
ίντανε- τι είναι
what’s wrong
πράμα- τίποτα
nothing
τσι- τις
them; those
ο κύρης σου- ο πατέρας σου
your father
ο σκαντζόχοιρος
hedgehog
ο διάοτσος-ο διάολος
the devil
ετσά- έτσι
like that
ανείμενε-περίμενε
wait
ένα πόδα- ένα πόδι
a leg
πλεμόνια- πνευμόνια
lungs
το μαντάτο
message
κακορίζικα
unfortunate; unlucky
οψάργας
yesterday; late in the evening
εδά
now
έπαε (εδώ)
here
κωλοκάτσεις
sit
αργόσπορος
slow-coach
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σπιρτωμένους διαόλους
the cursed ones
αγιάγυρτο
devil
βούλωσέ το
shut up
ζαρώνει (μαζεύεται)
crouch
ξέσυρε, σύρε
go
καλοδεχούμενος
welcome
ετούτοσας (αυτός)
he
μικιός (μικρός)
small
βολά (φορά)
time
θιος (Θεός)
God
δεν κατέχει- δεν καταλαβαίνει
does not understand
τρίτη βολά- τρίτη φορά
third time
κυβερνιέται
is governed
καθ’αργά
late at night
πιο καλιά (καλύτερα)
better
θα θέσετε (θα ξαπλώσετε)
you will lie
απούχαμε (όπου είχαμε)
where we had
ντουχιουντίζω κλαίω
crying
ετοσές μουδέ (αυτός εδώ)
this one
ρωμαίικα (ελληνικά)
Greek language
προσλαλιά
speech
ίντα (τι)
what
πωμένα (ειπωμένα)
had said
ψιλολιές
small olives
χαχαλιές
handful
μαζώνεις (μαζεύεις)
collect
Παναζία (Παναγία)
Virgin Mary
ψηφαλάκια
votes
εμετακουνήσουνε (μετακινήσουν) move
κεφαλόκριση (σκέψη)
thought
προπονούνται
practise
μαντινάδα
Cretan improvised songs
κοντυλιές- μαντινάδες
Cretan improvised songs
κοντοσιμώνουνε (πλησιάζουν)
approach
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μαζώξουμε (μαζέψουμε)
collect
μιαολιά (για λίγο)
for a while
απόκιας (από εκεί και πέρα)
after that
γιαγύρει (γυρίζει)
return
κοπέλια (παιδιά)
children
σταυρό ντως (τους)
their cross
βγάνουνε λόγους
making speeches
μπαλκονάτος
for the balcony (for making speeches)
γεννησιμιού του
from his birth
φωνή ντως (τους)
their voice
ετανά (αυτά)
these
ριγοστελιάσεις (ταιριάξεις)
match
φτυστός
the same
απατήτου (ίδιος)
the same
ιντάκανες (τι έκανες)
What did you do?
θεόψυχά μου (καρδούλα μου)
sweetheart
γροίκα (άκου)
listen
γιάκιονα (για αυτό το λόγο)
for this reason
τανά (αυτά)
these
ο σύντεκνος (ο νονός)
Godfather
μυρωδικός
that smells nice
αντρί
young man
στεμένο (κανονίσμενο)
organised
ντακάρουμε (αρχίσουμε)
start
σπίθια (σπίτια)
houses
εννόησες
understood
διπλοχαιρετάς
greet twice
αλευροκινησμένος
implied he is a wimp
ντελικανή (άντρας λεβέντης)
brave man
ετσά (έτσι)
using this way
θα σύρουμε με το μέρος μας
take by our side
ετεσές (αυτές)
these
γκόμμα (κόμμα)
political party
γεια στα χέρια σας
(health to your hands) excellent cooking
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αρσενικά
boys and men
πράματα
things (favours)
ξάνοιξε (κοίτα)
look
ύστερο
later
ναίσκες
yes
ο πρώτος διδάξας
the first who teach something
σάσω (φτιάξω)
make
φωθιά (φωτιά)
fire
ντιχντιριντί (μωρό)
baby
μουγγός
mute
ο κύρης σου
your father
τσι πατούνε
step on them
για κιονά
for this reason
χάρες
favours
θα τως επείς
you will tell them
ο σερσέμης
silly boy
γιάντα- γιατί
why
όρσε- ορίστε
here you go
Study guide questions
1
Compare and contrast the characters of Alex and Panos as depicted in this extract.
2
How is the issue of acceptance of others explored in this extract?
3
Discuss the effectiveness of camera use in this extract. Give examples.
Sample speaking task
Πολλοί νέοι νιώθουν αποξενωμένοι από το κοινωνικό περιβάλλον τους. Συζητήστε.
Many young people feel alienated in their social environment. Discuss.
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Sample reading and responding task
Read the following scene and respond in Greek (200 words).
ΝΙΚΗΤΑΣ
Πράματα, μπρε πράματα. Μη σκιάζεσαι.
Χάρες. Ε; Ξάνοιξε δα. Εκείνοι θα μας εβοηθήσουνε να φέρουμε τη
Δημοκρατία, Δημοκρατία. Ε και εμείς το ύστερο να μη τσι βοηθήσουμε με τα
δικά τως;
Με τα προβλήματά τους. Κατάλαβες αντράκι μου;
ΠΑΝΑΓΑΚΗΣ
Άνε σου ζητήσουνε το ηλεκτρικό, θα τως επείς ηλεκτρικό.
ΝΙΚΗΤΑΣ
Άνε σου πούνε για τηλέφωνο, θα τως επείς τηλέφωνο.
ΑΛΕΞ
Τηλέφωνο.
ΠΑΝΑΓΑΚΗΣ
Άνε σου πούνε ο δρόμος, θα τως επείς ναίσκες ο δρόμος.
ΑΛΕΞ
Ναίσκες ο δρόμος.
ΠΑΝΑΓΑΚΗΣ
Μπράβο. Σε όλα θα λες ναι.
ΑΛΕΞ
Ο πατέρας μου αυτό θα έκανε;
ΠΑΝΑΓΑΚΗΣ
Αμέ. Αυτά κι άλλα τόσα.
Αααα …
Φαντάσου ότι είσαι ο Άλεξ. Πηγαίνεις στoν ΟΤΕ για να πάρεις τηλέφωνο τον πατέρα σου για
να τον ενημερώσεις για αυτά που γίνονται και για να του ζητήσεις τη γνώμη του. Γράψε το
διάλογο.
Imagine you are Alex. You go to the telephone exchange office to ring your father to inform
him of all that is happening and to ask for his advice. Write your dialogue.
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Related text
Read the following dialogue and discuss how the issue of the search for personal identity
is evident here.
Ταυτότητα
Στο απογευματινό σχολείο
Δασκάλα- Εσείς είστε Έλληνες και πρέπει να είσαστε υπερήφανοι. Δεν έχει σημασία πού
γεννηθήκατε. Οι γονείς σας, οι θείοι σας, όλοι οι συγγενείς σας είναι Έλληνες. Μιλάτε
ελληνικά, τρώτε ελληνικά φαγητά. Έχετε ελληνικό αίμα μέσα σας, γι’ αυτό είσαστε Έλληνες.
Στο αγγλικό σχολείο
Δασκάλα
I want you to write an essay, about a page on ‘Why I am proud to be
Australian.’
Μαθήτρια
But Miss, are we Australian?
Δασκάλα
Yes, you are Australian. Don’t you think of yourself as Australian?
Μαθήτρια
Miss, it’s hard for us to be characterised because one person tells us we
are; another person tells us we are not. Take me for example, everyone
tells me I am Greek and now you tell me that I am Australian.
Δασκάλα
But you were born here, raised here, you think in English.
Στο σπίτι
Μαθήτρια-Ποια είμαι; Δεν ξέρω. Είμαι Ελληνίδα ή είμαι Αυστραλέζα; Το μόνο σίγουρο που
ξέρω είναι πώς βρίσκομαι σε δύο διαφορετικούς κόσμους. Έρχεται το Πάσχα, έρχονται τα
Χριστούγεννα, εγώ κάνω και τα δύο celebrate. How can you characterise someone like me
into a certain nationality? I read, write, speak in Greek, I go to Greek dances and Greek
theatre. But then ... I also attend Australian dances and Australian movies. I think, speak,
read and write in English as well.
Ποια είναι η σωστή μου ταυτότητα; Η χρυσή μου ταυτότητα που μου έδωσαν οι γονείς μου,
γράφει πώς είμαι η Σοφία, αλλά δεν γράφει αν είμαι Ελληνίδα ή Αυστραλέζα. Αυτή η
ερώτηση στριφογυρίζει στο μυαλό μου. Προσπαθώ να βρω την απάντηση σ΄αυτή την
ερώτηση και της αφιέρωσα πολλή σκέψη. Στο τέλος βρήκα μία λύση που μου έφερε μεγάλη
ευχαρίστηση. Σκέφτηκα πως είμαι και τα δύο, έχω μέσα μου κάτι και από τις δύο μου
πατρίδες, την Ελλάδα και την Αυστραλία. Μιλάω δύο γλώσσες, έχω δύο διαφορετικές
κουλτούρες. Και η πραγματική μου ταυτότητα είναι πως είμαι μια Αυστραλογεννημένη
Ελληνίδα.
Krilli G., Constantopaidos T., Lomis M., Strouthou M. (1983) Κι ελληνικά μαθαίνω, Issue 1, p. 6, Modern Greek group of
Modern Language Teachers Association, Sydney.
© State of New South Wales, Department of Education and Communities 2013
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Extract 3
From
To
Time: 25:00
From visiting the two different houses to gain
votes
Time: 41:05
To when Alex spits out the snail
Transcript
Σάλα Φουντεδάκη
Prescribed issues
ΦΟΥΝΤΕΔΑΚΗΣ
Καλώς ορίσετε.
ΠΑΝΑΓΑΚΗΣ
Ο γιος του Αρχηγού μας, του νέου μας Αρχηγού μας.
ΦΟΥΝΤΕΔΑΚΗΣ
Ετοσές μπρε ο τσίμαρος είναι ο γιος;
ΞΑΔΕΛΦΟΣ Α
Τέλεια με αμερικανάκι μοιάζει.
ΞΑΔΕΛΦΟΣ Α
(στην
ΦΟΥΝΤΕΔΑΚΑΙΝΑ)
Καθόλου δεν μοιάζει του Αρχηγού ντως.
ΦΟΥΝΤΕΔΑΚΑΙΝΑ
Εμ, καημένε μου, αφού πήγε και στεφανώθηκε
ξενομπάτισα, ετουτανά βγαίνουνε.
ΞΑΔΕΛΦΗ Α
Ξενομπάτισα, ο για όνομα του Θεού.
ΠΑΝΑΓΑΚΑΙΝΑ
Εγώ που είδα μια φωτογραφία του Αρχηγού μας μικιός,
είναι ίδιος η απατή του, φτυστός.
ΑΛΕΞ
The peel? Why do we have to eat the peel?
Living between
two worlds.
ΑΛΕΞ
Γεια στα χέρια σας.
Culture and
tradition.
ΞΑΔΕΛΦΗ Α
Εδά που τον εξανοίγω πάλι, σάικα να φέρνει στον κύρη
του.
ΠΑΝΑΓΑΚΑΙΝΑ
Φτυστός, φτυστός η απατή του.
ΦΟΥΝΤΕΔΑΚΗΣ
Άμε πες του κύρη σου ότι ο δρόμος πρέπει να κάμει
περασά κάτου από το χωριό. Να φτάνει και στα εδικά
μας τα χωράφια, όχι νάμαστε σαφί εμείς οι ριγμένοι.
Επαέ τα λέει όλα.
Impact of sociopolitical events.
ΑΛΕΞ
Ναίσκες, ο δρόμος. Από κάτου!
Responsibility to
others.
Loss of personal
values.
ΠΑΝΑΓΑΚΗΣ
Από κάτου!
ΑΛΕΞ (με ορμή)
Από κάτου!
© State of New South Wales, Department of Education and Communities 2013
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Acceptance of
others.
Living between
two worlds.
Prejudice.
ΦΟΥΝΤΕΔΑΚΗΣ
Γροικάτε βρε φωνή το τσερπαπίδι. Χαρώτο εγώ τ’
αντράκι μου.
ΑΛΕΞ
Γεια στα χέρια σας!
ΞΑΔΕΛΦΟΣ Α
Έχω κι εγώ ένα αίτημα Παναγάκη. (Στον Άλεξ) Να
μηνύσεις του πατέρα σου να αλλάξει ντελόγω τον
χωροφύλακα. Να φύγει από παέ.
ΦΟΥΝΤΕΔΑΚΗΣ
Τη μια του φταίνε τα οζά μας, την άλλη τα κοπέλια μας,
δεν μας αφήνει σε χλωρό κλαρί. Κι όσο πάει η
κατάσταση χειροτερεύει.
ΞΑΔΕΛΦΟΣ Α
Να πάει από κια που ήρθε. Στο δίνω και γραπτώς, με το
όνομά ντου.
ΑΛΕΞ
Να αλλάξει.
ΞΑΔΕΛΦΟΣ Α
Ποιος μπρε ποιος;
ΑΛΕΞ
Ο κακός φύλακας.
ΦΟΥΝΤΕΔΑΚΗΣ
Έτσα. Μπρε μπρε το μικιό. Ετουτονέ από τα γεννοφάσκια
του το δασκαλεύουνε να μας εκυβερνήσει.
Responsibility to
others.
ΞΑΔΕΛΦΟΣ Β
Ήθελα και να κάτεχα
Culture and
tradition.
Ποιοι να’ ναι αυτοί οι φταίχτες
Loss of personal
values.
Peer pressure.
Που κυβερνιέται το νησί
Από κατσικοκλέφτες.
ΟΛΟΙ ΜΑΖΙ
Πες τα, πες τα. Ετσά μωρέ κατά του τα λες.
ΝΙΚΗΤΑΣ
Στην Κρήτη δεν γεννιώνται μπρε
Ούτ’ άτιμοι ούτε κλέφτες
Και την προσβάλλουν όλοι αυτοί
Που ‘ναι κατσικοκλέφτες.
ΑΛΕΞ
Ποιοι κλέφτες;
ΦΟΥΝΤΕΔΑΚΗΣ
Ποιοι; Οι Μανεδάκηδες. Ποιοι άλλοι;
ΞΑΔΕΛΦΟΣ Β
Διακόσια μόνο φέτος.
ΦΟΥΝΤΕΔΑΚΗΣ
Παναγάκη υποσχέθηκες, έτσα; Ντρέτα πράματα.
ΠΑΝΑΓΑΚΗΣ
Γροικάτε. Μόλις εβγώ θα σας τα γιαγύρω όλα πίσω.
ΞΑΔΕΛΦΟΣ Β
Και τα διακόσια.
ΠΑΝΑΓΑΚΗΣ
Και τα διακόσια οπίσω.
ΑΛΕΞ
Και τα διακόσια οπίσω.
© State of New South Wales, Department of Education and Communities 2013
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Culture and
tradition.
Loss of personal
values.
Impact of sociopolitical events.
Responsibility to
others
Loss of personal
values.
ΦΟΥΝΤΕΔΑΚΗΣ
Χαρώτο εγώ τ’ αντράκι μου.
Acceptance of
others.
Living between
two worlds.
ΝΙΚΗΤΑΣ
Έλα μπρε Πάνο σάσε μας κι εσύ μια μαντινάδα. Μα
ολόκληρος άντρας εγίνηκες.
Peer pressure.
ΠΑΝΟΣ
Μια μέλισσα καθότανε
Στην λόχμη της καρδιάς μου …
Culture and
tradition.
Personal identity.
ΑΛΕΞ
Φίλες και φίλοι. Ζήτω η δημοκρατία.
Responsibility to
others
ΠΑΝΑΓΑΚΗΣ
Γίνετε μπρε, διάολε τσα απολυμάρες μου την πιο κρίσιμη
στιγμή ο εδικός μου γιος να λέει κουζουλάδες;
Acceptance of
others.
Stereotypes.
Family pressure.
ΠΑΝΑΓΑΚΑΙΝΑ
Και ο γιος σου άντρας είναι και πρέπει να ανατρανίζει να
μιλεί δημόσια.
ΝΙΚΗΤΑΣ
Ετσά λέω κι εγώ.
ΠΑΝΑΓΑΚΗΣ
Και να λέει για μέλισσες και ανοσθιές. Ντροπή. Να μην
μπορεί να ριγοστελιάσει μια μαντινάδα; Γιάντα με
τιμωρεί έτσα ο Θιος και μου δίδει ένα κοπέλι απού λέει
γυναικεία πράματα;
Culture and
tradition
Family pressure.
Gender
stereotypes.
ΠΑΝΑΓΑΚΗΣ
Ενώ ο κύριος Άλεξ ξάνοιξες ίντα ωραία που τα είπε; Σάμε
35 ψηφαλάκια επαέ τσ’ έχομε. Κατέχεις ίντα δύναμη
είναι να κατέβουν οι Φουντεδάκηδες την ταχινή στην
πλατεία μαζί μας;
Impact of sociopolitical events.
ΠΑΝΑΓΑΚΗΣ
Νάτα τα ψηφαλάκια μας νάτα. Θωρώ τα να πορπατούνε
αμοναχά τους. Σαν να μου φαίνεται πήρες πολλά απ΄ τον
κύρη σου!
Impact of sociopolitical events.
Δρόμος χωριού
Η πορτοκαλόφλουδα εκσφενδονίζεται ξαφνικά...
ΠΑΝΑΓΑΚΗΣ
Μπρε από πού διάολο εξεφύτρωσε τουτονά, Άγιο είχαμε
και δεν μας είδε κιανείς.
ΠΑΝΑΓΑΚΗΣ
Κουράστηκες, μπας και θες να ξεκουραστείς μια ολιά;
ΑΛΕΞ
Όχι.
ΠΑΝΑΓΑΚΑΙΝΑ
Σίγουρος είσαι;
ΑΛΕΞ
Μόνο το food food! Πολύ φαΐ …
© State of New South Wales, Department of Education and Communities 2013
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Personal values.
Pressure on
others.
Culture and
tradition.
ΠΑΝΑΓΑΚΗΣ
Α φαΐ … έχει κι άλλο. Πώς θα ηπάρουμε με το μέρος μας
τις γυναίκες πανάθεμά τες.
Gender
stereotypes.
ΠΑΝΟΣ
Κρήτη, the land of πολύ φαΐ!
Culture and
tradition.
ΠΑΝΑΓΑΚΗΣ
Μην τολμήσεις και ανοίξεις το στόμα σου κακομοίρη
στου Μανεδάκη …
Family pressure.
ΠΑΝΟΣ
Ούτε που θέλω.
ΠΑΝΑΓΑΚΑΙΝΑ
Γιάε επαέ. Πρέπει να μάθεις κάποια βέρσα για να την
εβγάλεις μόνο τουτονέ το φαΐ της Κρήτης.
ΑΛΕΞ
Βέρσα;
ΠΑΝΑΓΑΚΑΙΝΑ
Έλα παέ. Κάνεις πως ξαμώνεις την μεγάλη και τσις
μυγιάς το φτερό παίρνεις το μικιό. Εννόησες;
ΑΛΕΞ
Like a fake in basketball.
Living between
two worlds.
ΠΑΝΟΣ
Πολιτική: η τέχνη της προσποίησης.
Responsibility to
others.
Personal values.
ΠΑΝΑΓΑΚΗΣ
Πολιτική: η τέχνη τσι προσαρμογής. (Στον Άλεξ) Κι άμα
δεις ότι δεν μπορείς να φας άλλο ρίχνε και κανένα επαέ
(δείχνει την τσέπη του).
Personal values
ΠΑΝΟΣ
Παρέα με τα ψηφαλάκια!
Acceptance of
others
ΠΑΝΑΓΑΚΗΣ
Ξάνοιξε πάλι θωρείς;
Άλλος δρόμου χωριού
ΜΟΥΣΤΑΚΑΣ
Εκεινέ που με ξυλοφορτώσανε, εκεινέ … όλοι από παέ.
Εκεινέ που με ξυλοφορτώσανε …
ΠΑΝΑΓΑΚΗΣ
Ξέσε, ξέσε.
ΠΑΝΑΓΑΚΗΣ
Καλλιά να πάμε από πίσω. Δεν θέλω να μπλέξομε. Την
ταχινή που θάμαστε πολλοί … Άμα θωρούνε τη δύναμή
μας αλλάζει.
ΝΙΚΗΤΑΣ
Ο φόβος … φόβο φέρνει. Από την πλατέα θα πάμε.
Personal values.
Divisions in
society.
ΠΛΑΤΕΙΑ
ΠΑΝΑΓΑΚΗΣ
Επαέ σταθείτε …
ΠΑΝΑΓΑΚΗΣ
Αδελφέ, κουζουλάθηκες; Εμιλήσατε;
Culture and
tradition.
Ο Νικήτας γνέφει όχι
ΠΑΝΑΓΑΚΗΣ
Εδόξασει ο Κύριος!
ΠΑΝΑΓΑΚΗΣ
Ετουτηνέ να την ξεχάσεις!
© State of New South Wales, Department of Education and Communities 2013
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Divisions in
society.
ΠΑΝΑΓΑΚΑΙΝΑ
Πάρε τουτανέ που μου ζήτηξες κι εγώ θα σας ανιμένω
πιο πέρα. Ελάτε.
ΝΙΚΗΤΑΣ
Κι οι Μανεδάκηδες από τους άλλους είναι.
ΠΑΝΑΓΑΚΗΣ
Ντύνου και μη μιλείς.
ΠΑΝΑΓΑΚΗΣ
Απ’ τους άλλους που μας κοντοσιμώνουν όμως.
Peer and family
pressure.
ΝΙΚΗΤΑΣ
Πάντως απ’ τους άλλους. Στερνή βολά που συντράμω.
Μετά εγώ θα τηνε ζητήξω, να το ξέρεις.
Personal values.
ΠΑΝΑΓΑΚΗΣ
Σαν βγει και μη μιλείς.
Peer and family
pressure.
Gender
stereotypes.
ΣΠΙΤΙ ΜΑΝΕΔΑΚΗ
ΜΑΝΕΔΑΚΗΣ
Καλώς ορίσετε.
ΠΑΝΑΓΑΚΗΣ
Τιμή μας και καλώς σας εβρήκα. Είναι τιμή μας απού μας
έπεψε το γιο ντου.
ΞΑΔΕΛΦΟΣ Α
Χίλια καλώς ορίσετε.
ΜΑΝΕΔΑΚΗΣ
Για να δούμε ίντα έχουνε να πούνε κι ετεινέ επαέ.
ΞΑΔΕΛΦΟΣ Α
Εφόσο οι δικοί μας θέλουν να καταπατήσουνε νόμους
τσι Κρήτης μας. Φωθιά στα μάθια και στα σώθερά ντως.
ΟΛΟΙ
Καλώς σας εβρήκαμε
ΜΑΝΕΔΑΚΗΔΕΣ
Να ‘στε καλά.
ΠΑΝΑΓΑΚΑΙΝΑ
Μα ίντα ετοιμασίες! Ωραία που … Ευχαριστούμε πολύ!
ΑΛΕΞ
Γεια στα χέρια σας!
ΜΑΝΕΔΑΚΗΣ
Είναι καλό το μικιό.
ΚΟΣΜΟΣ
Μια χαρά τα πάει, μια χαρά …
ΑΛΕΞ
Γεια στα χέρια σας!
ΓΥΝΑΙΚΕΣ
Καλόφαγο που ‘ναι!
ΜΑΝΕΔΑΚΗΣ
Γροίκα κοπελάκι. Πρέπει να πιάσεις τον πατέρα σου και
του πεις για το δρόμο.
ΑΛΕΞ
Ξέρω από κάτου!
ΞΑΔΕΛΦΟΣ Α
Ίντα λέει μπρε ετοσές;
ΠΑΝΑΓΑΚΗΣ
Από πάνω λέει …
ΜΑΝΕΔΑΚΗΣ
Παναγάκη πρόσεξε …
ΑΛΕΞ
Δύο δρόμους! Από πάνω και από κάτου.
ΠΑΝΑΓΑΚΗΣ
Θα ντακάρουμε με τον απάνω δρόμο, και μετά
βλέπουμε.
ΞΑΔΕΛΦΗ Β
Ορίστε. Το πιο μικιό; Ίντα δεν σας αρέσουνε τα δικά μας;
ΑΛΕΞ
Γεια στα χέρια σας!
© State of New South Wales, Department of Education and Communities 2013
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Pressure.
Personal values.
Impact of sociopolitical events.
ΜΑΝΕΔΑΚΗΣ
Παναγάκη είπαμε να σας εσυντράμομε, να δούμε ίντα
καπνό φουμάρει ο νέος σας Αρχηγός. Μόνο το νου σου
…
ΞΑΔΕΛΦΟΣ Α
… μη μας κάνεις καμιά παραποδιά!
ΠΑΝΑΓΑΚΗΣ
Από πάνου θα κάμει περασά ο δρόμος. Ετελείωσε.
Loss of
traditional
values.
ΝΙΚΗΤΑΣ
Ο πιο καλός ο Κρητικός
Culture and
tradition.
Όλα τα πηρουνιάζει
Κλέβει κατσίκια, πρόβατα
Acceptance of
others.
Responsibility
and divisions in
society.
Που ο ήλιος δεν τα λιάζει.
ΑΛΕΞ
Τι λέει;
ΠΑΝΟΣ
Κάτι για κατσίκια.
ΞΑΔΕΛΦΟΣ Α
Τον άγιο ο Θεός τον έβαλε
Ψηλά στο εικονοστάσι …
ΞΑΔΕΛΦΟΣ Β
Τον κλέφτη όμως αγαπά
Κι ας τον εκάνει ζάφτι …
ΜΑΝΕΔΑΚΗΣ
Και μια και τα κουβεντιάζουμε, ίντα γνώμη έχει ο
Αρχηγός σας για τους νόμους τσι Κρήτης μας;
Culture and
tradition.
ΑΛΕΞ
Και τα διακόσια οπίσω.
Living between
two worlds.
ΜΑΝΕΔΑΚΗΣ
Παναγάκη ίντα βρε λέει ο γιος του Αρχηγού σας;
ΠΑΝΑΓΑΚΗΣ
Είναι που εδά τα μαθαίνει τα ρωμαίικα. Είπαμε, οι νόμοι
της Κρήτης μας δεν αλλάζουν.
ΜΑΝΕΔΑΚΗΣ
Εγώ ντουχιουντώ πως τα λέει αλλοτεσινά.
ΞΑΔΕΛΦΗ Γ
Ορίστε ο πια καλός μεζές. Δεν μπορείτε να μη
δοκιμάσετε απ’ τους χοχλιούς μας!
ΞΑΔΕΛΦΗ Γ
Κανείς δεν τσι κάνει σαν κι εμάς! Ήταν για τον τζύρη σας.
Η σάλτσα μας πήρε τρία μερόνυχτα για να γιανεί.
ΠΑΝΟΣ
(ψιθυριστά)
Έλα, η τέχνη της προσποίησης!
ΠΑΝΑΓΑΚΑΙΝΑ
Ποιος είπε πως δε θα φάει; Φάε πουλάκι μου φάε, είναι
ωραίο!
ΠΑΝΟΣ
Ζήτω η δημοκρατία.
ΑΛΕΞ
Ζήτω η δημοκρατία.
ΑΛΕΞ
Ζήτω η δημοκρατία.
ΑΛΕΞ
Ζήτω η δημοκρατία.
ΑΛΕΞ
Ζήτω η δημοκρατία.
© State of New South Wales, Department of Education and Communities 2013
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Culture and
tradition.
ΑΛΕΞ
Ζήτω η δημοκρατία.
ΠΑΝΑΓΑΚΗΣ
Ίντα κάνεις βρε; Ξάνοιξε!
ΞΑΔΕΛΦΗ Γ
Μα να μην θέλει από τσι δικούς μας;
ΠΑΝΑΓΑΚΗΣ
Μπρε ποιος είπε πως δεν θέλει;
ΜΑΝΕΔΑΚΗΣ
Παναγάκη το νου σου! Μπα και μας επαίζεις;
Social pressure.
Loss of values.
Ο άλεξ τρώει αναγκαστικά το χοχλιό
ΠΑΝΑΓΑΚΗΣ
Οι νόμοι τσι Κρήτης μας εν αλλάζουν. Οι νόμοι κι οι
χοχλιοί μας!!!
Culture and
tradition.
Ο Άλεξ όμως δεν καταφέρνει να καταπιεί το χοχλιό του που ξαφνικά εκσφενδονίζεται με
δύναμη και προσγειώνεται στο στιβάνι του Μανεδάκη.
Vocabulary
ο τσίμαρος (ο πιτσιρίκος)
kid
εστεφανώθει (παντρεύτηκε)
got married
ξενομπάτισα (γυναίκα που
έρχεται από ξένο μέρος)
foreigner
θα δώσομε μπέσα
(θα εμπιστευτούμε)
we will trust
κουζουλαθήκαμε (τρελαθήκαμε)
we got crazy
(υ)γειά στα χέρια σας
(health in your hands) the food is delicious
εξανοίγω (βλέπω)
see
σάικα να φέρνει (σαν να μοιάζει)
he looks like
να κάμει περασά (να περάσει)
to go through
σαφί (πάντα)
always
ριγμένοι (χαμένοι)
losers
τσερπαπίδι (μικρό αχλάδι)
small pear
ντελόγω (αμέσως)
immediately
χωροφύλακας
regional policeman
τα οζά (τα ζώα)
the animals
σε χλωρό κλαρί (στην ησυχία μας)
in our leisure
απ’ κια (από εκεί)
from where
γεννοφάσκια (γέννηση)
from his birth
δασκαλεύουνε (μαθαίνουνε)
teach
εκυβερνήσει
govern
οι φταίχτες
the culprits
κατσικοκλέφτες
those who steal goats
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πάμε να σφαχτούμε (να τσακωθούμε) we are ready to quarrel
γιαγύρω οπίσω (γυρνάω πίσω)
return
σάσε (φτιάξε)
make
λόχμη (δασοτόπι)
thicket
ίντα λογάσθε;
What do you think?
διάολε τσα απολιμάρες του
(Ο διάβολος να πάρει τους
πεθαμένους του: εννοεί τους
συγγενείς. Περισσότερο
χιουμοριστική φράση σήμερα,
παρά υβριστική)
May the devil take his dead relatives (humorous)
κουζουλάδες (ανοησίες)
nonsense
ανατρανίζει
(σηκώνει τα μάτια, έχω θάρρος)
raised eyes, have courage
ταχινή (αύριο)
tomorrow
πορπατούνε αμοναχά ντως
(περπατούνε μόνα τους)
walk by themselves
κιανείς (κανείς)
nobody
μη πάθει πράμα
not suffer anything
σαμέ (ίσαμε-μέχρι)
until
βέρσα (κόλπα)
tricks
ξαμώνεις (πλησιάζεις)
approach
πάνω τσις μυγιάς το φτερό
(στης μύγας το φτερό)
very fast (like the wing of a fly)
να πιρουνίζεις
(να πιάνεις με το πιρούνι)
catch with the fork
το μικιό, το πια μικιό
(το μικρό, το πιο μικρό)
the small, the smallest
εννόησες;
Understood?
προσποίηση
pretence
προσαρμογής
adaptation
καλλιά (καλύτερα)
better
ξυλοφορτώσανε (δείρανε)
spanked
πλατέα (πλατεία)
square
εδόξασει ο Κύριος
Glorify the Lord
καλόσειρος
welcomed
έπεψε (έστειλε)
sent
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φωθιά στα μάθια και στα σώτερά
ντως (φωτιά στα μάτια και στα
σωθικά τους)
fire in the eyes and guts
εσυντράμομε (συμπαρασταθούμε)
stand by
ίντα καπνό φουμάρει
(ποιος είναι ο χαρακτήρας του)
What is his character?
παραποδιά (ζαβολιά, αταξία)
roguery; disarray
ο ήλιος δεν τα λιάζει
they are not seen by the sun
ξεκαθαρίζει τα ρωμαίικα
(προσπαθεί να μιλήσει ελληνικά)
he is trying to speak Greek
Εγώ ντιουχιουντώ πως τα λέει
αλλοτέσινα (νομίζω πως τα λέει
διαφορετικά)
think he is talking about other things
χοχλιούς (σαλιγκάρια)
snails
να γιανεί (να γίνει)
to be done
μπα μας επαίζεις;
(μήπως μας κοροϊδεύεις;)
Are you mocking us?
Study guide questions
1
What advice does Panagakis give his brother, and why?
2
Discuss the relationship between Panagakis and his son.
3
Comment on the issue of culture and tradition as presented in this scene.
Sample speaking task
Σε έναν κόσμο που συνεχώς αλλάζει, κάποια πράγματα μένουν σταθερά. Συζητήστε.
In a world that continually changes, some things remain constant. Discuss.
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Sample reading and responding task
Read the following scene and respond in Greek (200 words).
ΠΑΝΑΓΑΚΗΣ
Αδελφέ, κουζουλάθηκες; Εμιλήσατε;
Ο ΝΙΚΗΤΑΣ ΓΝΕΦΕΙ ΟΧΙ
ΠΑΝΑΓΑΚΗΣ
Εδόξασει ο Κύριος!
ΠΑΝΑΓΑΚΗΣ
Ετουτηνέ να την ξεχάσεις!
ΠΑΝΑΓΑΚΑΙΝΑ
Πάρε τουτανέ που μου ζήτηξες κι εγώ θα σας ανιμένω πιο πέρα. Ελάτε.
ΝΙΚΗΤΑΣ
Κι οι Μανεδάκηδες από τους άλλους είναι.
ΠΑΝΑΓΑΚΗΣ
Ντύνου και μη μιλείς.
ΠΑΝΑΓΑΚΗΣ
Απ’ τους άλλους που μας κοντοσιμώνουν όμως.
Φαντάσου ότι είσαι ο Νικήτας. Γράψε ένα γράμμα στην κοπέλα που αγαπάς εκφράζοντας
την αγάπη σου και πώς σχεδιάζεις να ξεπεράσεις τις πιέσεις των οικογενειών σας.
Imagine you are Nikitas. Write a letter to the girl you love, expressing your devotion to her
and your plans to overcome family pressures.
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Extract 4
From
To
Time: 42:49
From Alex running away
Time: 51:20
To Alex playing basketball
Transcript
Prescribed issues
Ο Άλεξ ξαναγίνεται παιδί και με τη μπάλα του μπάσκετ το σκάει από το
σπίτι. Σκηνή στο σπίτι.
The search for
personal identity.
ΠΑΝΑΓΑΚAINA
Κύριε Άλεξ. Κύριε Άλεξ! Πού είσαι παιδί μου; Έχει
έρθει ο κόσμος.
Responsibility to
others.
Peer and family
pressure.
ΠΑΝΑΓΑΚAINA
Πού είναι μπρε το κοπέλι; Πού είναι το κοπέλι;
ΜΥΡΤΩ
Δεν κατέχω.
ΠΑΝΑΓΑΚAINA
Έλα κάτω
ΜΥΡΤΩ
Έρχεται μωρέ το κοπέλι, έρχεται νά το. Να
αποσυνταχτεί μια ολιά κι έρχεται.
The search for
personal identity.
Personal values.
ΠΑΝΑΓΑΚAINA
Ξεσουβιάσου να τρατάρεις τον κόσμο (σικέρια) επαέ
εχανόμαστενε.
Impact of sociopolitical events.
Ο Άλεξ παίζει με τη μπάλα και τελικά ανεβαίνει σ΄ ένα γάϊδαρο
ΜΟΥΣΤΑΚΑΣ
Μπρε, ε μπρε, επ, επ, έλα βρε επαέ.
ΑΛΕΞ
Άσε με, άσε με ...
ΜΟΥΣΤΑΚΑΣ
Δε σφάλλω, θεόψυχά μου, μα είσαι ο γιος!
ΑΛΕΞ
Δεν είμαι, δεν είμαι.
ΜΟΥΣΤΑΚΑΣ
Για τον πόδα σου είπα, αλλά μόνο τον ζερβό, ο δεξός
έχει δυο ουλές και είναι αχρηστεμένος, δεν κάνει για
τον Αρχηγό ...
Responsibility to
others.
Impact of sociopolitical events.
ΜΟΥΣΤΑΚΑΣ
Μα είσαι ο γιος.
Peer and family
pressure.
Τοπίο με ελιές και
ξερολιθιές
(Ο Άλεξ ξεφεύγει)
ΠΑΝΟΣ
Ίντα γίνε, δεν μαζώνεις ψηφαλάκια σήμερα;
ΠΑΝΟΣ
Φύγε ρε παιδί μου απ’ επαέ. Go.
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The search for
personal identity
Peer and family
pressure.
Alienation versus
integration.
ΑΛΕΞ
I can’t be the godfather.
ΠΑΝΟΣ
Ίντα λέει;
ΑΛΕΞ
I can’t. It’s just too hard. I can’t mazepsi psifalakia
anymore. I can’t say geia sta xeria sas anymore. I blew
it. I really blew it. My dad won’t be happy at all.
ΠΑΝΟΣ
Κι ίντα θα κάμεις;
ΑΛΕΞ
I don’t know. I’ll hide here until tomorrow, until the
baptism is over, and then I’ll just go Athens, I guess.
(παύση) I can’t eat snails.
ΠΑΝΟΣ
Μουδέ γω δεν τρώω τα παντέρχα.
ΑΛΕΞ
Snails with bacon. Snails with eggs. Snails with tomato
sauce. (παύση) Snails with pancakes?
ΠΑΝΟΣ
Παντσέικς; Ίντανε μπρε τούτο;
ΑΛΕΞ
Παντσέικς; They are kind of … like τηγανίτες.
ΠΑΝΟΣ
Παντσέικς ε;
Living between
two worlds.
Impact of sociopolitical events.
Peer and family
pressure.
Culture and
tradition.
Ο Παναγάκης και ο Νικήτας ψάχνουν τον Άλεξ
ΝΙΚΗΤΑΣ
Κύριε Αλεξ, κύριε Άλεξ.
ΠΑΝΑΓΑΚΗΣ
Ίντα φωνάζεις μπρε να μας επάρουνε χαμπάρι πως
εχάσαμε το κοπέλι; Παναζία μου, Παναζία μου, πάνε
τα ψηφαλάκια μας, πάνε ! Τα θωρώ να γλακούνε και
να παίρνουνε δρόμο. Πάμε κι από κάτω ...
Impact of sociopolitical events.
Divisions in
society.
Ελιές και ξερολιθιές
ΠΑΝΟΣ
Ο πατέρας μου κατέχει πού είσαι;
(Ο Άλεξ νεύει όχι)
ΑΛΕΞ
I ran away. Your sister helped me.
ΠΑΝΟΣ
Ε ρε πανηγύρια!
ΑΛΕΞ
What are you doing with these petres?
ΠΑΝΟΣ
Μα θα σε γυρεύουνε. Δεν πρέπει να σε βρουν επαέ.
ΠΑΝΑΓΑΚΗΣ
Ο γιος μου ο σερσέμης θα τον εξεσήκωσε πάλι. Ίντα
σου έκανα μπρε Θεέ και με κατατρέχεις έτσα;
ΝΙΚΗΤΑΣ
Επαέ γύρου γύρου θάναι. Θα πόρησε όξω το κοπέλι.
Να ξεσκάσει μια ολιά.
ΠΑΝΑΓΑΚΗΣ
Ίντα, ίντα ...
(Ο Νικήτας γνέφει πως δεν φαίνεται πουθενά)
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Personal values.
Acceptance of
others.
Prejudice and
division in
society.
ΝΙΚΗΤΑΣ
Αδερφέ δεν κάνει να κατηγορείς έτσι τον Πανάγο.
Stereotypes.
ΠΑΝΑΓΑΚΗΣ
Γιάντα εσύ που μου τον ξεσηκώνεις, κάνει;
ΝΙΚΗΤΑΣ
Μπρε εγώ σου τον ξεσηκώνω που τον εμαθαίνεις
εγγλέζικα και πιάνα να γενεί υπουργός.
ΠΑΝΑΓΑΚΗΣ
Ότε θα κάμεις δικά σου κοπέλια να κάμεις ετσιά
κουμάντο
ΝΙΚΗΤΑΣ
Αδελφέ, πρόσεχε τσι κουβέντες σου. Εγώ δεν την
ζήτηξα ακόμα για να μη σε εκθέσω.
Personal values.
Peer and family
pressure.
Responsibility to
the others.
ΠΑΝΑΓΑΚΗΣ
Και ποτέ να μην την εζητήξεις. Γροίκα ετά.
Prejudice and
division in
society.
ΝΙΚΗΤΑΣ
Ετούτεσες είναι οι λιοτελευταίες εκλογές που σε
συντράμω.
ΠΑΝΑΓΑΚΗΣ
Θα με συντράμεις ʼσάμε να βγούμε.
Peer and family
pressure.
ΝΙΚΗΤΑΣ
Και το 58 και το 61 σε συνέντραμα. Στερνή βολά.
Μετά θα τηνε ζητήξω.
Impact of sociopolitical events.
ΠΑΝΑΓΑΚΗΣ
Και να την ζητήξεις, και να μην την εζητήξεις, οι άλλοι
δεν μπρόκειται να στην εδώσουνε.
Prejudice and
division in
society.
ΝΙΚΗΤΑΣ
Αδερφέ, α δε μου τηνε δώκουνε, εγώ θα την εκλέψω.
Culture and
traditions.
ΠΑΝΑΓΑΚΗΣ
Μήσθητί μου Κύριε! Μπακαλούμ να μας εκλέψαν το
κοπέλι οι άλλοι;
Prejudice and
division in
society.
ΝΙΚΗΤΑΣ
Γιάντα λες ε, γιάντα λες; Εσύ σκέφτεσαι χερότερα
από τσ’ άλλους.
The search for
personal identity.
Living between
two worlds
Τοπίο με ελιές και ξερολιθιές
ΑΛΕΞ
Two points! What are you doing with those petres?
ΠΑΝΟΣ
Για δεν κατέχεις καλά ελληνικά;
ΑΛΕΞ
I lived in the States before I came here.
ΠΑΝΟΣ
A long time?
ΑΛΕΞ
My whole life. Μy father came here to be a politico!
ΑΛΕΞ
What are you doing with those petres? If you don’t
tell me now, I am gone.
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Living between
two worlds.
Impact of sociopolitical events.
ΠΑΝΟΣ
Gone μπρε. Πίσω στα ψηφαλάκια.
ΑΛΕΞ
I can’t go back. (παύση) I am not who they think I am.
Search for
personal identity.
Acceptance of
others.
Integration versus
alienation.
ΠΑΝΟΣ
Προστατεύω τους σκαντζόχοιρους. Περνoύν από παέ,
όντε πάνε να πιούνε νερό. Με τούτονα (δείχνει το
φράγμα) αναγκάζονται να γιαγέρνουν από πίσω απ’
τα χωράφια, δίχως να βγούνε στο δρόμο, να τσι πατεί
ο πατέρας ...
ΑΛΕΞ
Και κάνουν κρα – κρα – κρα ...
ΠΑΝΟΣ & ΑΛΕΞ
... όπως δημοκρα – κρα – τία.
Personal values.
Στο σπίτι του Παναγάκη
ΠΑΝΑΓΑΚAINA
Να το φωνάξεις γερά. Να ξεσύρει όλο το χωριό και να
ψάξει. Θα βρεθεί. Δεν είναι δα και ψύλλος στ’ άχερα!
ΠΑΝΑΓΑΚΗΣ
Τον εκλέψανε το δίχως άλλο.
ΝΙΚΗΤΑΣ
Δεν τον εκλέψανε.
ΠΑΝΑΓΑΚAINA
Μπρε τον έκλεψαν, δεν τον έκλεψαν, έβγα να το πεις
στον κόσμο. Επαέ καιγόμαστενε.
Gender
stereotypes.
ΑΥΛΗ ΣΠΙΤΙΟΥ
ΦΟΥΝΤΕΔΑΚΗΣ
Παναγάκη εμείς φεύγομε ντελόγου. Δεν θα μας
επαίζεις άλλο.
ΠΑΝΑΓΑΚΗΣ
Δεν είναι κακορίζικα επαέ. (παύση) Εκλέψανέ τονε.
(Όλοι μαζί: εκλέψανέ τονε, εκλέψανέ τονε.)
ΦΟΥΝΤΕΔΑΚΗΣ
Ετούτενα τα κάνανε σε μας. Εδά τα κάνουνε και σ’ τσι
δικούς σας;
(Ο Παναγάκης γνέφει ναι)
Loss of traditional
values.
Prejudice and
division in
society.
Τοπίο με σπάρτους και πέτρες
ΠΑΝΟΣ
(Ο Αλεξ κάνει κόλπο με την μπάλα) Καλό. Κι ίντα θα
γενείς όντε μεγαλώσεις.
ΑΛΕΞ
Εσύ;
ΠΑΝΟΣ
Εγώ; Εγώ θα γενώ ποιητής. Αληθινός ποιητής. Κι όχι
μαντιναδολόγος. (παύση) Εσύ;
Peer and family
pressure.
Personal values.
Loss of traditional
values.
ΑΛΕΞ
(μεγάλη παύση) I don’t know ... I guess ... I will give
speeches … from balconies ... for Democracy to come
to Greece.
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ΠΑΝΟΣ
Εσύ μπρε, όχι ο πατέρας σου.
(Ο Άλεξ παραμένει προβληματισμένος)
ΑΛΕΞ
(δεν μιλά)
ΠΑΝΟΣ
Think ένα πράμα you like.
(Ο Πάνος δείχνει τη μπάλα του μπάσκετ)
ΑΛΕΞ
Basketball, but it’s nothing big and important like
democracy.
ΠΑΝΟΣ
(Ακουμπάει τα γράμματα της μπάλας: Made in USA)
Από το Αμέρικα ε;
Personal values.
Living between
two worlds.
Vocabulary
κοντοσιμώνει (πλησιάζει)
approach
ξεσουβιάσου (βιάσου)
hurry
να τρατάρεις (να κεράσεις)
to treat; offer foods; welcome
σικέρια (καραμέλες, γλυκίσματα)
sweets, candies
μουδέ γω (ούτε εγώ)
me either
τα θωρώ (τα βλέπω)
I see them
να γλακούνε (να φεύγουν)
go
ουλές
scars
ο σερσέμης (ανόητος)
silly; fool
με κατατρέχεις έτσα (με κυνηγάς έτσι) Why do you chastise me in that way?
θα πόρησε όξω (θα βγήκε έξω)
he must have gone out
να την εζητήξεις (σε γάμο)
to ask for her hand in marriage
οι λιοτελευταίες εκλογές
the last elections
συντράμω (βοηθώ)
give assistance
στερνή βολά (τελευταία φορά)
the last time
τσίντας (κι άμα)
so what
μήσθητί μου Κύριε!
God help me; Heaven help us
μπακαλούμ (μπας και)
hopefully
γιαγερμένο (έχει γυρίσει πίσω)
he came back
κακορίζικα (δυστυχισμένος, άτυχος)
unfortunate; unhappy; unlucky
μαντινάδες (ποίημα)
traditional Cretan poems
Κ’ ίντα θα γενείς όντε μεγαλώσεις;
What will you be when you grow up?
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Study guide questions
1
How different are the two brothers Panagakis and Nikitas? Discuss.
2
Discuss the techniques used in this scene to portray Alex’s feelings.
3
How is the issue of acceptance of others developed in this extract?
Sample speaking task
Στη ζωή, μικροί και μεγάλοι, δεν έχουμε μόνο δικαιώματα αλλά και υποχρεώσεις. Ποια είναι
η γνώμη σου;
In life, young and old do not only have rights but also obligations. What is your opinion?
Sample reading and responding task
Read the following scene and respond in Greek (200 words).
ΠΑΝΟΣ
Μουδέ γω δεν τρώω τα παντέρχα
ΑΛΕΞ
Snails with bacon. Snails with eggs. Snails with tomato sauce. (παύση)
Snails with pancakes?
ΠΑΝΟΣ
Παντσέικς; Ίντανε μπρε τούτο;
ΑΛΕΞ
Παντσέικς; Like τηγανίτες. But bigger and round and flat and juicy. With
syrup. Maple syrup. The best food in the whole wide world.
ΠΑΝΟΣ
Παντσέικς ε;
ΠΑΝΟΣ
Κατέχει μπρε ο πατέρας μου πού είσαι;
ΑΛΕΞ
I ran away. Your sister helped me to escape.
ΠΑΝΟΣ
Ε ρε γλέντια! (παύση) Μα θα σε γυρεύουνε. Δεν πρέπει να σε βρουν
επαέ.
Φαντάσου ότι είσαι o Alex και έχουν περάσει πολλά χρόνια. Στέλνεις ένα γράμμα στον Πάνο
αναφερόμενος στο τότε περιστατικό.
Imagine you are an adult Alex. You send a letter to Panos reflecting on this incident.
© State of New South Wales, Department of Education and Communities 2013
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Related text
Song: Ευτυχώς που ξέχασα να μεγαλώσω
Τραγουδούν οι Ζινγκ Ζανγκ (YouTube): http://www.youtube.com/watch?v=gqUvU6deHZ4
Vocabulary
τα ζάρια
dice
το ίχνος/τα ίχνη
trace(s)
η αυγή
dawn; sunrise
το ξεφτέρι/τα ξεφτέρια
quick-witted
ο/η/το χλωμός/ή/ό
pale
η μοναξιά
loneliness
ο/η/το πικρός/ή/ό
bitter
η αλάνα
large open space
Questions
1
Describe the images in stanza one.
2
What major idea is expressed in stanza two (chorus)?
© State of New South Wales, Department of Education and Communities 2013
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Extract 5
From
To
Time: 51:22
From the families uniting to look for Alex
Time: 62:00
To driving back in the car and avoiding the
hedgehog
Transcript
Σκηνή Φωνάζοντας στους δρόμους του χωριού
Prescribed issues
ΠΑΝΑΓΑΚΗΣ
The search for
personal Identity.
Peer and family
pressures.
Αγλακάτε χωριανοί! Εκλέψανέ μας το κοπέλι, του
αρχηγού το γιο. Απού ‘χει άρματα ας κρατεί, κι απού
δεν έχει να βρεί.
Personal values.
ΑΝΤΡΕΣ
Ίντα εγίνηκε.
ΠΑΝΑΓΑΚΗΣ
Το κοπέλι, εκλέψανε το κοπέλι.
Culture and
tradition.
Gender stereotypes.
Impact of sociopolitical events
ΑΝΤΡΕΣ
(Φωνές όλοι μαζί)
ΠΑΝΑΓΑΚΗΣ
Αγλακάτε χωριανοί!
ΝΙΚΗΤΑΣ
Ετουτοινέ που μαζευτήκανε φτάνουνε και
περισσεύουνε. Πόσο αλάργα να είναι δα παωμένο το
κοπέλι;
ΠΑΝΑΓΑΚΗΣ
Μωρέ δεν τσι μαζώνω για το κοπέλι. Για τα
ψηφαλάκια τσι μαζώνω. Την 150άρα θα την
εμαζώξουμε ο κόσμος να γυρίσει.
Culture and
tradition.
Impact of sociopolitical events.
Acceptance of
others.
Σκηνή στην
πλατεί του
χωριού
(Μαζεύονται από αριστερά και δεξιά σαν εχθρικά
στρατεύματα)
Prejudice and
division in society.
ΜΑΝΕΔΑΚΗΣ
Εκλέψανε το κοπέλι;
ΠΑΝΑΓΑΚΗΣ
Εγίνηκε άθως και καπνός!
ΜΑΝΕΔΑΚΗΣ
Ε όι δα. Ίντα μπλέχνεται η παρανομία του κράτους
στα περασάρικα τα δικά μας; Πάμε δα να δεις πόσα
απίδια πιάνει ο σάκος.
ΠΑΝΑΓΑΚΗΣ
(στο Νικήτα) Μια χαρά τα πάμε.
ΝΙΚΗΤΑΣ
Αδερφέ δεν έχεις το Θεό σου.
Culture and
tradition.
Loss of traditional
values.
ΠΑΝΑΓΑΚΗΣ
Η Δημοκρατία είναι πάντα προτεραιότητα. Το λοιπό
Culture and
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...
tradition.
Impact of sociopolitical events.
ΝΙΚΗΤΑΣ
Χωριανοί! Γροικάτε μωρέ, γροικάτε. Εσείς θα πάτε
από παέ πάνω απ’ το ρυάκι. Εσείς από την πάνω
πάντα να το κυκλώσουμε το βουνό. Εσείς κι εμείς από
το δρόμο, πάνω στ’ αμάξια.
Acceptance of
others.
Responsibility to
others.
ΠΑΝΑΓΑΚΗΣ
Δεν θ’ αφήσουμε πέτρα πάνω στην πέτρα.
(Φωνάζουνε όλοι μαζί) Θα την οργώσουμε την
περιοχή.
Acceptance of
others.
Integration versus
alienation
Σκηνή σε βράχια προς Μητάτο
ΑΛΕΞ
Πάνω δρόμο, κάτου δρόμο, κατσίκια! I don’t
understand it. Everyone wants something else.
ΠΑΝΟΣ
Έτσα είναι πάντα. Ο κάθα εις θέλει το δικό του. Μόνο
ένα μπράμα αρέσει σε όλους: μαντινάδες.
ΑΛΕΞ
But you don’t like mandinades.
ΠΑΝΟΣ
Εγώ είμαι ... μειοψηφία.
ΑΛΕΞ
Μει-ο-ψη-φί-α.
ΠΑΝΟΣ
Minority.
The search for
personal identity.
Personal values.
Acceptance of
others.
Integration versus
alienation.
The search for
personal identity.
Personal values.
Σκηνή σε βοσκοτόπι
ΜΟΥΣΤΑΚΑΣ
Φάτε βρε, φάτε! Δική σας είναι η βοσκαρά.
Γροικήσετε τα λόγια του αρχηγού. Τα χωράφια
ανήκουνε στα πρόβατα.
Culture and
tradition.
Impact of sociopolitical events.
ΠΑΝΑΓΑΚΗΣ
Μπρε, μπρε, είδες το γιο;
ΜΟΥΣΤΑΚΑΣ
Ο, ο, ο!
ΠΑΝΑΓΑΚΗΣ
Είδες τον;
ΜΟΥΣΤΑΚΑΣ
Έτζιρίτα σαν να τούχε δώσει οχίλιο ο σπιρτωμένος
διάλος. Φτερά εβγάνανε τα πόδια του.
ΠΑΝΑΓΑΚΗΣ
Και πού επήγε;
ΜΟΥΣΤΑΚΑΣ
(Κοιτά ύποπτα και δεν μιλά.)
ΠΑΝΑΓΑΚΗΣ
Εκλέψανε τονε. Οι άλλοι.
Acceptance of
others.
Prejudice and
division in society.
ΜΟΥΣΤΑΚΑΣ
Έτσεινε που με ξυλοφορτώσανε;
Culture and
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tradition.
Impact of sociopolitical events.
ΠΑΝΑΓΑΚΗΣ
Ναι μαθές.
ΜΟΥΣΤΑΚΑΣ
Τον εκυνηγούσανε. Μια στραθιά! Εγλάκου εδώ κατά
πάνου.
ΠΑΝΑΓΑΚΗΣ
Λοιπό, από παέ και πέρα θα πάρομε απάνου!
ΑΝΤΡΕΣ
(Φωνάζουν όλοι μαζί)
Σκηνή σε τοπίο
με ξερολιθιές
(Ακούγεται κουμπουριά)
ΑΛΕΞ
Uh oh! Did you hear this?
ΠΑΝΟΣ
Στα μέρη μας είναι σύνηθες.
ΑΛΕΞ
What?
ΠΑΝΟΣ
Έτσα είναι εδώ. Κάποιος χαίρεται μπαμ. Κάποιος
κλαίει, πάλι μπαμ.
The search for
personal identity.
Personal values.
The search for
personal identity.
Personal values
(shooting).
Εκτός . κι αν είναι για μας!
ΑΛΕΞ
Why? Us?
ΠΑΝΑΓΑΚΗΣ
Επαέ είναι τα λημέρια του Πάνου. Να δεις που αυτός
μας την έχει κάνει τη την κουτσουκέλα. Θα τον επήρε
να του δείξει τη φωλιά του διαόλου. Μα εμένα δε με
γελάει, ψυχανεμίζομαι προς τα πούναι.
ΣΚΗΝΗ ΣΤΟ
ΜΗΤΑΤΟ
(Καθώς προχωρούν γκρεμίζουν με τα πόδια τους το
φράχτη του Πάνου)
ΠΑΝΟΣ
Κιανείς δεν θα μας έβρει. Επαέ πάνου είναι το
καταφύγιό μου. Φωλιά του διαόλου την ελέει ο
πατέρας.
ΠΑΝΟΣ & ΑΛΕΞ
(χαζεύουν τους σκαντζόχοιρους που τρέχουν
ελεύθεροι στο μέρος)
ΠΑΝΟΣ
Έπαε βάνω τα μικιά. Όντενε μεγαλώσουν τα
αμολέρνω. Ε και μετά τα πατεί ο πατέρας.
Acceptance of
others.
Prejudice and
division in society.
Acceptance of
others.
Integration versus
alienation.
The search for
personal identity.
Personal values.
ΑΛΕΞ
It’s so cute! Why does he do it? Why does he kill
them?
ΠΑΝΟΣ
Όντε αρέσει κάτι σε μένα, σε κιονά δεν αρέσει
επίτηδες.
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Acceptance of
others.
Prejudice and
division in society.
ΠΑΝΟΣ
Ίντα δεν αρέσει στον δικό σου τον πατέρα;
ΑΛΕΞ
When I leave the lights on. Ah! And basketball. He
says it’s stupid to bounce a ball up and down on the
floor.
ΠΑΝΟΣ
Ετόνα εδώ, θα καταφέρει να την εσκαπουλάρει.
The search for
personal identity.
Peer and family
pressure.
Ακούγονται πιστολιές κοντά (Ο Άλεξ πανικοβάλλεται)
ΠΑΝΟΣ
Κοντοσιμώνουν από γύρου – γύρου
ΑΛΕΞ
Let’s go! We better get out of here.
(Ο Πάνος δεν ανταποκρίνεται και καταρρέει)
ΑΛΕΞ
We can escape from the back. Let’s go!
ΠΑΝΟΣ
Θα μας εδούνε. Θα τα ξεκάμει όλα, όλα! Όι, όι ... Θα
τα ξεκάμει όλα, όλα! Θα τα ξεκάμει όλα, όλα! Άσε με,
φύγε! Άσε με ...
Acceptance of
others.
Integration versus
alienation.
Responsibility to
others.
Prejudice and
division in society.
ΑΛΕΞ
Run! We can escape from the back! Run!
ΠΑΝΟΣ
Όχι! Άσε με, φύγε, φύγε!
ΑΛΕΞ
We can make it!
ΠΑΝΟΣ
Φύγε!
ΑΝΤΡΕΣ
Να τόνε μωρέ το κοπέλι! (φωνάζουν όλοι μαζί)
ΝΙΚΗΤΑΣ
Δόξα σοι ο Μεγαλοδύναμος!
Ο Παναγάκης τον αγκαλιάζει – πέφτουν ντουφεκιές κοντά στο Μητάτο
The search for
personal identity.
Personal values.
Culture and
tradition.
Impact of sociopolitical events.
ΜΑΝΕΔΑΚΗΣ
Ποιοι σε κλέψανε γιόκα μας; Πε μας ογλήγορα, να τσι
ξεκάνουμε!
ΦΟΥΝΤΕΔΑΚΗΣ
Να τσι ξεκάνουμε, να μη μπομείνει αρθούνι.
ΠΑΝΑΓΑΚΗΣ
(χαμηλόφωνα στον Άλεξ) Πε μου δα,παιδί μου, γιάντα
έφυγες δίχως να μας το πεις; (Ο Άλεξ δεν απαντάει)
ΠΑΝΑΓΑΚΗΣ
Ο Πάνος σ’ έβγαλε επαέ πάνω;
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Acceptance of
others.
Responsibility to
others.
Acceptance of
others.
Prejudice and
division in society.
ΑΛΕΞ
Όχι ο Πάνος.
Acceptance of
others.
Responsibility to
others.
ΠΑΝΑΓΑΚΗΣ
Γροικάτε χωριανοί, μου τα μαρτύρησε όλα το κοπέλι.
Καλά θαρρούσαμε. Εκλέψανέ τονε.
(Γυρίζει και μιλά στους άντρες που περιμένουν
εξήγηση)
ΑΝΤΡΕΣ
Ποιος τον έκλεψε μωρέ;
ΠΑΝΑΓΑΚΗΣ
Σταθείτε μωρέ. Εκλέψανέ τον μα όι άνθρωπος.
ΑΝΤΡΕΣ
Κιαμέ;
ΠΑΝΑΓΑΚΗΣ
Οι ομορφιές τσι Κρήτης μας εκλέψανέ τον.
ΑΝΤΡΕΣ
Ίντα λέει μωρέ; Μας επεριπαίζει.
ΜΑΝΕΔΑΚΗΣ
Παναγάκη σάμε παέ.
ΠΑΝΑΓΑΚΗΣ
Ίντα σάμε παέ;
ΜΑΝΕΔΑΚΗΣ
Σύρε με τον Φουντεδάκη και μ’ όσα τούταξες.
ΠΑΝΑΓΑΚΗΣ
Ίντα λες βρε καπετάνιο κι έχουμε πολλούς σαν και
του λόγου σου; Ο αρχηγός στη φαμίλια σου
στηρίζεται.
ΝΙΚΗΤΑΣ (στον
Φουντεδάκη)
Ο αρχηγός στη φαμίλια σου στηρίζεται. Μην αγροικάς
ʼντα λέει του Μανεδάκη.
ΠΑΝΑΓΑΚΗΣ
Μην αγροικάς τι λέω στο Φουντεδάκη. Στάχτη στα
μάθια ρίχνω. Στάχτη.
ΝΙΚΗΤΑΣ (στον
Φουντεδάκη)
Στάχτη στα μάτια του ρίχνει. Στάχτη. Επαέ, μαζί θε
νάμαστε.
Η ΥΠΟΣΧΕΣΗ
ΚΛΕΙΔΩΝΕΙ ΜΕ
ΧΕΙΡΑΨΙΕΣ
(Πρώτα με τον Φουντεδάκη και μετά με τον
Μανεδάκη)
ΝΙΚΗΤΑΣ
Είδες πώς άλλαξαν τα πράγματα; Κιανείς δεν τον
ήκλεψε.
Acceptance of
others.
Integration versus
alienation.
ΠΑΝΑΓΑΚΗΣ
Αδελφέ, άμα δεν στρογγυλοκαθίσουμε τη
δημοκρατία, πράμα δεν αλλάζει. Ο στόχος είναι ένας.
Culture and
tradition.
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Culture and
tradition.
Loss of traditional
values.
Culture and
tradition.
Impact of sociopolitical events.
The search for
personal identity.
Peer and family
pressure.
Personal values.
Culture and
tradition.
Loss of traditional
values.
Ο ΑΛΕΞ ΣΚΥΒΕΙ
ΝΑ ΕΠΙΣΚΕΥΑΣΕΙ
ΤΟ ΦΡΑΧΤΗ
(Όλοι τον κοιτούν και τον περιμένουν.)
ΠΑΝΑΓΑΚΗΣ
Έλα αντράκι μου, έλα να γιαγύρουμε σπίτι, έλα, πάμε,
πάμε. Έλα μωρέ αντράκι μου, έλα να πάμε σπίτι να
ξεκουραστείς μια ολιά.
Impact of sociopolitical events.
The search for
personal identity.
Personal values.
Culture and
tradition.
Gender stereotypes.
Impact of sociopolitical events.
The search for
personal identity.
ΣΚΗΝΗ ΣΤΟ
ΒΟΣΚΟΤΟΠΙ
ΜΠΑΙΝΟΥΝ ΣΤ’
ΑΥΤΟΚΙΝΗΤΑ
(Ο Άλεξ κάθεται δίπλα στον Παναγάκη και ο Νικήτας
πίσω και ξεκινούν. Στο δρόμο εμφανίζονται τρεις
σκαντζόχοιροι και κινδυνεύουν.)
ΑΛΕΞ
Don’t! Don’t do it! Σταμάτα, όι, όι, σταμάτα, όι, όι,
σταμάτα!
Personal values.
ΠΑΝΑΓΑΚΗΣ (στο
Νικήτα)
Φτυστός ο Πανάγος είναι, όι ο κύρηςς του.
Acceptance of
others.
Prejudice and
division in society.
Σκηνή σε χωματόδρομο. Ο Άλεξ πιάνει το τιμόνι και σώζει τους σκαντζόχοιρους.
Vocabulary
αγλακάτε (τρέξτε)
run
άμπωθε (άμποτε, αν ποτέ)
if ever
που να βγάλουνε καρβούνια (να τιμωρηθούν)
to be punished
αλάργα (μακριά)
far away
να είναι παωμένο (να έχει πάει)
he has gone
εγίνηκε άθως και καπνός (χάθηκε)
lost
μπλέχνεται (μπλέκεται)
tangled
στα περασάρικα (δρόμοι ανάμεσα από χωράφια) roads between fields
ο αμαξωτός
(ο δρόμος που μπορεί να περάσει αυτοκίνητο)
road that a car can pass on
κάθα εις (καθένας)
anybody
μπράμα (πράγμα)
something
βοσκαρά
pastures
ογλήγορα (γρήγορα)
quickly
ετζιρίτα (τσίριζε)
shrieked
μια στραθιά (μια στρατιά)
an army
κουτσουκέλα (ζαβολιά)
cheating
ψυχανεμίζομαι (έχω την αίσθηση)
I have the feeling
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κι απόις (κι ύστερα)
and then
μμολέρνω (αφήνω να φύγουν)
let go
να την εσκαπουλάρει (να τη γλυτώσει)
be spared from
το ντελικανιδάκι (το αντράκι)
young man
χιλιοπλουμισμένος (στολισμένος)
ornate
να τσι ξεκάνουμε (να τους σκοτώσουμε)
kill them
να μη μπομείνει αρθούνι
(να μην απομείνει ρουθούνι)
no nostril left
ντελόγω (αμέσως)
immediately
στάχτη στα μάθια ρίχνω
(ρίχνω στάχτη στα μάτια)
throw dust in the eyes
στρογγυλοκαθίσουμε (εγκαθιδρύσουμε)
establish
Study guide questions
1
Compare and contrast the two boys, Alex and Panos, in this extract.
2
Select three film techniques used in this extract and discuss their effectiveness.
3
Discuss the issue of personal identity in this extract.
Sample speaking task
Πολλές φορές λέμε: «Κάνε στον άλλο ό,τι θέλεις να κάνει ο άλλος σε σένα». Συμφωνείς;
/Διαφωνείς;
It is often said, ‘Do to others what you would want them do to you’. Do you agree or
disagree?
Sample reading and responding task
Read the extract below and answer the question. Write approximately 200 words in Greek.
Ο Παναγάκης τον αγκαλιάζει – πέφτουν ντουφεκιές
ΜΑΝΕΔΑΚΗΣ
Δέτε το, το ντελικανιδάκι!
ΦΟΥΝΤΕΔΑΚΗΣ
Νάτος ο αετός ο χιλιοπλουμισμένος!
ΚΟΝΤΑ ΣΤΟ ΜΗΤΑΤΟ
ΜΑΝΔΑΚΗΣ
Ποιοι σε κλέψανε γιόκα μας; Πε μας ογλήγορα, να τσι ξεκάνουμε!
ΦΟΥΝΤΕΔΑΚΗΣ
Να τσι ξεκάνουμε, να μη μπομείνει αρθούνι.
ΠΑΝΑΓΑΚΗΣ
(χαμηλόφωνα στον Άλεξ) Πε μου δα, γιάντα έφυγες δίχως να μας το πεις;
(Ο Άλεξ δεν απαντάει)
ΠΑΝΑΓΑΚΗΣ
Ο Πάνος σ’ έβγαλε επαέ πάνω;
ΑΛΕΞ
Όχι ο Πάνος.
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Φαντάσου ότι είσαι ο Άλεξ. Τελείωσες τις υποχρεώσεις σου στην Κρήτη και επέστρεψες
στην Αθήνα. Γράφεις στο ημερολόγιό σου και εξομολογείσαι τους λόγους για τους οποίους
προσπάθησες να το σκάσεις από το σπίτι του Παναγάκη και γιατί αποφάσισες τελικά να
παραδοθείς.
Imagine you are Alex. You have returned to Athens, having fulfilled your obligations in Crete.
Write a diary entry confessing why you tried to escape from Panagakis’s house and why you
then decided to give yourself up.
Related text
Song: Πάμε Χαβάη
Τραγουδά η Άλκηστις Πρωτοψάλτη (YouTube): http://www.allthelyrics.com/forum/greeklyrics-translation/35276-alkistis-protopsalti-pame-havai-its-a-pity.html
Vocabulary
το άγχος
stress; pressure; anguish
η ακρίβεια
expensiveness
το χρέος/τα χρέη
debt(s)
τα δανεικά
borrowed money
ο συνωστισμός
press; squeeze; people crammed together
η λαϊκή (αγορά)
street market
ο ΟΤΕ
Telecom
η ΔΕΗ
electrical company
μπρούμυτα
face down
τα ρηχά
shallow waters
Questions
1
Compare and contrast the singer and the character Alex.
2
What does Hawaii symbolise in this song?
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Extract 6
From
To
Time: 67:00
From the Christening of baby Elpitha
Time: 80:00
To Alex’s departure
Transcript
Σπίτι Παναγάκη
Prescribed issues
ΚΟΣΜΟΣ
Καλώς τον σύντεκνο.
ΚΟΣΜΟΣ
Χαρώτο εγώ το αντράκι.
ΕΚΚΛΗΣΙΑ
Culture and
tradition.
ΙΕΡΕΑΣ
Καὶ ποίησον αὐτὸν πρόβατον λογικὸν τῆς ἁγίας ποίμνης
τοῦ Χριστοῦ σου, μέλος τίμιον τῆς Ἐκκλησίας σου, σκεῦος
ἠγιασμένον, υἱὸν φωτὸς καὶ κληρονόμον τῆς βασιλείας
σου· ἵνα, κατὰ τάς ἐντολάς σου πολιτευσάμενος, καὶ
φυλάξας τὴν σφραγῖδα ἄθραυστον, καὶ διατηρήσας τὸν
χιτῶνα ἀμόλυντον, τύχῃ τῆς μακαριότητας τῶν Ἁγίων ἐν
τῇ βασιλείᾳ σου.
ΦΟΥΝΤΕΔΑΚΗΣ
Μπράβο το μικρό!
ΙΕΡΕΑΣ
Ἀποτάσσῃ τῷ Σατανᾷ; Καὶ πᾶσι τοῖς ἔργοις αὐτοῦ; Καὶ
πάσῃ τῇ λατρείᾳ αὐτοῦ; Καὶ πᾶσι τοῖς ἀγγέλοις αὐτοῦ; Καὶ
πάσῃ τῇ πομπῇ αὐτοῦ;
Ἀπετάξω τῷ Σατανᾷ;
ΑΛΕΞ
Ἀπεταξάμην.
ΙΕΡΕΑΣ
(σιγά στον Αλεξ) Πιο δυνατά.
Ἀπετάξω τῷ Σατανᾷ;
ΑΛΕΞ
Ἀπεταξάμην.
ΙΕΡΕΑΣ
Ἀπετάξω τῷ Σατανᾷ;
ΑΛΕΞ
Ἀπεταξάμην.
ΙΕΡΕΑΣ
Βαπτίζεται ἡ δούλη τοῦ Θεού Ελπίδα εἰς τὸ ὄνομα τοῦ
Πατρός καὶ τοῦ Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, Ἀμήν.
ΚΟΣΜΟΣ
Να σας ζήσει!
ΠΑΝΑΓΑΚΑΙΝΑ
Μπράβο, μπράβο, ο νονός, μπράβο
ΚΟΣΜΟΣ
Να σας ζήσει να το χαίρεστε!
ΠΑΝΑΓΑΚΗΣ
Άξιος, άξιος!
ΚΟΣΜΟΣ
Να σας ζήσει ο σύντεκνος.
ΠΑΝΑΓΑΚΗΣ
Να μας ζήσει ο σύντεκνος!
ΚΟΣΜΟΣ
Άξιος, άξιος.
© State of New South Wales, Department of Education and Communities 2013
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Responsibility to
others.
Στην πλατεία
ΠΑΝΑΓΑΚΗΣ
Το μήνυμα του πατέρα σου αυτό ανιμένει οκόσμος.
Ίντα είναι; Έτσα μπράβο ... Και τώρα ο κύριος Άλεξ
Impact of sociopolitical events.
... άξιος σύντεκνος ... και άξιος γιος του αρχηγού μας
... θα μας εδιαβάσει το μήνυμά το
ΠΑΝΑΓΑΚΗΣ
Ίντα παθε μωρέ το κοπέλι;
ΝΙΚΗΤΑΣ
Πράμα δεν ήπαθε. Απόξω θα τα πει, όπως αρμόζει.
ΠΑΝΑΓΑΚΑΙΝΑ
ΑΛΕΞ
Ήρθα στην Κρήτη για τη Δημοκρατία. Για να έρθει η
Δημοκρατία στη χώρα μας. Γιατί στη Δημοκρατία
όλοι μπορούν να ζήσουν και αυτοί που πάνε γρήγορα και
αυτοί που πάνε αργά, και αυτοί που πάνε πάρα πολύ
αργά, όπως οι σκαντζόχοιροι του Πάνου. Ζήτω η
Δημοκρατία.
Personal values.
The search for
personal identity.
Acceptance of
others.
ΚΟΣΜΟΣ
Ίντα λέει μωρέ;
ΜΑΝΕΔΑΚΗΣ
Ίντα γίνεται επαέ; Όλο ματσανιές είναι έτοσες ο μικιός.
ΞΑΔΕΡΦΟΣ
ΜΑΝΕΔΑΚΗ
Μπρε μπας και δεν είναι αυτός; Τα σουσούμια του δεν
ταιριάζουνε.
ΠΑΝΑΓΑΚΗΣ
Εδά με ... θα πει το μαντάτο. Πού φεύγετε; Είναι ο γιος, ο
γιος είναι ... επαέ θα πει το μαντάτο του αρχηγού ... είναι
ο γιος του αρχηγού.
Impact of sociopolitical events.
ΠΑΝΟΣ
Ρωτόκριτος και Διγενής
Culture and
tradition.
Κορνάρος, Βενιζέλος
Γεννήματα τσι Κρήτης μας
Είν’ όλοι τους στο τέλος.
Κι ο Αρχηγός μα και ο γιος
Δημοκρατία θένε
Κι ας είναι τόσο αλλιώτικοι
Όπως οι γύρω λένε.
ΠΑΝΑΓΑΚΑΙΝΑ
Ξεμάτιασε το κοπέλι, Ζωή γιατί το φταρμίσανε.
Ξεμάτιασέ το σου λέω ... Έλα
ΚΥΡΑ ΖΩΗ
Στα όρη ... στα όρη στα ψηλά βουνά.
ΠΑΝΑΓΑΚΗΣ
Παναγία μου, να τα τα ψηφαλάκια μας, να τα.
Έφταξε η ώρα της Δημοκρατίας.
Impact of sociopolitical events.
ΑΛΕΞ
Να σε σηκώσω;
Personal values.
ΜΥΡΤΩ
Να με σ’κώσεις; Γιάντα;
ΑΛΕΞ
Για να δω αν μπορώ.
ΜΥΡΤΩ
Είμαι πιο βαριά από τη μπέμπα.
ΑΛΕΞ
Το ξέρω.
ΣΠΙΤΙ ΠΑΝΑΓΑΚΗ
© State of New South Wales, Department of Education and Communities 2013
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ΓΙΑΓΙΑ ΕΥΓΕΝΙΑ
Στο καλό αντράκι μου, καλό ταξίδι, στο καλό, στο καλό.
ΑΛΕΞ
Ευχαριστώ
ΠΑΝΑΓΑΚΑΙΝΑ
Στο καλό, στο καλό να πας καρδιά μου.
ΑΛΕΞ
Ευχαριστώ. (Στη Μυρτώ) Θα έρθω πάλι.
ΜΥΡΤΩ
Ναι;
ΑΛΕΞ
Αφού είμαι το νονός.
ΜΟΥΣΤΑΚΑΣ
Εγώ, ο Σιφαλιός, ο γιος του Σίφη του Σίφακα, θέλω να
προσφέρω στον αρχηγό, ένα σ’κώτι, μια γκαρδιά, δύο
πλεμόνια, ένα νεφρό, ένα πόδα (όι το δεξί που είναι
αχρηστεμένος) και θα πληρώσω και τον πρωτοξάδερφό,
τον γιατρό, να τα πάρει και να τα δώσει στον Αρχηγό.
ΠΑΝΑΓΑΚΗΣ
Πού πήγε ο αργόσπορος, πανάθεμά τον; ...
Impact of sociopolitical events.
Στο λιμάνι
ΑΛΕΞ
Τελικό ... τα ψηφαλάκια;
ΠΑΝΑΓΑΚΗΣ
Τα ψηφαλάκια τάμαθες, την ομιλία όμως δεν την είπες.
Γιάντα δεν την είπες;
ΑΛΕΞ
Στον πατέρα μου ... τι θα πείτε;
ΠΑΝΑΓΑΚΗΣ
Ίντα θες να πω;
ΑΛΕΞ
Την αλήθεια.
ΠΑΝΑΓΑΚΗΣ
Μπρε Άλεξ, το’λάστο το λέει η καρδιά σου.
ΑΛΕΞ
For you.
ΠΑΝΟΣ
Thank you.
Family pressure.
Personal values.
Vocabulary
Ἀπετάξω τῷ Σατανᾷ;
(order before Holy Baptism)
Have you renounced Satan?
Ἀπεταξάμην
I have renounced him
σύντεκνος (κουμπάρος)
best man
ανιμένουν (περιμένουν)
waiting
ήφταξεν (έφτασε)
arrived; came
η συντέλεια (το τέλος)
the end
ματσανιές (ζαβολιές)
cheats
τα σουσούμια (τα εξωτερικά χαρακτηριστικά)
the external characteristics
το μαντάτο (το μήνυμα)
message
σαράντισε το παιδί
the child completed forty days from birth
φταρμίσανε (ματιάζω)
put the evil eye
το’λάστο (τουλάχιστον)
at least
© State of New South Wales, Department of Education and Communities 2013
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Study guide questions
1
Discuss the portrayal of Panagakis in this extract.
2
What is the dilemma that Alex is facing with regard to reading his father’s speech?
3
Discuss the friendships formed in this film.
Sample speaking task
Χωρίς αρχές δεν έχει κανείς κατεύθυνση στη ζωή του. Συζητήστε.
Without a personal set of values, one has no direction in life. Discuss.
Sample writing task
Read the following extract and respond to the question:
ΑΛΕΞ: Ήρθα στην Κρήτη για τη Δημοκρατία. Για να έρθει η Δημοκρατία στη χώρα μας. Γιατί
στη Δημοκρατία όλοι μπορούν να ζήσουν και αυτοί που πάνε γρήγορα και αυτοί που
πάνε αργά, και αυτοί που πάνε πάρα πολύ αργά, όπως οι σκαντζόχοιροι του Πάνου.
Ζήτω η Δημοκρατία.
Φαντάσου ότι είσαι ο Πάνος. Γράψε τη συζήτηση που θα είχες με τον Άλεξ στο τέλος αυτής
της σκηνής.
Imagine you are Panos. Write the script of the conversation you would have had with Alex at
the conclusion of this scene.
© State of New South Wales, Department of Education and Communities 2013
81/83
Extract 7
From
To
Time: 80:00
From Alex’s return to Athens
Time: 83:17
To the end of the film
Transcript
Κήπος σπιτιού ‘Αλεξ
Prescribed issues
ΜΗΤΕΡΑ
Hurry up! Your father is waiting for you.
Family pressure.
ΑΛΕΞ
I don’t want to see him.
ΜΗΤΕΡΑ
But you have to go in, Alex. Not for him but for yourself.
ΑΛΕΞ
I have butterflies in my stomach.
ΜΗΤΈΡΑ
So that the butterflies fly away.
ΠΑΤΕΡΑΣ
Ναι. ... (Βλέπει τον Άλεξ) Καλώς τον. Μας αφήνετε λίγο
μόνους; Μου είπαν πως τα κατάφερες καλά, ε;
Θα πρέπει να μου έφερες 150 ψήφους, και όλο το
χωριό. Τι λες;
ΑΛΕΞ
I’m not sure. Δεν τα έκανε όπως έπρεπε.
ΠΑΤΕΡΑΣ
Ούτε κι εγώ τα κάνω πάντα όπως πρέπει.
ΑΛΕΞ
It’s not just that … I didn’t read your speech!
ΠΑΤΕΡΑΣ
Αυτό το ξέρω. Κάτι όμως πρέπει να είπες. Χμ; Τι είπες;
ΑΛΕΞ
I told them that everybody is the same … everyone fits in a
democracy, even οι σκαντζόχοιροι.
ΠΑΤΕΡΑΣ
Οι σκαντζόχοιροι; Αυτό ούτε εγώ το ʼχω σκεφτεί.
ΑΛΕΞ
What I meant was people who are different, the minority.
ΠΑΤΕΡΑΣ
Για δες τι μας έκανε η Κρήτη.
ΓΙΩΡΓΟΣ
Κύριε Πρόεδρε σας ζητάνε.
ΠΑΤΕΡΑΣ
Μισό λεπτό ...
Δεν ξέρω αν μπορούμε να πάμε σήμερα τη βόλτα που
είπαμε αλλά ... έπεται
ΑΛΕΞ
Έπεται;
ΠΑΤΕΡΑΣ
Θα γίνει σύντομα. Θέλω να σου πω κάτι. Είναι σημαντικό
για μένα. Δεν είναι μόνο η δημοκρατία που αγαπάω.
Υπάρχουν και άλλα πράγματα στη ζωή. Υπάρχει το ότι ...
ΦΩΝΗ
Κύριε πρόεδρε, έπεσε η κυβέρνηση.
ΑΛΕΞ
Ο πατέρας μου δεν τελείωσε ποτέ τη φράση του. Είμαι
σίγουρος όμως ότι ήθελε να μου πει πως εκτός από τη
δημοκρατία αγαπάει και εμένα πάρα πάρα πολύ.
© State of New South Wales, Department of Education and Communities 2013
82/83
Responsibility to
others.
Acceptance of
others.
Impact of sociopolitical events.
Vocabulary
έπεται
it follows
Study guide questions
1
Why is Alex apprehensive about seeing his father?
2
Comment on the effective use of film techniques in this extract.
3
What do we learn about the relationship between Alex and his father in this extract?
Sample speaking task
Ωριμάζουμε μέσα από τις εμπειρίες της ζωής μας. Ποια είναι η γνώμη σου;
Every experience in life is an opportunity to grow. What is your opinion?
Sample reading task
Read the following and answer the question
ΠΑΤΕΡΑΣ
Ναι. ... (Βλέπει τον Άλεξ) Καλώς τον. Μας αφήνετε λίγο μόνους;
Μου είπαν πως τα κατάφερες καλά, ε;
Θα πρέπει να μου έφερες 150 ψήφους, και όλο το χωριό. Τι λες;
ΑΛΕΞ:
I’m not sure. Δεν τα έκανε όπως έπρεπε.
Φαντάσου ότι είσαι ο Αλέξ. Γράψε στο ημερολόγιό σου τις σκέψεις σου για τη συζήτησή σου
με τον πατέρα σου.
Imagine you are Alex. Write a diary entry reflecting on the conversation you have just had
with your father.
Related text
Χάρτινο το Φεγγαράκι
Στίχοι: Νίκος Γκάτσος
Μουσική: Μάνος Χατζιδάκι: http://lyricstranslate.com/en/Hatzidakis-Manos-Hartinofeggaraki-lyrics.html
© State of New South Wales, Department of Education and Communities 2013
83/83

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