Contemporary Greek Film Cultures from 1990 to the Present (New Studies in European Cinema)

This Collection Of New Writing On Contemporary Greek Cinema Builds And Expands On Existing Work In The Field, Providing A Coherent Analysis Of Films Which, Despite Their International Importance, Have So Far Received Limited Critical Attention. The Volume Maps Key Trends In Greek Cinema Since The 1990s Within The Wider Context Of Production And Consumption At Both National And International Levels. It Offers A Wide Range Of Critical Analyses Of Documentary And Avant-garde Filmmaking, Art House And Popular Cinema, And The Work Of Established And New Directors As Well As Deliberations On Teaching Methodologies And Marketing Strategies. The Book Seeks To Highlight The Continuities, Mutual Influences And Common Contexts That Inform, Shape And Inspire Filmmaking In Greece Today. Edited By Tonia Kazakopulou And Mikela Fotiou. .. The Contemporary Greek Film Cultures 2013 International Conference (5-6 July, London) ... Where ... Some Of The Content Of This Book Came From. -- P. Xi. Includes Bibliographical References And Index. Cover Contents Figures Acknowledgements Introduction (Tonia Kazakopoulou) Works Cited 1 Short Voyages to the Land of Gregarious Animals: On Political Aesthesia in Sto Lyko and Sweetgrass (Ulrich Meurer / Maria Oikonomou) The End (One) The Land of the People Truth Displacement Activity The Animal: Sidewards/Downwards Diagram Lass mich in Ruhe meine Schafe weiden The End (Two) Works Cited 2 Constructing the Urban Cinematic Landscape: Theo Angelopoulos’s Thessaloniki (Stavros Alifragkis) Introduction The City of Poetic Contemplation: Thessaloniki in Voyage to Cythera The City of Romantic Escapism: Thessaloniki in the Trilogy: The Weeping Meadow Angelopoulos’s Filmic City: A Composite Landscape Hypertopos Urban waiting rooms Epilogue: The Mythical Landscape of the City Acknowledgements Works Cited 3 The Spatio-Temporality of the Avant-Gardes: Feminist Avant-Garde U-Topoi in Greek Cinema from Transition to Crisis (Rea Walldén) Spatio-Temporal Questions Regarding Avant-Garde Art and their Application to Cinema The Example of Avant-Garde Cinema in Greece: Two Turning Points Feminist Film U-Topoi: Women’s Worlds Feminist Film U-Topoi: The Temporality of Initiation Conclusion Works Cited 4 This Tongue Is Not my Own: Dogtooth, Phobia and the Paternal Metaphor (Ben Tyrer) Home / School / Garden / Prison Method and Madness Psychosis, Perversion, Neurosis Phobia The Mythic Function Castle Doctrine Les vidéos volées Bruce, in her Unbearable Splendour Schrödinger’s Dog Dogtongue Works Cited 5 Family, Gender and the Emotional Economy in Tsemberopoulos’s The Enemy Within (Angie Voela) Introduction Fathers and Family Values Louisa’s Silence Pity, Sympathy and Beyond Works Cited 6 In the Name of the Father: Rituals of Gender and Democracy in Olga Malea’s First Time Godfather (Tonia Kazakopoulou) Figures of Speech Eat, Praise, Vote It’s all Greek to Alex In Their Own Terms: Modernizing Discourses Works Cited 7 No Country for Old Faggots: Exploring Queer Utopias in Panos Koutras’s Strella (Marios Psaras) Works Cited 8 A Touch of Spice: Postmodern Identities and the Construction of the Other through Film Music (Nick Poulakis) Works Cited 9 The Albanian in the Room: Revisiting Greek Hospitality in From the Snow and Plato’s Academy (Philip Phillis) Into the Era of Migration and Transnational Cinema Imagined Community, Imagined Fatherland: Repatriation of the Ethnic Greek Community in From the Snow You Will Never Become a Greek: Reinforcing Eurocentrism in Plato’s Academy Conclusion Works Cited 10 ‘White Ethnicity’ and the Challenge of Independent Greek Films to Greek Stereotypes in the Global Imaginary (Taso G. Lagos) Branding and the Global Imaginary The Tribulations of White Ethnicity Challenging Greek Stereotypes and White Ethnicity Is Greece Becoming Less ‘White Ethnic’? Works Cited 11 Marketing Communications in the Greek Film Industry: Rethinking Contemporary Greek Cinema (Afroditi Nikolaidou) Introduction: Film Marketing from a Film History Perspective Greek Film Marketing within Greek Film Studies End of an Era: ‘Eventizing’ the Release Safe Sex: Branding as a Theme From Communication Practices to Strategic Communication: The Post-2008 Years Love in the End: From Product Placement to Crowdsourcing The Eternal Return of Antonis Paraskevas: Transmediating the Narrative Conclusion Works Cited 12 The ‘New Greek Cinema’ before the ‘Greek New Wave’: The Case of The Only Journey of his Life (Erato Basea) Introduction The Only Journey of his Life as a Film Adaptation and a Literary Biopic A ‘Literary’ Film Adaptation From the Death of the Author to the Confirmation of the National Auteur The Confirmation of the ‘New Greek Cinema’ before the ‘Greek New Wave’ Conclusions Acknowledgements Works Cited 13 Nikolaidis’s Diptych Those Who Loved a Corpse: A ‘Pasticcio of Pastiches’ (Mikela Fotiou) Singapore Sling: The Man Who Loved a Corpse See You in Hell, My Darling: A Necroromance Conclusion Note Works Cited 14 The Ethics of Heterogeneity and Experimentation: Teaching Film Direction in the Film School at the Aristotle University of Thessaloniki (Antoinetta Angelidi with Rea Walldén) The First University Film School in Greece Filmmaking Poetics from Learning to Teaching and Back: A Life-Path The Multiple Meanings of Heterogeneity and Experimentation Film Direction Modules and Student Films: Experiments and Polyphony Conclusions for Apprentice Wizards Works Cited Legal and administrative texts Notes on Contributors Index This collection of new writing on contemporary Greek cinema explores key trends over the past 25 years, including documentary and avant-garde filmmaking, art house and popular cinema. The book seeks to highlight the continuities, mutual influences and common contexts that inform, shape and inspire filmmaking in Greece today.