Description
Book SynopsisThis 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.
Trade Review«A collection which must be read by everybody who is interested in the future of Greek Film Studies.»
(Vrasidas Karalis, FILMICON: Journal of Greek Film Studies 4/2017)
Full review
Table of ContentsCONTENTS: Tonia Kazakopoulou: Introduction – Ulrich Meurer/Maria Oikonomou: Short Voyages to the Land of Gregarious Animals: On Political Aesthesia in Sto Lyko and Sweetgrass – Stavros Alifragkis: Constructing the Urban Cinematic Landscape: Theo Angelopoulos’s Thessaloniki – Rea Walldén: The Spatio-Temporality of the Avant-Gardes: Feminist Avant-Garde U-Topoi in Greek Cinema from Transition to Crisis – Ben Tyrer: This Tongue Is Not my Own: Dogtooth, Phobia and the Paternal Metaphor – Angie Voela: Family, Gender and the Emotional Economy in Tsemberopoulos’s The Enemy Within – Tonia Kazakopoulou: In the Name of the Father: Rituals of Gender and Democracy in Olga Malea’s First Time Godfather – Marios Psaras: No Country for Old Faggots: Exploring Queer Utopias in Panos Koutras’s Strella – Nick Poulakis: A Touch of Spice: Postmodern Identities and the Construction of the Other through Film Music – Philip Phillis: The Albanian in the Room: Revisiting Greek Hospitality in From the Snow and Plato’s Academy – Taso G. Lagos: «White Ethnicity» and the Challenge of Independent Greek Films to Greek Stereotypes in the Global Imaginary – Afroditi Nikolaidou: Marketing Communications in the Greek Film Industry: Rethinking Contemporary Greek Cinema – Erato Basea: The «New Greek Cinema» before the «Greek New Wave»: The Case of The Only Journey of his Life – Mikela Fotiou: Nikolaidis’s Diptych Those Who Loved a Corpse: A «Pasticcio of Pastiches» – Antoinetta Angelidi with Rea Walldén: The Ethics of Heterogeneity and Experimentation: Teaching Film Direction in the Film School at the Aristotle University of Thessaloniki.
