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Cbrist Best, yet Apps, and it. Free in this state Chrit be toxic for both Daying and your Dating partner. This activity is complemented by further publications in Greek, not all of which are about Greek cinema, but contribute to the establishment of film studies in Greece and set foundations for even more work on Greek cinema.
More details about these and other publications can also be found in the relevant sections of Filmicon. The most significant development, though, in terms of setting up foundations for the future study of Greek cinema in its global outlook is the establishment of two journals dedicated to its study.
The open-access online publication in which this essay is published Filmicon: Journal of Greek Film Studies was launched in September and publishes articles, reviews, and blogs in both English and Greek. This bilingualism ensures that the study of Greek cinema does not lose contact with its original linguistic community, while at the same time it warrants its outward-facing orientation, which enables it to be part of a global dialogue on cinema.
The interdisciplinary Journal of Greek Media and Culture Intellectthe first issue of which will appear in Septemberis more wide-ranging, aiming to provide a platform for debate and exploration of various manifestations of media and culture in and about Greece. This includes, of course, cinema. The post flourishing of the academic activity on Greek cinema has not engaged only with topics related to the contemporary production and circulation of films in and from Greece. More often than not the topics explored are historical.
The authors examine past cinematic expressions through contemporary theoretical prisms. Such analyses sometimes prioritise insights into the broader culture of a historical period, as explored through its cinematic culture e. Christophides and Saliba ; Hadjikyriakou ; Leros ; Tsitsopoulou ; at others, they explore the formal workings of particular films e. Mini ; Thanouli Whatever the emphasis, it is important to highlight that historical explorations are in dialogue with concerns of the present and often reflect aspects of the subjectivity of the author.
This attack on exceptionalism in the writing of history and in cultural perceptions, more broadly, reflects a broader movement towards emphasising the interconnectedness and co-dependence that characterises the contemporary world. The recent academic activity on Greek cinema, however, increasingly addresses aspects of the recent and contemporary Greek cinema. By way of closing this introductory essay, I want to make some broader comments with regard to future directions for the study of Greek cinema.
One of the key issues to be considered is the extent to which the concept of the national will remain relevant in future explorations of Greek cinema. I have already been discussing the necessity of opening of Greek cinema and its critical examination beyond the Greek boundaries. This reflects both the current globalising trends in the circulation of media and capitalas well as the concomitant emphasis on the transnational in terms of cultural exchanges and interactions.
Originating in cultural studies, postcolonial theory and sociology, the term has increasingly gained a lot of currency in film studies. As Higbee and Lim have insightfully identified, three main approaches to the transnational have been applied in film studies With the exception, arguably, of the second approach indicated above although even this could be adopted for exploring films from Greece and Cyprussuch frameworks could be employed in order to resituate Greek cinema in broader contexts.
Indeed, as already noted, Greek films are increasingly co-produced with foreign partners, circulated in international film festivals and reviewed in publications across the world that can be easily accessed from everywhere on the Internet. As for the Greek diaspora and its production and reception practices, it is increasingly becoming a worthy object of attention Verhoeven There is no doubt that both empirically and conceptually we can still recognise the idea of a Greek national cinema, however vaguely, variably and intuitively.
Greek films are generated mainly in Greece; by people who for the most part live and work there; they deal with issues that largely draw on the particular realities experienced in Greece although such connections may not always be foregrounded ; they address predominantly but not exclusively audiences who share that social or cultural space.
And yet, even presented in such a tentative manner with plenty of qualifications, it is clear that such attempts to contain and territorialise the concept of the nation and of a national culture highlight its limitations.
Indeed, one of the direct consequences of the intensity of the financial crisis discussed earlier has been a new wave of emigration from Greece — especially among educated and professionally qualified members of the population. Such physical displacement, combined with the cultural proximity brought by the possibilities offered by the Internet, has resulted in the increasing dissolution of boundaries among cultures and nations. On the other hand, films themselves provide a sense of authenticity by having their dialogues spoken in the original language.
Multi-lingual films such as certain European co- productions often highlight their constructed-ness in ways that are unpalatable for audiences. Furthermore, the maintenance of a national language serves the system of film festivals, for which national brands are a key factor for differentiating the films they showcase. Beyond the issue of language, though, there is no doubt that the different, but not unrelated, concepts and practices of globalisation, transnational collaborations and cosmopolitanism, all work towards radically transforming the national.
It is not clear yet what form this transformation will take. Cinema is both a product the film, traditionally defined as feature-length or short and a mode of reception traditionally, the film house, or film theatre, or, indeed, cinema. However, the advent of digital media has already radically transformed what film is: The means of shooting films has changed; digital cameras have effectively replaced film cameras in both the low and the high end of production; editing software is widely available; digital special effects or visual effects are increasingly employed for life-like simulations at very high cost; and, finally, theatres are increasingly equipped with digital projectors.
Surely, the enhanced visual effects and the immersive effects of digital surround sound intensify and alter the viewing experience — but only in terms of degree rather than kind. On the other hand, it could be argued that watching films on the computer, the tablet, the mobile phone, having access to them on demand at any time and any place with Internet connection and an electronic device, has radically changed the experience of watching films. Their easy availability and ever increasing choice, the possibility of fragmenting the viewing experience by stopping, starting, posting or watching extracts on You Tube, the sheer abundance of film-related material breaks away from the traditional experience of cinema-going as an event.
And yet, the feature film remains a recognisable and enduring format that is here to stay, in my view — for the foreseeable future at least. Whatever the resilience of the feature film proves to be, however, what I want to highlight here is that the future promises fundamental and continuous changes in the audio-visual sector.
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And that, whether we are emotionally attached to the feature film format or not, it is very important to locate it within the technological and industrial contexts from which it depends. Crucial in this context is the way in which synergies between films and other media products are developed. Such synergies are largely the result of the increasing concentration of power by the multinational companies that own not only the major film studios but also the companies that produce the technology e.
As such articulations affect what films are made and how, as well as how they circulate and who consumes them, it is important to remain constantly alert to the broader changes that take place that may, at some point, annihilate although, hopefully, not too soon… the identity of film and cinema as we know it.
Well past its fourth year, the financial crisis that has affected Greece so harshly shows few signs of receding. There is also no doubt that the crisis is a much broader one and it brings about radical organisational and cultural transformations not only in Greece but elsewhere too. The almost total domination of neo-liberalism as a system of governance, worldwide, means that there is little — if any — ideological choice on offer. The question nowadays is not so much one of choosing camps, but of survival.
For Greek cinema to survive and to remain relevant in the contemporary world, it needs to continue its path towards openness. The next challenge will be to define its new identity — even though, in this world that is so permanently in motion, identity may also soon become a thing of the past. BoziApo to Parisi sto Peran: Greek Filmmakers from Istanbul, Athens: Identity, Culture and Politics in Greece after Imagining European Borders in Cinema,Bristol: Texts, Histories, Identities, Bristol and Chicago: Cinemano.
Accessed 23 December The Films of Theo Angelopoulos.
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Journal of Hellenic Diaspora Journal of Modern Greek Studies Programming Film Festivals, St. Andrews Film Studies, Identity, Nationhood, Gender, Honolulu: University of Hawaii Press. Exilic and Diasporic Filmmaking, Princeton and Oxford: Hollywood and Beyond, Exeter: In search of identity" in Kambos: Cambridge Papers in Modern Greek, no. TzioumakisGreek Cinema: Independent Filmmaking around the Globe, Toronto: In press Papanikolaou, D.
Greek Diaspora and Migration sinceAshgate: Cambridge Paper in Modern Greek