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Contemporary Greek Film Cultures from 1990 to the Present


Edited By Tonia Kazakopoulou and Mikela Fotiou

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.


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Introduction (Tonia Kazakopoulou)


Tonia Kazakopoulou Introduction The journey of this book began in early July 2013 at the international confer- ence Contemporary Greek Film Cultures in London. And while it has since become a separate entity from the conference, the book has retained the name and heritage of that event.1 There are three constitutive elements to the naming of the conference and subsequently the book: contemporary, Greek film, and film cultures. Moreover, this book marks the early 1990s as the departure point of Greek cinema into its ‘contemporary’ phase, fol- lowing from the preceding periods of ‘New Greek Cinema’ of the 1970s and 1980s and ‘Old Greek Cinema’ before that. Needless to say that these few opening lines are a minefield of terms, concepts and historical demar- cations one needs to navigate carefully. It is contemporary no more, this latest phase of Greek cinema. In tem- poral terms at least. As Lydia Papadimitriou has noted, using ‘the term “con- temporary” to characterize this period is undoubtedly problematic as this is clearly a temporary temporal designation – what is contemporary now will soon cease to be so’.2 However, apart from its strictly temporal designation 1 For more information on the standing conference Contemporary Greek Film Cultures, see Mikela Fotiou, Tonia Kazakopoulou and Philip Phillis, ‘Greek Film Studies with International Scope: Contemporary Greek Film Cultures 2013’ ; and Tonia Kazakopoulou and Mikela Fotiou, ‘Contemporary Greek Film Cultures Goes to America: Breaking New Ground in Greek Film Studies’ accessed 2 May 2016. The third international conference Contemporary Greek...

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