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Contemporary Greek Film Cultures from 1990 to the Present

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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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11 Marketing Communications in the Greek Film Industry: Rethinking Contemporary Greek Cinema (Afroditi Nikolaidou)

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Afroditi Nikolaidou 11 Marketing Communications in the Greek Film Industry: Rethinking Contemporary Greek Cinema Introduction: Film Marketing from a Film History Perspective Film marketing is a relatively new field of study, although as a practice it goes back to early film history. Since its beginnings, cinema’s development is so closely associated with industrial and monopoly capitalism processes that one could assert that the film industry is the cultural industry par excellence, along with mass media industries like radio, newspaper and television.1 Film as an art product with physical and intellectual property 1 Therefore, film histories since 1980s assert that film is more related to the logic of vaudeville and museums rather than that of the arts that these institutions include or exhibit. One should also look to the concept of ‘cultural industry’, first coined by Max Horkheimer and Theodor W. Adorno in their seminal essay ‘The Culture Industry: Enlightenment as Mass Deception’ (Max Horkheimer and Theodor W. Adorno, ‘The Culture Industry: Enlightenment as Mass Deception’, in Dialectic of Enlightenment: Philosophical Fragments, trans. Edmund Jephcott (Stanford, CA: Stanford University Press, 2002), 94–136). This essay is a criticism on the mass culture of cinema, radio, popular magazines and popular music, and more generally on the commodification of art. Of course the concept and practice of cultural industries was later exculpated and marketing became the essential toolkit that recognizes that ‘organizations without customers have nothing but costs’ (Elizabeth Hill, Terry O’ Sullivan and Catherine O’ Sullivan, Creative Arts Management (Oxford: Butterworth-Heinemann, 2003)...

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