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Contemporary Greek Film Cultures from 1990 to the Present

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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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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)

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Antoinetta Angelidi with Rea Walldén 14 The Ethics of Heterogeneity and Experimentation: Teaching Film Direction in the Film School at the Aristotle University of Thessaloniki This chapter describes my method of teaching film direction in the Film School of the Faculty of Fine Arts at the Aristotle University of Thessaloniki, explaining both its founding in my filmmaking practice and its theoretical background in the theories of the avant-garde. The chapter proposes an extended concept of heterogeneity and experimentation, as poetics and as ethics. The First University Film School in Greece Cinema is educational in multiple ways, and cinema education far exceeds the limits of schools. Moreover, cinema education addresses different audi- ences: the general population, the people who create films, and, as a bridge between them, the people who create discourses on the films.1 Although general audiovisual literacy probably carries the higher stake for a con- temporary democratic society, in a way and scale analogous to written- word literacy, it is mostly filmmakers and film specialists that concern film 1 Antoinetta Angelidi, ‘I Pedia – Kentrikos Rolos tis Akadimias Kinimatografou’ [‘Education – Central Role of the Film Academy’] (2010) accessed 20 January 2016. 370 Antoinetta Angelidi with Rea Walldén schools. The first film school ever, which opened in Moscow in 1919 to teach the filmmakers of a new world, set a high standard of creative synthesis of practice and theory, founded on avant-garde theory and revolutionary politics. It was there that Soviet Montage filmmakers, in close dialogue with Formalist theorists,...

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