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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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Acknowledgements

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A number of people played a part in this book coming to life. We would like to thank the delegates of the Contemporary Greek Film Cultures 2013 international conference (5–6 July, London), the first in a series of conferences, where the inspiration, and some of the content of this book, came from. More specifically, we would like to thank Philip Phillis, who offered valuable help in the initial stages of the proposal and editing process of this book.

Thanks are owed to the Department of Film, Theatre and Television at the University of Reading and the College of Arts at the University of Glasgow, who supported the Contemporary Greek Film Cultures 2013 conference. Continued thanks are offered to the staff of the Department of Film, Theatre and Television at the University of Reading, who have offered valuable advice and support throughout the publication process of this book.

We owe gratitude to Pedro de Senna for his continued support, practical and psychological; without his critical input and thorough proofreading, this book could not have been what it is. Also thanks to Kostas Karatzas for his psychological support.

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