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Zeitschriftenartikel zum Thema „Greek and foreign cinema“

Autor: Grafiati

Veröffentlicht am 19. April 2025

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1

Gourgouris, Stathis. "Xenia – Debt at home, debt is always foreign." Social Science Information 58, no. 3 (2019): 521–35. http://dx.doi.org/10.1177/0539018419863294.

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The concerns of this article are twofold: first, it examines the nature of debt as a social and economic force that fosters conditions of alienation in persons and institutions. Debt is also considered ontologically to be pertinent to the institution of the family as well as general conditions of kinship, of what determines what is ancestral and what is foreign. Second, it examines the conditions of financial and cultural crisis in Greece in recent years, where debt emerges as a prominent force that works not only at a geopolitical level but on the micro level of society as well. This inquiry

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2

WALLIS, RODNEY. "John Wayne's World: Israel as Vietnam in Cast a Giant Shadow (1966)." Journal of American Studies 53, no. 3 (2019): 725–43. http://dx.doi.org/10.1017/s0021875819000124.

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Melville Shavelson's Cast a Giant Shadow (1966) stands alongside Otto Preminger's Exodus (1960) as one of the most notable Hollywood films to center on the founding of Israel. In this paper I argue that Cast a Giant Shadow is less concerned with the peculiarities of the nascent stages of the Arab–Israeli conflict, and instead functions as an unabashed endorsement of American military interventionism in foreign conflicts at a time in which the United States was dramatically escalating its military presence in Vietnam. The film is positioned as the second installment in an unofficial trilogy of

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3

Quinlan, David, Martyn Auty, Nick Roddick, et al. "Foreign Cinema." Communication Booknotes 16, no. 12 (1985): 138–40. http://dx.doi.org/10.1080/10948008509488357.

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4

Milonaki, Angeliki. "A History of Greek Cinema." Historical Journal of Film, Radio and Television 33, no. 2 (2013): 340–43. http://dx.doi.org/10.1080/01439685.2013.793013.

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5

Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages

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6

Varmazi, Eleni. "The Weirdness of Contemporary Greek Cinema." Film International 17, no. 1 (2019): 40–49. http://dx.doi.org/10.1386/fiin.17.1.40_1.

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7

Zhang, Weixiao. "The Life and Times of Lilian Lee: An Analysis of Lee's Screenplays From Psychological and Stylistic Perspectives." Asian Journal of Social Science Studies 5, no. 1 (2020): 32. http://dx.doi.org/10.20849/ajsss.v5i1.728.

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Lilian Lee, a novelist and screenwriter, is a prominent figure in the Hong Kong film industry and literary circles. Her unique writing style has earned her wide acclaim. Most of her works feature romances, fantasies or mysteries, showing her creative imagination. However, she didn't let love stories and supernatural elements overshadow the full picture she depicted. Instead, she further explored themes such as gender identity, sexual orientation and feminism, and dug deeper into a broad range of topics including mortality, fatality, history and patriotism. She revealed the complexity of human

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Papanikolaou, Dimitris. "‘The Lost Highway of Greek Cinema’, cinema screenings and events (2016‐2020)." Journal of Greek Media & Culture 7, no. 1 (2021): 105–12. http://dx.doi.org/10.1386/jgmc_00029_4.

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9

Rosalind Galt. "The Animal Logic of Contemporary Greek Cinema." Framework: The Journal of Cinema and Media 58, no. 1-2 (2017): 7. http://dx.doi.org/10.13110/framework.58.1-2.0007.

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10

Lykidis, Alex. "Crisis of sovereignty in recent Greek cinema." Journal of Greek Media & Culture 1, no. 1 (2015): 9–27. http://dx.doi.org/10.1386/jgmc.1.1.9_1.

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11

Lykidis, Alex. "Travel in Greek Cinema of the 1990s." Journal of Modern Greek Studies 33, no. 2 (2015): 345–64. http://dx.doi.org/10.1353/mgs.2015.0022.

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12

Galt, Rosalind. "The Animal Logic of Contemporary Greek Cinema." Framework: The Journal of Cinema and Media 58, no. 1&2 (2017): 7–29. http://dx.doi.org/10.1353/frm.2017.a682899.

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13

Sifaki, Eirini, and Anastasia Stamou. "Film criticism and the legitimization of a New Wave in contemporary Greek cinema." Journal of Greek Media & Culture 6, no. 1 (2020): 29–49. http://dx.doi.org/10.1386/jgmc_00002_1.

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Contemporary Greek cinema garnered a great reputation in recent years, including Oscar nominations, numerous awards and distinctions in international festivals and also worldwide media coverage. The emergence of a new group of filmmakers whose creativity and avant-garde aesthetics were stimulated and heightened by the social and economic crisis was first marked by media critics (film critics and cultural journalists). As journalistic art criticism plays a prominent role in the legitimization of cultural products and artistic genres, this article examines the way in which professional film crit

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Papazafeiropoulou, Sofia-Alexia. "Modernityscapes, ‘Sweet Consumer Nightmares’ and Clumsy Chauffeurines." Film Studies 21, no. 1 (2019): 22–37. http://dx.doi.org/10.7227/fs.21.0003.

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This article examines the role of automobility in the Greek cinema of the 1960s. It focuses on the representations of the automobile’s domestication in selected films. Particular attention is paid to the technical and symbolic reconstruction of space and the redefinition of socioeconomic and gender stereotypes. The article’s conclusions concern the role of the automobile in a specific period within Greek film history, as well as its place within cinema in general and in the theoretical and material construction of what is perceived as ‘modernity’.

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15

Basea, Erato. "Review of Masculinity and Gender in Greek Cinema." CINEJ Cinema Journal 3, no. 2 (2014): 222–26. http://dx.doi.org/10.5195/cinej.2014.102.

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This is a historical-sociological study based on the premise that cinema is a social institution that is ‘interactively changing along with the society in which it is produced and viewed’. As such, the representation of masculinity in the Greek films produced in this transitory period ‘becomes obscured, uncertain and problematic’.

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16

Fessas, Nikitas. "Masculinity and gender in Greek cinema: 1946–1967." Historical Journal of Film, Radio and Television 35, no. 1 (2015): 200–202. http://dx.doi.org/10.1080/01439685.2014.997522.

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17

Fountoulakis, K., K. Kogiopoulos, I. Nimatoudis, A. Lacovides, T. Nikolaou, and Ch Lerodiakonou. "The concept of mental disorder in Greek cinema." Acta Psychiatrica Scandinavica 98, no. 4 (1998): 336–40. http://dx.doi.org/10.1111/j.1600-0447.1998.tb10093.x.

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18

Pulakis, Nik. "Post in the 'modern': Greek film music and the work of Nikos Mamangakis." Muzikologija, no. 8 (2008): 77–89. http://dx.doi.org/10.2298/muz0808077p.

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This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis' cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the so-called Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis' most important film scores, I hope to reveal the transition process from a r

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19

David, Joel. "OFWs in Foreign Cinema: An Introduction." Kritika Kultura, no. 21/22 (August 14, 2013): 557–59. http://dx.doi.org/10.13185/kk2013.02133.

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20

Papandreou, G. A. "Principles of Greek Foreign Policy." Mediterranean Quarterly 12, no. 1 (2001): 1–10. http://dx.doi.org/10.1215/10474552-12-1-1.

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21

Chalkou, Maria. "A new cinema of ‘emancipation’: Tendencies of independence in Greek cinema of the 2000s." Interactions: Studies in Communication & Culture 3, no. 2 (2012): 243–61. http://dx.doi.org/10.1386/iscc.3.2.243_1.

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22

Nikolaidou, Afroditi, and Ifigeneia Mylona. "Promotional Greek screen industries: Branded entertainment in the digital age." Journal of Greek Media & Culture 6, no. 2 (2020): 241–59. http://dx.doi.org/10.1386/jgmc_00015_1.

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This article focuses on the specific field that merges advertising, screen entertainment, branding and promotion, namely branded entertainment, in an attempt to localize and contextualize the processes, texts, paratexts and discourses that lead to the building of branded worlds and communities, during the period of the Greek financial crisis, since 2009. It presents data from interviews with film and advertising professionals about the past of the synergy between cinema and the advertising industry. Additionally, a number of recent audio-visual campaigns by advertising agency Ogilvy Greece are

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Savage, Maxine. "A Queer and Foreign State." lambda nordica 25, no. 3-4 (2021): 29–53. http://dx.doi.org/10.34041/ln.v25.707.

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Since the year 2000, twenty Icelandic films have been produced which could be aptly grouped as LGBTQ+ or queer Icelandic cinema. This “queer turn” in Icelandic cinema emerges as the nation makes strides in advancing LGBTQ+ rights and as its demographics markedly shift, first-generation immigrants now comprising 12.6 per cent of the population. These changes have not occurred in a vacuum, and the films discussed in this article complicate the boundary between native and foreign, Icelandic and non-Icelandic, alongside their centering of queer characters and stories. In addition to narrative focu

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24

Fotiou, Mikela. "Contemporary Greek horror cinema: Yes! It is a ‘Thing’!" Journal of Greek Media & Culture 2, no. 2 (2016): 217–35. http://dx.doi.org/10.1386/jgmc.2.2.217_1.

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25

Papadimitriou, Lydia. "The national and the transnational in contemporary Greek cinema." New Review of Film and Television Studies 9, no. 4 (2011): 493–512. http://dx.doi.org/10.1080/17400309.2011.606535.

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26

Kassaveti, Ursula-Helen. "Visual folklore in 1960s Greek popular cinema: Athens at the threshold of tradition and modernity." Bulletin de l'Institut etnographique 71, no. 2 (2023): 19–36. http://dx.doi.org/10.2298/gei2302019k.

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Despite its slow and ambivalent transformation, particularly after WWII, Greek society strived to present a novel and relatively modern face during the 1960s. While tradition in all its facets had been a long-lasting staple, even affecting critical aspects of everyday life, modernity began to take steps and seek changes: peasants left the countryside to explore new opportunities in the urban centers, immigration rose, education emerged as a means to escape poverty, while technology penetrated the Greek household slowly. Such urban shifts have been particularly documented in the popular Greek f

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27

Γαραντούδης Δήμητρα Ραζάκη Νάντια Φραγκούλη, Ευριπίδης. "Η παρουσία του κινηματογράφου στα ελληνικά λογοτεχνικά περιοδικά των μεταπολεμικών και μεταπολιτευτικών χρόνων (1949-2009). Παρουσίαση του ομώνυμου ερευνητικού προγράμματος". Σύγκριση 30 (30 жовтня 2021): 104–42. http://dx.doi.org/10.12681/comparison.27583.

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The presence of cinema in Greek literary magazines in the second half of the twentieth century (1949-2009). Presentation of the research programThis paper describes the results of the research program ‘The presence of cinema in Greek literary magazines in the second half of the twentieth century (1949-2009)’. This research project, funded by ESPA, resulted in the creation of a digital database that will become available online within the year 2021. This study presents the structure and content of the created data base, along with an indicative case study. The case study focuses on the theme ci

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28

Chisiridis, Konstantinos, and Theodore Panagiotidis. "The Relationship Between Greek Exports and Foreign Income." Special Issue on Applied Macroeconomics, Finance, and Banking 64, no. 1 (2018): 99–114. http://dx.doi.org/10.3790/aeq.64.1.99.

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Abstract This paper assesses the effect of foreign economic activity on Greek exports. We employ data from 1995:I to 2016:IV and quantify the long-run foreign income elasticity of Greek exports. We establish a cointegration relationship and employ Dynamic OLS estimations. We find that the aggregate foreign income elasticity of Greek exports is positive and significant. When foreign income is decomposed to the main trading partners, we reveal that economic growth in Turkey and in emerging markets such as the Balkans, North Africa and the Middle East have the greatest impact on Greek exports. Th

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Economides, Spyros. "The Europeanisation of Greek Foreign Policy." West European Politics 28, no. 2 (2005): 471–91. http://dx.doi.org/10.1080/01402380500060528.

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30

Radasanu, Andrea. "Montesquieu on Ancient Greek Foreign Relations." Political Research Quarterly 66, no. 1 (2012): 3–17. http://dx.doi.org/10.1177/1065912911431246.

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Montesquieu famously claims that modernity ushered in gentle mores and peaceful relations among countries. Consulting Montesquieu’s teaching on Greek foreign policy, both republican and imperial, elucidates the character of these peaceful mores. Montesquieu weaves a modernization tale from primitive ancient Greece to modern commercial states, all to teach the reader to overcome any lingering attachment to glory and to adopt the rational standards of national interest and self-preservation. This account provides important insights on the relationship between realism and idealism in Montesquieu’

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Kazakopoulou, Tonia. "Greek Cinema and Migration, 1991–2016, Philip E. Phillis (2020)." Journal of Greek Media & Culture 8, no. 2 (2022): 263–66. http://dx.doi.org/10.1386/jgmc_00062_5.

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32

Rappas, İpek Çelik. "Greek Weird Wave: A Cinema of Biopolitics, Dimitris Papanikolaou (2021)." Journal of Greek Media & Culture 9, no. 1 (2023): 103–6. http://dx.doi.org/10.1386/jgmc_00070_5.

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Review of: Greek Weird Wave: A Cinema of Biopolitics, Dimitris Papanikolaou (2021) Edinburgh: Edinburgh University Press, 268 pp., ISBN 978-1-47443-631-1, h/bk, £90.00 ISBN 978-1-47443-632-8, p/bk, £19.99

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Leventopoulos, Mélisande. "Lydia Papadimitriou, Yannis Tzioumakis (dir.), Greek Cinema : Texts, Histories, Identities." 1895, no. 69 (April 1, 2013): 192–94. http://dx.doi.org/10.4000/1895.4640.

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34

Lerner, Giovanna Faleschini. "Greek Cinema and Migration, 1991–2016 by Philip E. Phillis." Journal of Modern Greek Studies 40, no. 1 (2022): 245–48. http://dx.doi.org/10.1353/mgs.2022.0020.

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35

Eleftheriotis, Dimitris. "Greek Weird Wave: A Cinema of Biopolitics, Dimitris Papanikolaou (2021)." New Cinemas: Journal of Contemporary Film 20, no. 1 (2022): 103–6. http://dx.doi.org/10.1386/ncin_00035_5.

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Review of: Greek Weird Wave: A Cinema of Biopolitics, Dimitris Papanikolaou (2021) Edinburgh: Edinburgh University Press, 224 pp., ISBN 978-1-47443-632-8, p/bk, £19.99 ISBN 978-1-47443-631-1, h/bk, £90 ISBN 978-1-47443-634-2, e-book, £90 ISBN 978-1-47443-633-5, e-book, £90

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36

Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chin

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Demydenko, Maksym. "National images and symbols of visual Ukrainian cinematography in the works of foreign scholars." CONTEMPORARY ART, no. 18 (November 29, 2022): 141–50. http://dx.doi.org/10.31500/2309-8813.18.2022.269722.

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The article is devoted to the problem of historical symbolism in the visual language of Ukrainian cinema. The focus is on the foreign historiography of the problem, which today is one of the most relevant areas in the general scientific discourse of the problem. The author notes that at present, the understanding of national imagery and symbolism in cinematography continues within the framework of two parallel strategies: 1) as the still active deconstruction of existing historical images and visual narratives (especially in cinematography and in general within the framework of audiovisual art

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Kuznetsov-Brusnikin, Daniil A. "Historicity of European Union foreign policy: historical and cultural conditions over national subjectivity." Tambov University Review. Series: Humanities, no. 4 (2023): 1010–23. http://dx.doi.org/10.20310/1810-0201-2023-28-4-1010-1023.

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Importance. Unlike national subjectivity, European foreign policy is quite historical, that is, it is not mythologized and has a chronologically distinct beginning. How then is the continuity inherent in subjectivity achieved if supranational foreign policy can be represented as a series of discrete solutions? Based on the fact that any foreign policy is a locus of cultural relations, the historical and cultural conditions of European subjectivity were examined on the example of European cinema. Materials and methods. A cultural method of historical research was formulated; materials were sele

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Biro, Yvette. ": Voyage to Cythera . Theodore Angelopoulos, A Productions, Zdf, Channel 4, Greek Tv, Center of Greek Cinema." Film Quarterly 41, no. 1 (1987): 49–54. http://dx.doi.org/10.1525/fq.1987.41.1.04a00070.

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40

Φραγκούλη, Νάντια Αυγερινός. "Ιταλικός κινηματογραφικός νεορεαλισμός και ελληνική μεταπολεμική πεζογραφία: Νεορεαλιστική γραφή στο Άνθρωποι και σπίτια του Αντρέα Φραγκιά." Σύγκριση 26 (25 лютого 2018): 81. http://dx.doi.org/10.12681/comparison.11038.

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The years 1951-1961 mark the reception of Italian neorealist cinema in Greece with the production of films influenced by neorealism and the discussion of the nature of neorealism by Greek film critics. The novel Anthropi ke spitia [Of Houses and Men] by Adreas Fragkias, published in 1955, four years after the first viewing of De Sica’s Bicycle Thief in Greece, shows significant similarities to the themes and style of the Italian neorealist cinema. Discussing unemployment as a crucial problem of post-war Greek society Anthropi ke spitia presents the life in a poor urban neighbourhood in a serie

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Karakos, Alexandros, John Papaioannou, and Anastasia Georgiadu. "Learning the Greek Language via Greeklish." Interaction Design and Architecture(s), no. 15 (December 20, 2012): 31–39. http://dx.doi.org/10.55612/s-5002-015-003.

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Learning Greek as a second or foreign language has drawn the attention of many researchers throughout time. A dictionary is amongst the first things a foreign language student uses. Reading comprehension is significantly improved by the use of a dictionary, especially when this includes the way words are pronounced. We developed a assistance software for learning the Greek Language via Greeklish. Since, the basic vocabulary of a language is the basis of understanding the language itself, the dictionary proposed aims to make the basic Greek words easier to pronounce as well as to give the expla

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Georgiadou, Elena. "The Greek Ministry of Foreign Affairs in the Transforming World Politics: Between Isomorphism and Path Dependence." Hague Journal of Diplomacy 8, no. 2 (2013): 139–60. http://dx.doi.org/10.1163/1871191x-12341249.

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Summary This article explores the contemporary organization and functions of the Greek Ministry of Foreign Affairs (MFA) and the ways in which it responds to the transforming world politics. In contemporary foreign policy management discourse, the study of the foreign ministry — its organization, role, functions and position within national foreign policy and diplomatic systems — constitutes a central theme. This is because patterns of change within its structure, processes and operation can provide significant evidence regarding the state’s responses to systemic change, as well as its fundame

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Leventopoulos, Mélisande. "Thessaloniki in Early Cinema History: Cinematic Entanglements and Disentanglements amid Moving Borders in the Balkans and the Eastern Mediterranean." Film History: An International Journal 35, no. 3 (2024): 1–32. https://doi.org/10.2979/fih.00007.

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ABSTRACT: This article explores the historiographical significance of the port city of Selanik/Thessaloniki in early cinema history. Formerly a part of the Ottoman Empire, the city was annexed by the modern Greek state during the first Balkan War in the fall of 1912. Moving beyond methodological nationalism, the study delves into the networks of cinema distribution, strategies of exhibition, and cinemagoing activities in the city of Thessaloniki before and after 1912. The aim is to contribute to the discourse on the transnational cinema history of the Eastern Mediterranean and the Balkans. Fur

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44

Missiou-Ladi, Anna. "Coercive Diplomacy in Greek Interstate Relations." Classical Quarterly 37, no. 2 (1987): 336–45. http://dx.doi.org/10.1017/s0009838800030548.

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Diplomacy is the corpus of procedures and institutions used in foreign relations by an independent state. It is the method by which a state seeks to attain its objectives in foreign policy, namely to secure for its citizens prosperity and justice through negotiations with other states.

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45

Yu, Taeyun. "Reincarnation of the Pinay Subaltern in Foreign Cinema." Kritika Kultura, no. 21/22 (August 14, 2013): 584–610. http://dx.doi.org/10.13185/kk2013.02135.

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46

Dae Jin Min and Song Young Ae. "A Study on Foreign Expansion of Korean Cinema." Film Studies ll, no. 42 (2009): 261–306. http://dx.doi.org/10.17947/kfa..42.200912.009.

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47

Adamczyk, Artur. "The Europeanisation of Greek foreign policy towards the Republic of North Macedonia." Rocznik Instytutu Europy Środkowo-Wschodniej 21, no. 1 (2023): 233–49. http://dx.doi.org/10.36874/riesw.2023.1.14.

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The article’s objective is to analyse the process of Europeanisation of Greek foreign policy towards North Macedonia. The author has attempted to present the main conceptual assumptions regarding this process, pointing to the multiplicity of definitions and research directions, and has subsequently highlighted the evolution of Greek foreign policy towards North Macedonia in the context of the Europeanisation of Greek diplomacy. In the conclusions, the author has emphasised that this particular Europeanisation is somewhat sinusoidal and is conditioned upon a number of factors, including the nat

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Lendon, J. E. "Xenophon and the alternative to realist foreign policy:Cyropaedia3.1.14–31." Journal of Hellenic Studies 126 (November 2006): 82–98. http://dx.doi.org/10.1017/s0075426900007679.

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AbstractThe dialogue Xenophon stages atCyropaedia3.1.14–31 constitutes a sophisticated theoretical treatment of Greek foreign-policy motivations and methods, and offers an implicit rebuttal to Thucydides' realist theses about foreign relations. Comparison of this passage to the historians and Attic orators suggests that Xenophon was attempting to systematize conventional Greek conceptions: the resulting theoretical system, in whichhybrisis regarded as the main obstacle to interstate quiet, and control of other states depends not only upon fear but upon superior excellence and the management of

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Triantaphyllou, Dimitrios. "The Priorities of Greek Foreign Policy Today." Southeast European and Black Sea Studies 5, no. 3 (2005): 327–46. http://dx.doi.org/10.1080/14683850500321685.

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Tsakonas, Panayotis. "Theory and Practice in Greek Foreign Policy." Southeast European and Black Sea Studies 5, no. 3 (2005): 427–37. http://dx.doi.org/10.1080/14683850500321891.

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