Relevant bibliographies by topics / Greek and foreign cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Greek and foreign cinema'

Author: Grafiati
Published: 19 April 2025

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Journal articles on the topic "Greek and foreign cinema"

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Gourgouris, Stathis. "Xenia – Debt at home, debt is always foreign." Social Science Information 58, no. 3 (July 25, 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 is conducted primarily through an elaboration of key instances in recent Greek cinema.
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WALLIS, RODNEY. "John Wayne's World: Israel as Vietnam in Cast a Giant Shadow (1966)." Journal of American Studies 53, no. 3 (April 2, 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 overtly propagandistic pro-interventionist cinema produced by John Wayne's production company Batjac in the 1960s, alongside The Alamo (1960), Wayne's directing debut, and the notoriously jingoistic pro-Vietnam War film The Green Berets (1968). My analysis of this largely overlooked entry in the Wayne oeuvre ultimately reveals how Israel enabled Wayne to effectively put his art at the service of his political beliefs.
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Quinlan, David, Martyn Auty, Nick Roddick, Peter Hands, David White, Klaus Phillips, Daniel J. Goulding, and David Welch. "Foreign Cinema." Communication Booknotes 16, no. 12 (December 1985): 138–40. http://dx.doi.org/10.1080/10948008509488357.

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

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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 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 of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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Varmazi, Eleni. "The Weirdness of Contemporary Greek Cinema." Film International 17, no. 1 (March 1, 2019): 40–49. http://dx.doi.org/10.1386/fiin.17.1.40_1.

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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 (February 4, 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 nature and the inner conflicts her characters underwent through incisive remarks and heart-rending stories. Her best-known works include Farewell My Concubine, Green Snake, Rouge and Kawashima Yoshiko, all of which are considered masterpieces, representing a milestone in the history of Asian cinema. Farewell My Concubine remains the only Chinese-language film to win both the Palme d'Or at the Cannes Film Festival and the Golden Globe Award for Best Foreign Language Film. It was included in Time's list of "All-Time" 100 Movies in 2005. Rouge had 16 nominations and awards at the Hong Kong Film Awards and the Taipei Golden Horse Film Festival. It also earned Lee the Hong Kong Film Award for Best Screenplay. The critical and commercial success of these films is largely attributed to Lee's screenwriting, and the success of her screenwriting rests on her relatively fixed writing mindset. This article focuses on screenplays written by Lilian Lee and analyzes her construction of plot, narrative techniques and her writing mindset and style, by exploring the influence of her personal experience, aesthetic preference, writing habits, and her cultural, social and educational background on her works.
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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 (April 1, 2021): 105–12. http://dx.doi.org/10.1386/jgmc_00029_4.

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

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Dissertations / Theses on the topic "Greek and foreign cinema"

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Panteliadou, Eleftheria. "L'adaptation d'oeuvres en prose de la littérature néo-hellénique au cinéma des années soixante à 2015 : le cas de la transposition cinématographique des romans policiers de Yannis Maris." Electronic Thesis or Diss., Strasbourg, 2024. https://publication-theses.unistra.fr/restreint/theses_doctorat/2024/Panteliadou_Eleftheria_2024_ED520.pdf.

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La présente thèse consiste à étudier l’adaptation cinématographique d’œuvres en prose de la littérature néo-hellénique de 1960 à 2015, et notamment à analyser les adaptations au cinéma des romans policiers de Yannis Maris dans les années 1960 et 1970. La première partie a pour but d’élucider la notion de l’adaptation d’un récit littéraire au grand écran sous le prisme des diverses approches théoriques de l’adaptation, dont la théorie du polysystème. La deuxième partie, en adoptant une approche chronologique, vise à présenter dans un cadre contextualisé les adaptations cinématographiques grecques et étrangères de romans, longues nouvelles, nouvelles et récits de la littérature néo-hellénique de 1960 à 2015, une pratique culturelle qui trouve ses origines aux tous débuts du cinéma grec. La troisième partie, fondée principalement sur la théorie du polysystème et une approche comparatiste, examine les adaptations cinématographiques des romans policiers de Yannis Maris de 1960 à 1979. Ces adaptations sont examinées dans une double optique, en tant qu’objets culturels nouveaux et autonomes, au sein du système cinématographique d’accueil, et en tant qu’œuvres filmiques issues d’un processus créatif qui apporte un regard nouveau sur les œuvres littéraires de départ
This thesis explores the cinematic adaptation of Modern Greek prose fictions from 1960 to 2015, with a focus on the adaptation of Yannis Maris’ detective novels on screen in the 1960s and 1970s. The first part aims to shed some light on the concept of adapting a prose work for the cinema, making use of diverse theoretic approaches, including the Polysystem Theory. The second part adopts a chronological approach to offer a contextualized presentation of Greek and foreign film adaptations of Modern Greek novels, longer novellas, novelettes, and stories from 1960 to 2015 – a practice that appeared early on in Greek cinema. In the third part of the thesis, which mainly focuses on the Polysystem Theory and follows a comparative approach, Yannis Maris’ detective novels are examined from a dual perspective, both as new cultural goods in their own right within the field of reception, and as cinematic works resulting from a creative process that brings a new perspective to the original literary works
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Gardikes, Helen. "Greek foreign policy, 1911-1913." Thesis, King's College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284806.

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Kisieliute, Ieva. "This war will never be forgotten : A study of intertextual relations between Homer's Iliad and Wolfgang Petersen's Troy." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3169.

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In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.
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Basea, Erato. "Literature and the Greek auteur : film adaptations in the Greek cinema d' auteur." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cab79d67-f602-43f4-96b4-4f017b2b8efa.

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The focus of this thesis is to trace the dialogue between the Greek cinéma d' auteur and Greek literature focusing on film adaptations of Greek literature from 1964 to 2001. It is argued that film adaptations are a sensitive prism through which to examine the auteurs’ cultural politics regarding their work and, through that, understand the economy of the auteurist cultural production itself. The thesis consists of five chapters. Chapter One presents the history of the creation of the Greek cinéma d' auteur and traces its developments in relation to the concepts of national and high art. The principle argument is that Greek literature, endowed with notions of high art and national identity, played a key role in the gradual emergence, formation and consolidation of auteurism as a cinema that enunciates national identity and articulates high art values. The next four chapters examine four film adaptations each made by an acclaimed auteur. The chapters endeavour to investigate the identity politics of each director in relation to the categories of high and national art that defined the Greek cinéma d' auteur. Moreover, the chapters aim to study the politics involved in the validation or renegotiation of auteurism itself. The major contribution of the thesis is the exploration of film adaptations of Greek literature in the Greek cinéma d' auteur which has not been systematically discussed so far. Furthermore, the investigation of the two separate components that make up the subject of the thesis, namely cinema and literature, both from a theoretical perspective and within the framework of film studies, aligns the thesis with recent discussions in Modern Greek Studies and theoretical debates about authorship in films, film adaptations as well as peripheral cinemas.
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Arghyrou, Arghyris. "Norms and Greek foreign policy : 1981-2000." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1307.

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From the end of WWII to the end of the Cold War Greek foreign policy was shaped by the dynamics of the Cold War. The major issues facing Greek foreign policy decision makers in the post-cold war era are its relations with its Northern neighbors, Albania, The Former Yugoslav Republic of Macedonia (FYROM), and Bulgaria, its relations with Turkey, and Greece's future in the European Union. Although the three issues overlap there is consensus among the Greek political elite that the relationship with Turkey is the most pressing since Turkey poses the most immediate security threat. In the last twenty-five years the two countries came to the verge of war three times over the continental shelf in the Aegean and Cyprus. The latest crisis was in 1996. Since then Greek policy makers have embarked on a conciliatory road towards Turkey that has gained momentum in the last three years. The purpose of this dissertation is to describe the process of the recent change in Greek foreign policy vis-a-vis Turkey, as reflected in the words and deeds (speeches, interviews, statements, policies) of the Greek policy makers. In addition, the study seeks to understand how this change is related to rules existing at the global, regional, and domestic levels. The central question to be asked is: how do rules existing at these levels regulate and constitute the foreign policy process of the Greek government. I utilize the theoretical insights and concepts provided by constructivism in order to carry out my research. The analysis establishes the relationship between the agents (Greek foreign policy makers) and the various rules and explores this relationship as an ongoing process by ascertaining the social context within which this process is unfolding.
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Stavrinides, Christos. "National identity in Greek cinema : gender representation and Rebetiko." Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/14994/.

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Since the foundation of the modern Greek state in 1832 there has been a major controversy amongst Greeks as to what is truly Greek. Two central viewpoints stand out and form the two versions of the Greek national identity - the Hellenic and the Romeic. Each notion of Greekness is depicted by distinctively different characteristics in terms of its origins, mentality, behavioural norms, musical preferences as well as domestic and international relations. For most of the twentieth century the Hellenic and the Romeic were expressed through cultural discourses such as film and music. The purpose of this study is to examine the expression of these versions of Greek identity in Greek Cinema and the various ways in which this leads to gender representation. Three films are used as case studies: Stella (1955), Never on Sunday (1960) and Diplopennies (1966). Through musical, textual, sociological and historical analysis, the thesis identifies the ways in which the two notions of Greekness are portrayed in the films, primarily through the personification of these identities in the male and female protagonists. The thesis illustrates how these portrayals result in the engendering of the two identities and the attribution of gender traits to the main characters. Moreover, the study delineates how in Greek Cinema the musical genre Rebetiko became indissolubly associated with the Romeic identity and, indeed, its prime signifier. Rebetiko, through its association with the protagonists, contributes to their personification of the Romeic identity and, with its gendered traits, constitutes a central factor in the formation of gender in the films. Finally, the thesis elucidates how the film musical, the only film genre in Greek Cinema to be associated with the Hellenic identity, forms the battlefield on which the two identities confront each other and are expressed more distinctly and dramatically than in any other genre.
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Sakellis, Sophia. "‘Reading’ and ‘Translating’ Emotions: Nationalism in Contemporary Greek Cinema." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15752.

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This study explores emotions related to nationalism, and their manifestations in contemporary Greek cinema. It also investigates the reasons and mechanisms giving rise to nationalism, and how it is perceived, expressed and ‘translated’ into other cultures. A core focus within the nationalist paradigm is the theme of national identity, with social exclusion ideologies such as racism operating in the background. Two contemporary Greek films have been chosen, which deal with themes of identity, nationalism, xenophobia, anger and fear in different contexts. The study is carried out by drawing on the theories of emotion, language, translation and cinema, to analyse the visual and audio components of the two films and ascertain their translatability to an Australian audience. Both films depict a similar milieu to each other, which is plagued by the lingering nature of all the unresolved political and national issues faced by the Greek nation, in addition to the economic crisis, a severe refugee crisis, and externally imposed policy issues, as well as numerous other social problems stemming from bureaucracy, red tape and widespread state-led corruption, which have resulted in massive rates of unemployment and financial hardship that have befallen a major part of the population. In spite of their topicality, the themes are universal and prevalent in a number of countries to varying degrees, as cultural borders become increasingly integrated, both socially and economically. It is concluded that nationalism and its underlying emotions are readily translatable between the target cultures of Greece and Australia, as they remain at the core of our political discourse and sociocultural context.
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Zotou, Vasiliki. "Effective foreign language teaching : a Greek case study." Thesis, University of Southampton, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239863.

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Whale, Peter Richard. "The teaching of New Testament Greek." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.330178.

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Konik, Adrian. "Apollo, Dionysus, dialectical reason and critical cinema." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/295.

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The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
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Books on the topic "Greek and foreign cinema"

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Perna, Concetta Cirigliano. Cinema paradiso. New York, N.Y: Edizioni Farinelli, 2008.

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1907-, Magill Frank Northen, ed. Magill's survey of cinema, foreign language films. Englewood Cliffs, N.J: Salem Press, 1985.

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Slesin, Suzanne. Greek style. London: Thames and Hudson, 1988.

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Christodoulou, Christos K. The Manakis brothers: The Greek pioneers of the Balkanic cinema. Greece: Organization for the Cultural Capital of Europe, 1988.

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Watts, Niki. Colloquial Greek. London: Routledge, 1994.

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Thanasis, Spilias, ed. Greek. 3rd ed. Footscray, Vic: Lonely Planet, 2006.

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D̲okos, Thanos P. Non-proliferation and Greek foreign policy. Athens: Hellenic Foundation for European and Foreign Policy, 1994.

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Kakoura, Alison. Talk Greek. Lincolnwood, Chicago, Ill: Passport Books, 1999.

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A, Iannucci Amilcare, ed. Dante, cinema, and television. Toronto: University of Toronto Press, 2004.

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A, Iannucci Amilcare, ed. Dante, Cinema, and Television. Canada: University of Toronto Press, 2004.

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Book chapters on the topic "Greek and foreign cinema"

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Ciecko, Anne. "Contemporary Greek and Polish “Best Foreign-Language Films” in an age of austerity 1." In Contemporary European Cinema, 178–94. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Cultural politics of media and popular culture: Routledge, 2018. http://dx.doi.org/10.4324/9781315122427-13.

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Kassaveti, Ursula-Helen, and Afroditi Nikolaidou. "The Greek new wave." In Contemporary European Cinema, 160–77. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Cultural politics of media and popular culture: Routledge, 2018. http://dx.doi.org/10.4324/9781315122427-12.

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Tsafos, Nikos. "Greek Foreign Energy Policy." In Foreign Policy Under Austerity, 141–60. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57582-1_7.

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Rockett, Kevin. "Irish Film Censorship: Refusing the Fractured Family of Foreign Films." In Silencing Cinema, 207–20. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_13.

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Raptopoulos, N. "Greek-Turkish Relations During the Greek Crisis: The Impact of the Crisis on Partnership Efforts." In Foreign Policy Under Austerity, 117–40. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57582-1_6.

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Mazierska, Ewa. "Introduction: Is the Past a Foreign Country?" In European Cinema and Intertextuality, 1–21. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230319547_1.

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Mártonfi, Anna. "British comedy in a foreign light." In The Routledge Companion to European Cinema, 265–73. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003027447-28.

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Skiadas, Dimitrios V. "Greek Fiscal Governance: The EU’s Impact on Fiscal Sovereignty." In Foreign Policy Under Austerity, 161–201. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57582-1_8.

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Santaolalla, Isabel. "Body Matters: Immigrants in Recent Spanish, Italian and Greek Cinemas." In European Cinema in Motion, 152–74. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_8.

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Barletta, Barbara A. "Monumentality and Foreign Influence in Early Greek Temples." In A Companion to Greek Architecture, 31–45. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118327586.ch3.

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Conference papers on the topic "Greek and foreign cinema"

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Antoniou-Kritikou, Ioanna, Constandina Economou, and Christina Flouda. "“QUICK GREEK”: A MALL APP TO SUPPORT COMMUNICATION IN GREEK AS A FOREIGN LANGUAGE." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.0853.

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Solijonova, Mohlaroyim. "CINEMA IN THE CLASSROOM: ENHANCING EFL LISTENING AND CULTURALAWARENESS." In Modern approaches and new trends in teaching foreign languages. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.teach.foreign.lang.2024.8.5/sdvq7780.

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This article explores the pedagogical benefits of utilizing films in English as a Foreign Language (EFL) classrooms, particularly focusing on enhancing listening skills and cultural understanding. The use of films provides a dynamic platform for exposing students to authentic language and diverse cultural contexts, making it an invaluable tool in language education. The paper discusses the criteria for selecting appropriate films, effective pedagogical strategies for their use, the integration of modern technological tools to augment learning, and varied assessment techniques to evaluate and encourage student progress. By integrating films into the curriculum, educators can offer students a more engaging and comprehensive learning experience. The insights presented are grounded in current research and practice, aiming to assist educators in optimizing the educational potential of filmsin EFL settings.
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Chatziioannidis, Lykourgos, and Maria Partalidou. "The Greek Perspective on Foreign Farm Workers and Agricultural Labor." In International Conference of the Hellenic Association of Agricultural Economists. Basel Switzerland: MDPI, 2024. http://dx.doi.org/10.3390/proceedings2024094055.

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Dimitropoulos, Charalampos, Aristeidis Nikolaou, Alexandra Kopitopoulou, Ioanna Haziri, Eleni Papandreou, and Ioannis Ntanos. "Comparison Of Greek And Foreign COPD Patients Regarding Health-related Quality Of Life." In American Thoracic Society 2010 International Conference, May 14-19, 2010 • New Orleans. American Thoracic Society, 2010. http://dx.doi.org/10.1164/ajrccm-conference.2010.181.1_meetingabstracts.a5787.

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Theodoridou, Eirini, and Aziza Boltaeva. "USING PROVERBS AND ADAGES IN TEACHING GREEK AS A SECOND OR FOREIGN LANGUAGE." In 16th International Technology, Education and Development Conference. IATED, 2022. http://dx.doi.org/10.21125/inted.2022.0171.

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Никифоров, Максим Александрович, and Дарья Сергеевна Степанькова. "STEREOTYPING OF RUSSIAN WOMEN AS A SOURCE OF CONFLICT, USING FOREIGN CINEMA AS AN EXAMPLE." In Наука. Исследования. Практика: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Февраль 2022). Crossref, 2022. http://dx.doi.org/10.37539/srp301.2022.14.68.003.

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Abstract:
В данной статье рассматривается такое социальное явление, как, стереотипизация и конфликт на ее фоне. В тексте данной работы рассмотрены базовые стереотипы о русских девушках и приведена оценка их влияния на восприятие обществом стереотипных образов, которые создаются авторами кино и сериалов. This article deals with such social phenomenon as stereotyping and the conflict on its background. The text of this article examines basic stereotypes about Russian girls and assesses their impact on society's perception of the stereotypical images created by the authors of movies and TV shows.
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Hadzantonis, Michael. "Should I Return as the Subaltern?: Greek Diaspora and its Linguistic Connections with Home." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-11.

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Return migration has become a phenomenon pervading much of the world. These regions largely include those countries not historically framed as immigrant contexts. However, owing to the complexity of return migration, all regions can be seen as such. Countries and regions experiencing war and periodic or temporary western domination later recover to rebuild their economies and hence, diasporic societies find reason to return, in addition to the need to reclaim and regain cultural and linguistic heritage. This presentation addresses the current and increasing wave of return migration to Greece, from diverse diasporic contexts, yet extensively from the Global North. The return to the Greek heritage homeland is accompanied by categories of factors, spearheaded by the ideological fear of return and acceptance, and by the conceptions by heritage locals of these returnees as the foreign other. The presentation documents ideologies of both returnees and the heritage locals who either accept or reject the returnees, and grounds these conceptions in the Greek language competence of the returnees. More significantly, while returnees may have high competence in the Greek languages, such competence recedes at times when conceptions of self as a foreign other rises; Greek language competence can negatively correlate with strength of inclusion into the Greek homeland ingroup.
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Rapti, Christina, and Panagiotis Panagiotidis. "ENHANCING FOREIGN LANGUAGE LEARNING THROUGH FLIPPED CLASSROOM: A CASE STUDY IN GREEK PUBLIC PRIMARY SCHOOLS." In 16th annual International Conference of Education, Research and Innovation. IATED, 2023. http://dx.doi.org/10.21125/iceri.2023.0666.

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Karamitrou, Amalia. "WAYS TO ENHANCE THE GREEK LEARNING OF FOREIGN AND RETURNING STUDENTS AS WELL AS TO IMPROVE THEIR PERFORMANCE: VIEWS OF GREEK TEACHERS IN SECONDARY EDUCATION." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.2200.

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Akash, Animesh, and Ajit Duara. "The effect of subtitles on the visual sensibilities of the audience in their reception of foreign cinema." In 11TH ANNUAL INTERNATIONAL CONFERENCE (AIC) 2021: On Sciences and Engineering. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0121842.

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