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Journal articles on the topic 'Greek and foreign cinema'

Author: Grafiati

Published: 19 April 2025

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1

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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2

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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3

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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4

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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5

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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6

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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8

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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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 (April 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 (June 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 (April 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 critics and journalists, both in Greece and abroad, described, evaluated and labelled the ‘Greek New Wave’. In line with cultural evaluation theories, we conducted a content analysis of film criticism articles in order to explore how professionals have reviewed and deployed their arguments towards this new phenomenon. Our results indicate that film criticism decisively influenced the Greek New Wave’s shaping and legitimization in the film industry. Even though film critics and journalists hesitated to adhere to a specific name for this phenomenon in Greek cinema, their discourses and interpretations have been based on the films’ break with previous film practices and representations of Greek society and the paradox between a ‘collapsing country’ and a flourishing arthouse cinema.

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14

Papazafeiropoulou, Sofia-Alexia. "Modernityscapes, ‘Sweet Consumer Nightmares’ and Clumsy Chauffeurines." Film Studies 21, no. 1 (November 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 (October 13, 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 (January 2, 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 (October 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 realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.

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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 (January 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 (November 15, 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 (October 1, 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 analysed. Taking into consideration the long-standing proximity between Greek promotional industries and cinema, and its more recent framing as a product of media convergence, this article adopts a screen industries perspective on branded entertainment in Greece. As such, it demonstrates the ways in which the latter has been influenced by particular production cultures characterized by a merging between art cinema and television authorship, the inclusion of particular themes, especially prompted by the presence of creators who migrate from one medium to another.

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23

Savage, Maxine. "A Queer and Foreign State." lambda nordica 25, no. 3-4 (April 26, 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 focus on coming-out and sexuality, many of the films within “Icelandic queer cinema” thematize race and ethnicity, often through the inclusion of foreign characters living and traveling in Iceland.This collection of films is thus well suited to exploring the interlocking national and sexual regulations which produce the Icelandic nation state. This article explores conceptions of the Icelandic nation state in two films that span Icelandic cinema’s “queer turn,” Baltasar Kormákur’s 101 Reykjavík (2000) and Ísold Uggadóttir’s Andið eðlilega (And Breathe Normally, 2018). In tracing representations of racialized otherness within these films and taking theoretical cues from critical race theory and queer of color critique, this article considers the ways in which race and ethnicity co-constitute categories of sex, gender, and sexual orientation. Ultimately, this article poses “Icelandic queer cinema” as a key site for the contemporary negotiation of the meaning of national and sexual belonging in Iceland.

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24

Fotiou, Mikela. "Contemporary Greek horror cinema: Yes! It is a ‘Thing’!" Journal of Greek Media & Culture 2, no. 2 (October 1, 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 (December 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 films of the 1960s, providing a rich framework to explore the notions of tradition and modernity in visual folklore. By employing a qualitative approach, this article focuses on how Greek popular film reflects the critical tensions surrounding everyday urban life by examining customs, rituals, identities, and material culture as represented in particular film case studies. It will argue that the popular Greek film of the 1960s documents glimpses of tradition still surviving in the city and presents to the Greek audience ways of handling, preserving, or even rejecting tradition, while flirting with modernity.

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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 (October 30, 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 cinemagoing as a part of everyday life, analysing text samples from a wide variety of genres found in the literary magazines of the second half of the twentieth century.

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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 (January 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. The impact of the traditional European trading partners of Greece (Germany and Italy) are found to be positive but insignificant. Finally, the dynamic analysis shows a positive interaction between real income growth in Turkey and Greek export growth at the short-run horizon. JEL classifications: C22, F43 Keywords: Greece, exports, foreign income, cointegration

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29

Economides, Spyros. "The Europeanisation of Greek Foreign Policy." West European Politics 28, no. 2 (March 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 (January 20, 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’s international relations teaching and helps scholars to rethink how these categories are construed.

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31

Kazakopoulou, Tonia. "Greek Cinema and Migration, 1991–2016, Philip E. Phillis (2020)." Journal of Greek Media & Culture 8, no. 2 (October 1, 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 (June 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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33

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 (May 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 (March 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 (March 5, 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-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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37

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) of the Soviet era; 2) as the formation of a new look at the models of national imagery. Within these limits, foreign historiography of the problem is extremely important, in which the analysis of the visual language of Ukrainian cinematography presents many reflective characteristics. The studies analyzed by the author make it possible to single out three areas within which the research of national images and symbols in the visual language of Ukrainian cinematography is being actively continued. First of all, this direction of analysis is the symbolic imagery of Ukrainian cinema in an interpretive way. No less important for foreign historiography is the comparative direction. Finally, within the framework of a complex direction, foreign researchers are making an attempt to accumulate the experience of analyzing Ukrainian cinema and, on this basis, to give its evolution a systemic character, to fit it into the pan-European context. The article ends with conclusions. The author notes that modern Ukrainian cinema is an organic part of the pan-European and world context of cinema. In this form, its presentation as a national pattern of symbolism often emerges in a universal and systemic vision. Within the framework of the first one, which is the earliest in terms of time, the symbolic imagery of Ukrainian cinema is studied in the historical and chronological context. In works. B. Berest, J. Fest, J. Gurg and other scientists, the symbolism of the visual language of Ukrainian cinema is represented linearly. Within the framework of the second direction, national images and symbols in the cinematic language are considered as objects of comparative practices of comparison and comparison with the parallel national spaces of European cinema: Polish, Baltic countries, Moldova, etc. O. Pressitch, A. Narushito, Rzh. Sandal, S. Lewis S. Brower and other researchers. The third direction combines the research of foreign scientists focused on the search for universal schemes for analyzing European and world cinema, within which domestic cinema is often given an important, but secondary role. In the works of K. Portugues, K. Farmer, M. de Valk, K. Celli and other scientists, national images and symbols in the visual language of Ukrainian cinema play an instrumental role that allows to determine the pain of typological and systemic processes in the development of European cinema.

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38

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 selected that seamlessly relate to the European tradition of cinema. Results and Discussion. Some conditions of supranational subjectivity were highlighted – first of all, it is a transformative experience associated with war. Conclusion. Cinema shows what European foreign policy is made of in addition to discrete solutions – ideas and traditions cannot show this, whereas modern cultural forms allow it to reveal the location of supranational subjectivity in the historical and cultural dynamics of the 20th century.

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39

Biro, Yvette. ": Voyage to Cythera . Theodore Angelopoulos, A Productions, Zdf, Channel 4, Greek Tv, Center of Greek Cinema." Film Quarterly 41, no. 1 (October 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 (February 25, 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 series of seemingly random episodes that B. Klaras in his review of the book called ‘cinematic tableaux’. Most importantly, however, it seems that Fragkias’ novel explores the boundaries and the style of realism in post-war literature in a way that resonates the aesthetic principles of the Italian neorealistic films.

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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 explanation of the word in English. The aim of this software is to provide a useful tool to learn the Greek language individually. Moreover, it aims to be involved, as an assistance tool for learning Greek as a second or foreign language.

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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 fundamental assumptions about world politics. There is no uniformity of opinion in the literature regarding foreign ministries’ responses to the changing policy milieus. On the one hand there are observations and arguments that view the foreign ministry as adaptive and retaining its centrality in national foreign policy systems, while on the other hand there are suggestions that the transforming world politics have diminished its significance, leading to its decline. Evidence gathered through a series of interviews with Greek diplomats indicates no discernible trend towards a decline of the Greek MFA. The data rather demonstrate that this Greek diplomatic institution, similar to other European foreign ministries, is in a process of adapt-ing to its contemporary operational environment, but that this process is slow because of its organizational culture.

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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 (September 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. Furthermore, by examining Thessaloniki’s interwoven history, this research seeks to enrich our understanding of cinematographic centers and peripheries around 1910. It also strives to provide insights into the discordant chronologies of the dissemination and establishment of cinema by considering a diversity of regional factors across borders.

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Missiou-Ladi, Anna. "Coercive Diplomacy in Greek Interstate Relations." Classical Quarterly 37, no. 2 (December 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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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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Dae Jin Min and Song Young Ae. "A Study on Foreign Expansion of Korean Cinema." Film Studies ll, no. 42 (December 2009): 261–306. http://dx.doi.org/10.17947/kfa..42.200912.009.

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Adamczyk, Artur. "The Europeanisation of Greek foreign policy towards the Republic of North Macedonia." Rocznik Instytutu Europy Środkowo-Wschodniej 21, no. 1 (December 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 nature of relations between the Greek political elites and the society of that country. The article has also highlighted that Greece has gradually been shaping its image as a Europeanised country with a credible and predictable foreign policy.

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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 reciprocity, is likely to approach closer than Thucydides' theses to mainstream classical Greek thinking about foreign relations.

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Triantaphyllou, Dimitrios. "The Priorities of Greek Foreign Policy Today." Southeast European and Black Sea Studies 5, no. 3 (September 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 (September 2005): 427–37. http://dx.doi.org/10.1080/14683850500321891.

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