Greece: Transnational Dynamics in Greek Cinema since the Crisis

Maria D. Chalkou
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引用次数: 1

Abstract

The chapter on Greece provides a contextualizing overview of the flourishing post-2008 Greek film culture and a brief exploration of its important trends and patterns. It identifies three major strands within Greek cinema: (a) popular heritage narratives that employ shared histories (e.g., Holocaust, WWII) while capitalizing on national specificity; (b) ‘weird wave’ or aesthetically challenging genre-oriented art-house films, widely screened at international festivals; and (c) politically oriented documentaries that address issues of global interest such as neo-Nazism and the financial or refugee crises. The chapter places particular emphasis on how these trends ‘Europeanize’ and ‘transnationalize’ the Greek experience by securing international funding and addressing non-national audiences, while, at the same time, renegotiating national identity.
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希腊:危机以来希腊电影的跨国动态
关于希腊的这一章提供了2008年后繁荣的希腊电影文化的背景概述,并简要探讨了其重要趋势和模式。它确定了希腊电影的三个主要方面:(a)采用共同历史(例如,大屠杀,二战)的流行遗产叙事,同时利用国家特殊性;(b)在国际电影节上广泛放映的“怪异浪潮”或具有美学挑战性的艺术电影;(c)以政治为导向的纪录片,涉及全球关注的问题,如新纳粹主义和金融或难民危机。本章特别强调了这些趋势是如何通过获得国际资金和解决非国家观众的问题来“欧洲化”和“跨国化”希腊经验的,同时,重新协商国家身份。
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Serbia: Reco(r)ding the Cinematic Turn Montenegro: A Small, Open and Forward-looking Film Industry Slovenia: A Small National Cinema in the Phase of Transnational Synergy Bulgaria: Reframing Contemporary Arthouse and Mainstream Cinema Croatia: Film under Ideological Pressure – The State, Its Citizen and the Faltering Future
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