Journal of Greek Media and Culture

Journal of Greek Media and Culture, 2014

The following is a description of the evolution of the Greek media scene since the so-called liberalization of radio (1987) and consequently of television (1988), and their entrance into a rather difficult decade, starting with the year 2000. The main problem here is that there exists no official and analytical record of the ownership of each media outlet, since no such attempt has been made until now(1 ). In spite of the above shortfall, a number of trends in the Greek media scene is, and has , become quite evident over the years. These facts and trends are explored in this paper.

Filmicon: Journal of Greek Film Studies, 2014

This article offers a critical contextualisation of developments in Greek cinema around the nodal date of 2009, which brought together the beginning of the financial crisis, an increased international visibility of certain Greek films, significant grassroot-motivated institutional changes for cinema in Greece, as well as the emergence of Anglophone criticism on Greek cinema. In so doing, it aims to identify key dimensions of contemporary Greek film cultures, and point towards some possible developments in terms of modes of production and reception of Greek cinema, but also new frameworks for its critical understanding.

In tune with my initial proposal (25 May 2013) to the research project Framing Financial Crisis, stimulated by the discussions (Media Narrative and the Crisis) in the Cyprus Workshop (18-20 March) and inspired by London Workshop’s (30 July–1 August 2015) interest in financial crisis and cultural identity, this short comment is suggested as a tour guide to the field of modern Greek studies and offers an occasion to consider the challenges the crisis poses for the paradigm of modernization theory.

lse.ac.uk

The paper will introduce an outline for mass media impact-influence on foreign policy which takes its role as a twofold input and output environment. The sources of the paper come from the combination of theories regarding the construction of the public sphere with the relevant communication theories. Our approach incorporates mass media as an important factor in the foreign policy. . The mass media are not only restricted to the reporting and coverage of foreign policy issues but equally preserve an autonomous role, by determining and "constructing" the context in which the issues are discussed. To support my argument I will develop an approach that best describes the various roles undertaken by the Greek mass media in foreign policy. The functions suggested and illustrated by incidents are be three: 1) The protagonist function 2) The 'cooperative' function 3) The commercialise function

FILMICON: Journal of Greek Film Studies, ISSUE 5, December 2018, 2018

This valuable anthology on Greek cinema edited by Lydia Papadimitriou and Yannis Tzioumakis -the first to be published in English as a book -makes a wide and twofold gesture towards international and Greek academia. It calls for the reevaluation of a vibrant, multivalent and fascinating, though marginal European film culture and also for a rethinking of the parameters for the study of Greek film. This gesture towards recognition and reassessment is particularly compelling since it occurs at a very critical but propitious moment: when Greek film, having crossed the borders to become a celebrated new voice on the international festival circuit, is marked by unusual extroversion; whenalthough nation-centric approaches have become less relevant in Film Studies -a growing focus on peripheral and small-nation cinemas has opened up a new space for neglected cinematic traditions; and finally, when the country's precarious financial situation has brought about a renegotiation of Greek identity while increasing the international receptivity to Greek culture.

Platforming Greek Contemporary Art Athens' art scene has been under the spotlight of late, with the opening of the Athens Biennale, as well as a wave of artists, entrepreneurs, and art spaces setting up shop in the city. Curator and professor Sozita Goudouna confirms that while many consider the city as the 'new Berlin', there is a lack of understanding around what's happening on the ground. Goudouna is looking to change this. Alongside her role as Head of Operations at Raymond Pettibon's studio, she has founded Greece in USA. Launched in 2020 during the pandemic, the platform seeks to create a dialogue with the art scene in Greece, bringing a 50/50 cohort of international and Greek artists together with a focus on commissioning works with live elements, whether through choreography or new media. With a model that is similar to Performa, a performance festival happening every other November across different venues in New York, the platform aims to liberate Greek contemporary art from the confines of 'Greekness' and its romanticisation. Armstrong in 1954. Mixing archival material from Armstrong's tour of Southern Africa in 1960 with anonymous home-movie footage, the film associates the migration of the melody with Zulu imagery, and the connections between Southern Africa and the American south. We also plan to present a new opera project composed by the young Greek artist Orestis Papaioannou with a libretto by Alekos Lountzis and co-author in English, Orfeas Apergisentitled "The Fall of the House of Commons" to be performed at the house of Poe in Philadelphia. The project connects the uniqueness of Poe's emblematic House with the commonest everyday house and aspires to combine musical idioms ranging from classic operatic melodrama to the eclectic re-assemblages typical of postmodern music. Greece in USA also intends to present American artists in Athens. This September, we're partnering with the Municipal Theater of Pireaus to present Andres Serrano project "Torture" and John Akomfrah's "The Airport," a project that was filmed at the old airport of Athens. Set in the landscape of Southern Greece and an abandoned airfield near Athens, the film recalls the work of two filmmaking greats: Stanley Kubrick and Theo Angelopoulos. Accompanied by a soundtrack composed by John Akomfrah, the film's narrative weaves together cinematic, literary, philosophical, and artistic traditions, where spaces of human ruin and natural beauty abound. Serrano's exhibition addresses the story of torture, a tale as old as the story of the world itself. While torture was declared unacceptable by the Geneva Convention in 1949 and subsequently prohibited by the United Nations Convention against Torture, the fact remains that at least 81 world governments currently practice torture illegally, but at times, openly. WM: An extensive number of artists are listed on your website. How do you plan on engaging your roster of artists? SG: We plan to engage with all these artists in our forthcoming exhibitions and live programs. We also plan to invite curators and support the production of their projects. We are currently in dialogue with institutions in New York, Boston, LA and Houston for the presentation of "Greece in USA" projects.

2014

This valuable anthology on Greek cinema edited by Lydia Papadimitriou and Yannis Tzioumakis – the first to be published in English as a book – makes a wide and twofold gesture towards international and Greek academia. It calls for the reevaluation of a vibrant, multivalent and fascinating, though marginal European film culture and also for a rethinking of the parameters for the study of Greek film. This gesture towards recognition and reassessment is particularly compelling since it occurs at a very critical but propitious moment: when Greek film, having crossed the borders to become a celebrated new voice on the international festival circuit, is marked by unusual extroversion; when – although nation-centric approaches have become less relevant in Film Studies – a growing focus on peripheral and small-nation cinemas has opened up a new space for neglected cinematic traditions; and finally, when the country’s precarious financial situation has brought about a renegotiation of Greek ...

2019