An international conference for the study of Greek Cinema was established last summer. The organisation of Contemporary Greek Film Cultures 2013, which took place at the Hellenic Centre in London on the 5th and 6th July, was a collaboration between doctoral researchers from the Universities of Glasgow and Reading, bringing together scholars of contemporary Greek Cinema from Greece, the UK, other European countries and the USA. The aim was to reflect on the recent resurgence of interest in Greek Cinema and to promote the study and theorisation of Greek film internationally. Although there were a number of trends that appeared to dominate the conference, there was a great variety of cross-disciplinary approaches and themes, covering a wide range of the filmography of the contemporary scene.
One of the most prominent trends was the scholarly attention turned to the so called ‘weird wave’ of Greek cinema [i], and specifically to Lanthimos’s Dogtooth (2009) and Tsangari’s Attenberg (2010). Each
paper, however, focused on different aspects of the films − a fact that explains the willingness of the organisers to welcome numerous but diverse papers
on these two films in the conference. The issues that were addressed concerned identity, language, family, politics and crisis, but also great emphasis was given to the concepts of the national and the transnational. The choice of elaborating on these topics is not coincidental, since these are recurrent
themes in Greek cinema overall, and contemporary Greek cinema more specifically; themes that seem to attract great attention by audiences and researchers
alike both nationally and internationally.
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