Dr. Sotiris Petridis is an adjunct professor of Film Studies at the Hellenic Open University, Greece.
He has published two monographs on the audiovisual horror genre: Anatomy of the Slasher Film: A Theoretical Analysis
(McFarland, 2019) and The Netflix Vision of Horror: A Narrative Structural Analysis of Original Series (McFarland, 2021).
He has also served as an editor for three volumes: Streaming Horrors: Essays on the Genre in the Digital Age (McFarland, 2025),
ReFocus: The Films of Antoinetta Angelidi (Edinburgh University Press, 2022), and Television by Stream: Essays on Marketing,
Content, and Audience Worldwide (McFarland, 2023). His research interests are about film and television genres, screenwriting
theory and practice, audiovisual rights and copyright laws, viral marketing, and the new ways of film and television promotion.
Dr. Petridis is a member of both the European Film Academy and the Greek Film Academy.
E-mail: sotospetridis@yahoo.gr
Comedy is one of the most integral parts of Greek television. Since the emergence of private TV in 1989, comedy had a central role in the programming of the newly created stations. The narrative of a TV comedy series is usually transmitted under the scope of a sitcom structure and has some basic elements that have been developed and reproduced over time. As with every audiovisual genre, Greek television took the conventions of the sitcom and adapted them to the needs of the national audiovisual industry. This article will methodically examine the narratives of Greek sitcoms and, based on their structures, it will analyze its two types: the episodic sitcoms and the serial sitcoms. In order to strengthen the argument, I will analyze two case studies, one from each type: Konstantinou kai Elenis/Konstantinos and Eleni (ANT1, 1998-2000) and Egklimata/Crimes (ANT1, 1998-2000). ... More
Nowadays, the globalization of video distribution and the immediate transfer of information laid the foundations of a new audiovisual era, where every work could be presented in different audiences around the world. Even if some countries prefer the method of dubbing foreign films, the most common technique for a work to reach a wider audience is subtitles. ... More