Filmicon: Journal of Greek Film Studies is a bilingual (English and Greek), peer-reviewed, open-access, online journal edited primarily by independent scholars and published by ‘Eurasia Publications’, Athens. More

The special issue of Filmicon “Strategies of the Documentary” seeks to address the diverse aesthetic, historical, medial, and theoretical connections between moving images and all possible aspects of the ‘documentary.’ In light of the many facets of this key term, the issue does not confine itself to practices or traditions of documentary cinema in Greece. It rather explores the multiple cinematic acts and modes of registering, representing, evidencing, authenticating, certifying, and instructing. It discusses the indexical nature of photography and the digital image, the factual as well as fictional functions of audio-visual recording, the archival status of documentary film in Greece, its ideologies, deceptions, and omissions, the filmic depiction of documentation processes, the documents presented on-screen or lost in the Mediterranean Sea. This thematic focus responds to three interrelated circumstances: ... More

Filmicon: Journal of Greek Film Studies is now accepting new blog posts. We welcome original pieces, interviews, articles, film reviews, book reviews, etc about Greek film, television and audiovisual culture. The blog posts range between 1500-3000 words and can be written either in English or Greek (or both language).

For our submission guidelines please click here.

Please send your blog post to Mikela Fotiou at mikela.fotiou@gmail.com or at filmiconjounal@gmail.com.

Greek cinema has been defined primarily on national terms with discussions revolving around questions of ‘Greekness’ and what Greek films reveal about the national character and culture. Therefore, the idea of transnational Greek cinema may at first sound like an oxymoron. Yet, as Maria Chalkou has argued, what is perhaps the most distinguished characteristic of Greek cinema today is the ‘renegotiation and redefinition of the national through the transnational’ (2020). Indeed, since the 2000s and especially after 2010 and the international success of the films of the so-called ‘Greek Weird Wave’, Greek film culture has been characterised by an increasing openness – what Lydia Papadimitriou has described as ‘extroversion’ (2018). [...]

Τα Τμήματα Επικοινωνίας, Μέσων & Πολιτισμού (Πάντειο Πανεπιστήμιο), Τεχνών Ήχου & Εικόνας (Ιόνιο Πανεπιστήμιο) και Arts du Spectacle (Université de Poitiers, Γαλλία) σας προσκαλούν για δήλωση συμμετοχής και υποβολή περιλήψεων στο Επιστημονικό Συνέδριο «Η κινηματογραφική κριτική στην Ελλάδα: Ιστορικές και μεθοδολογικές προσεγγίσεις» που θα λάβει χώρα στο Πάντειο Πανεπιστήμιο στην Αθήνα στις 21-23 Νοεμβρίου 2024. Για αναλυτικές πληροφορίες εδώ.

We are delighted to inform you that Antoinetta Angelidi will be honoured with the 2024 Ground Glass Award for outstanding contribution to the field of experimental media. A retrospective of her films will be presented at Anthology Film Archives in New York on Saturday, May 11th and Sunday, May 12^th, as part of the 2024 Prismatic Ground Festival.

The GROUND GLASS AWARD announcement:

The 2024 Ground Glass Award for outstanding experimental media goes to Greek filmmaker Antoinetta Angelidi (73) for her wildly imaginative contribution to the aesthetics of feminist filmmaking, and for her dedication to cinema as a mode of investigation. Angelidi's life's work has been the pursuit of a women's avant garde, the construction of a visual language that can convey, as one critic put it, "the adventure of women's bodies." Her films, under-screened in the US, present the feminine unconscious as a force for destabilizing prevailing structures. Hacking at the bedrock of civilization, each film becomes a kind of private quarry, where debris is held up to the light, then used to play a game. What is experience beyond description? What is a feminine subject beyond her pictorial representation? What is the relational gravity between physical life and the possibilities found in dreams? —Courtney Stephens [...]