ISSN: 2241-6692


Following on the second International Conference on Balkan Cinema that took place in Belgrade in 2017, The Great War(s): Our Story aims to explore how the Great War and other conflicts in the region have been narrated through cinema. The 3rd International Conference on Balkan cinema will focus on moving images made by filmmakers both from within and outside the Balkans in order to highlight the connections and differences between these war narratives that have at times coalesced into “our story”. The term “our” can refer self-reflexively to a view from the Balkans as both a unified but also more dispersed space, but also to a range of identities: victims or perpetrators, civilians or soldiers, women and children in devastated cities and in the wasteland of the countryside, or men on the front, the generations of participants or the post-generations. [...]

Following on from the first International Conference on Balkan Cinema that took place in Athens in 2015, Balkan Cinema on the Crossroads: From Nitrate to Digital aims to explore the trajectory of Balkan cinema from the early nitrate days to the contemporary digital era, by highlighting connections, similarities and comparable patterns across the cinemas of the region. With few exceptions, linguistic and political differences have usually led to nation-based approaches to the cinemas of the region. This series of conferences aims to develop transnational scholarship, transcend Balkanism and exoticism, and offer critical explorations of historical and contemporary manifestations of South Eastern European cinemas. The ambition is both to enlighten the past by proposing new ways of examining the region’s cinema history; and to build foundations for future cross-cultural collaborations and mutual prospects. [...]

In the last twenty years, genre in Greek Cinema has often been at the centre of scholarly research that produced a significant and acknowledged body of work on the subject. Research interest, however, has been limited predominantly to national versions of popular genres such as comedies, musicals, melodramas, or the mountain film (foustanella) and to the mainstream narrative films of the so-called Old Greek Cinema. This restricted focus has created two misconceptions: on the one hand that generic forms disappeared after the decline of the industry in the early 1970s, and on the other that genre is the exclusive domain of commercial cinema.

In this context elitism and commercial failure have been simplistically ascribed to the films and filmmakers of Greek Cinema of the 1970s and 1980s, while methodological approaches derived mainly from auteur theory and cultural criticism have been applied to their work. Thus, commercial successes such as Petrina hronia/ Stone Years (Pantelis Voulgaris, 1985), Loufa ke parallagi/ Loafing and Camouflage (Nikos Perakis, 1984) or Rembetico (Costas Ferris 1983) and their relationship to genre have been disregarded, while the generic features of Nikolaidis’s and Panayotopoulos’s films (just to mention two of the most significant filmmakers of New Greek Cinema), within particular local and international contexts, have attracted little attention.

Although in the 1990s and 2000s genre cinema gained growing importance as post-classical expression in both art and mainstream global cinema, and Greece saw a resurgence of commercial and art film, only a few studies have explored the various manifestations and transformations of genre in contemporary Greek film production. The flourishing of popular comedies drawing on the conventions of Old Greek Cinema and/or Greek TV series, the emergence of melodramas with a camp or queer sensibility, of crime films with sociopolitical nuances and even hybrid horror films with figures such as the vampire and zombie are only a few aspects of this unexplored field. It goes without saying that the relation of the so called ‘Greek Weird Wave’ to genre is also in need of a meticulous research.

Keeping in mind that the boundaries between ‘Old’, ‘New’ and ‘contemporary’ Greek cinema, as well as between popular/commercial/mainstream and art cinema are more fluid than these schematic terms tend to describe, this thematic special issue aspires to broaden, reassess and reposition the notion of genre in the context of Greek Film Studies, focusing mainly on film production from the 1970s to the present.

Areas of interest for this special issue include, but are not limited to, the following topics:

  • Theorizing and historicizing genre in Greek Film Studies within local, transnational and international contexts.
  • Contesting genres: hybridity, parody, transtextuality and other generic transformations.
  • Tracing the development of melodrama, comedy and musicals from the 1970s and beyond.
  • Unexplored genres and subgenres in the context of New and contemporary Greek cinema like the Greek sci-fi and fantasy film, the vampire and zombie movie, the crime film and others.
  • Genre and the nation.
  • Representations of gender, sexuality, ethnicity, class and race.
  • Genre and the representation of the past: the heritage film, the nostalgia film, the historical film, the period film and the costume drama.
  • Genre and authorship: rethinking established auteurs of the New and contemporary Greek cinema under the genre category.
  • TV genres (TV series, commercials) and their impact on screen, especially in the 1990s and 2000s.
  • Industry and genres: issues of production, promotion, exhibition and consumption.
  • Genres and film reception.

Authors should submit a 300-word abstract for their papers including the title, a short description of the topic(s) to be addressed and the approach that will be taken by 15th May 2016. Proposals, along with authors’ contact information and a short bio of maximum 100 words should be submitted via e-mail to The editors will make a decision and will contact authors on their proposals by the 12th of June.

The deadline for article submissions is the 30th of November 2016, while the special issue is expected to appear in October 2017. All submissions should be in the range of 5,000-8,000 words, written in English, and prepared for an anonymous peer review process. Please note that prospective articles should not have been previously published or should not currently be under consideration for any other publication.

If you have any questions please do not hesitate to contact the editors of the special issue Afroditi Nikolaidou, Anna Poupou and Maria Chalkou at:

This conference aims to broaden the geo-cultural scope of early film studies by providing a forum for scholarship on early and silent cinema in the Balkans and the Near East. These geopolitical designations are to be taken heuristically, as temporary placeholders for conceptual mappings that remain to be developed and that this conference seeks to encourage. [...]

The Contemporary Greek Film Cultures 2013 conference committee (Mikela Fotiou, Tonia Kazakopoulou and Philip Phillis) greatly supports the Filmicon initiative and is delighted to collaborate with its Editors on a Special Issue dedicated to the study of Greek Cinema. So, the second issue of Filmicon will be a special volume stemming from the conference Contemporary Greek Film Cultures 2013 taking place in London on the 5th and 6th July.

Both the conference and the Special Issue aim to promote a concerted study and theorisation of Contemporary Greek Cinema and the overall culture surrounding it. Moreover, in seeking to address gaps in current literature about the study of Greek film, this Special Issue will aim to provide a collection of articles that focus on contemporary concerns, debates and practices of Greek Cinema, which has witnessed a rebirth and recognition in the last couple of decades, both nationally and internationally.

All submissions should be extended / developed versions (between 5,000-8,000 words) of the papers presented at Contemporary Greek Film Cultures 2013 conference, written in English, prepared for an anonymous peer review process and sent to Use of images and short videos is particularly encouraged, though relevant copyright permissions will need to be obtained by the authors. Please note that the prospective articles should not have been previously published or should not currently be under consideration for any other publication.

The deadline for article submissions is the 1st November 2013 (no submissions will be considered after this date), while the Special Issue is expected to appear in June 2014. For further information on the format of the articles, the peer review process, and how to submit a manuscript for consideration, please check here.

Please do not hesitate to ask questions and contact us at: