After the meetings in London (2013) and Seattle (2015), the 3rd Conference on Contemporary Greek Film Cultures addresses 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 conference 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:
Greek cinema exhibits a long tradition and wide variety of documentary practices which, up to now, have hardly been analyzed on a larger scale (see, however, Stefani 2007 and Stathi / Skopeteas 2009). Therefore, the conference intends to delineate past as well as present documentary strategies, trace their historical dominants and archaeological margins, and bring Greek and international concepts and timelines of the documentary into closer contact.
Recent years have seen a significant expansion of the ‘documentary’ mode: for instance, one can observe a growing ambiguity regarding the relation between world and image; the latter no longer claims unconditional vérité or directness but introduces distance, irony, and submits to the ontological uncertainties of docufictions and mockumentaries. Beyond that, the documentary may verge on animation and the virtual, while in other cases approaching the body or synaesthetic experience. The conference offers a forum to explore such tendencies and techniques in Greek film culture.
From ANT to New Materialism, several recent theories question and reconfigure authoritative dualities such as active/passive, subject/object, concrete/abstract, or thing/image. In so doing, they challenge the relation between world and gaze on which many documentary concepts rely; they dismiss the idea of a ‘perception’ of reality and conceive of things as autonomously contributing to a larger sphere of awareness, action and politics. The conference seeks to shine a light on new theories and strategies of the documentary that might react to, or reflect on, such ‘post-humanist’ approaches.
Possible areas of inquiry include, but are not limited to:
The conference is organized by Lilia Diamantopoulou and Maria Oikonomou [Dept. of Byzantine and Modern Greek Studies, University of Vienna]
The closing date for sending your proposal is May 30, 2017 . Please send your abstract for a 30 min. paper (max. 300 words) along with technical requirements and a short CV to:
There will be a registration fee of € 60 (students attend for free), inclusive of a small lunch at the two main conference days, tea/coffee and a conference pack.
Scientific Committee: Lilia Diamantopoulou (Modern Greek Studies, University of Vienna) / Konstantinos Kalantzis (Anthropology, University College London) / Melanie Letschnig (Film and Media Studies, University of Vienna) / Angela Melitopoulos (Media Artist, Royal Danish Academy of Fine Arts, Copenhagen) / Maria Oikonomou (Literary and Media Studies, University of Vienna) / Eva Stefani (Documentary filmmaker and visual artist, University of Athens).
Special Issue: Early Cinema in the Balkans and the Near East
University of Glasgow
University of St. Andrews
University of Sydney
Liverpool John Moores University
Maria A. Stassinopoulou
University of Vienna
Aristotle University of Thessaloniki
University of Deakin