ISSN: 2241-6692


In 1925 Maurice Halbwachs placed memory in a social context when he argued that collective memories are socially constructed while his research and study have set the boundaries of the notion of collective memory ever since. Jan Assmann disagrees with this notion and constructed cultural memory as an analytical and methodological category, a category exceptionally closely related to politics. In his 1988 essay ‘Collective Memory and Cultural Identity’, translated in 1995 by John Czaplicka, Assmann separated collective memory (which he calls communicative memory) and its social basis from cultural memory and its cultural basis. Cultural memory differs from collective memory in two ways: first, it focuses on cultural characteristics that ‘communicative’ or ‘everyday memory’ lack. Second, it is different from history, which does not have the characteristics of memory. Assmann’s focus on the first distinction, namely the distinction between collective/communicative memory and cultural memory, has its grounds on the fact that communicative/collective memory is characterized by its proximity to the everyday. When we move from the everyday, we have cultural memory. For Assmann, cultural memory is based on fateful events of the past, on fixed points which he calls ‘figures of memory’ whose ‘memory is maintained through cultural formation (texts, rites, monuments) and institutional communication (recitation, practice, observance)’ (Assman 1995: 129). Cultural memory’s function is to unify and stabilize a common identity that spans many generations and it is not easy to change, as opposed to collective memory that has a three-generation cycle. Hence the representation of history through institutions and the arts becomes a matter of praxis, of transformation of the solidified narrative for the sake of society’s stability. [...]

Η ΟΜΟΣΠΟΝΔΙΑ ΚΙΝ/ΦΙΚΩΝ ΛΕΣΧΩΝ ΕΛΛΑΔΑΣ, με τη συνεργασία της ΚΙΝ/ΦΙΚΗΣ ΛΕΣΧΗΣ της ΣΤΕΓΗΣ ΦΙΛΩΝ ΓΡΑΜΜΑΤΩΝ ΚΑΙ ΤΕΧΝΩΝ ΚΑΒΑΛΑΣ, της ΠΕΡΙΦΕΡΕΙΑΚΗΣ ΕΝΟΤΗΤΑΣ ΚΑΒΑΛΑΣ και του ΔΗΜΟΥ ΚΑΒΑΛΑΣ διοργανώνει το 27ο Συνέδριό της, την Παρασκευή 12, το Σάββατο 13 και την Κυριακή 14 Σεπτεμβρίου 2014, στο Αμφιθέατρο Περιφερειακής Ενότητας Καβάλας και στον Θερινό Κινηματογράφο «Ζέφυρος». Θέμα του Συνεδρίου: «Ο ιστορικός, θεωρητικός και κριτικός λόγος στον κινηματογράφο».

Μπορείτε να δείτε αναλυτικό Δελτίο Τύπου και Πρόγραμμα.

The financial crisis since 2009 has devastated Greece, led to unprecedented political fragmentation and social turmoil, and threatened the cohesion of the European Union. It has also coincided with a number of international prize-winning films by a generation of young Greek filmmakers who have responded to the effects of the crisis on the Greek film industry in resourceful, creative, and compelling ways. Capturing the tumult of the current mayhem, these films offer surprising, innovative and subtle commentaries on the complex social, political and economic problems Greece is facing. They also reassert the centrality of film at a time when the Greek film industry is itself undergoing profound changes and serious challenges on account of the crisis. [...]

If there was a lesson to be learnt from the recent celebrations of C.P. Cavafy’s anniversary is that his poetry, image and life have penetrated popular culture in ways that, even though largely unnoticed by critics, have nevertheless created a new frame for the circulation of his literary work. Cavafy’s poetry is not just to be read in books but also in a host of media, from animation to photography and from cinema to cartoons and pop songs. Cavafy’s contemporary globality cannot, therefore, be comprehended, unless we examine the popular aspects of (the reception of) his work and provide a genealogy for its cultural circulation.

With this in mind, The Journal of Greek Media and Culture will host a special issue on Cavafy in Pop Culture, edited by Dimitris Papanikolaou (Oxford) and Eleni Papargyriou (King’s College London), to appear in autumn 2015. We are looking for essays that will be addressing the reception, circulation and extraordinary polymorphy of republication and rewriting of Cavafy's poetry. We envisage this special issue to cover topics such as the making of a ‘Cavafy persona’ in English (from E.M. Forster to Mark Doty); the circulation of Cavafian poems and rewriting on the internet; Cavafy and photography; Cavafy photographed and the circulation of the Cavafy image; a discussion of the furore against Cavafy's poems on Greek public transport (2014); Cavafy in film. We would particularly like to invite proposals for articles related to the following subjects: [...]

Since the early 1990s, Greek Cinema has started re-emerging in theatre screens and attracting increasing interest, evident both through the box office successes as well as the renewed critical attention. From popular genre cinema, to art-house and avant-garde, documentary, short film and animation, Greek Cinema in the last couple of decades has re-invented itself and commanded the attention of audiences and critics alike, both nationally and internationally.

Since the mid-2000s, academic criticism has also increasingly focused on this re-birth of Greek Cinema, with a number of publications appearing and seeking to explore various aspects of Greek cinematic practices and contexts. The aim of this edited collection is to expand on current analysis of Greek Cinema of the last two decades, as well as move beyond those more established fields of research, by inviting innovative contributions in terms of content and methodology. This edited volume seeks to map key trends of the Greek cinematic output since the early 1990s, considering a variety of films within their various contexts of production, distribution and consumption, both at national and international levels. [...]

This studentship scheme offers a valuable opportunity to study for a PhD while teaching in subjects broadly related to your PhD research. The studentship covers full tuition fees and a bursary of £13,863 for three years, based on successful PhD progression. GTAs work with academic staff in a range of teaching, learning and assessment activities to support student learning for up to 180 hours in each academic year. These activities include supporting lectures, leading seminars, providing tutorial support, demonstrating in practical classes, marking student assessments and exam invigilation. GTAs will undertake a programme of teaching and learning skills development during the first year, and will be encouraged to attend a range of researcher development sessions in line with the Vitae Researcher Development Framework throughout their three years of study. [...]

Cinema as history and most particularly cinema as the means to tell the history of his native Greece were always at the heart of Theo Angelopoulos’ work and over the course of his long career his films consistently responded to changes in Greek society and Greek politics. Panel 1: Dimitris Papanikolaou and Konstantinos Tsoukalas. Chair: Costas Douzinas. Panel 2: Maria Komninos and Ian Christie Chair: tbc. Panel 3: Lydia Papadimiritiou, Mark Betz, Geoffrey Nowell-Smith. Chair: Laura Mulvey. See more here.

Τη Δευτέρα 2 Ιουνίου τελειώνουν οι συναντήσεις του σεμιναρίου ΑΠΟ ΤΟΝ ΠΡΩΙΜΟ ΣΤΟ ΣΥΓΧΡΟΝΟ ΕΛΛΗΝΙΚΟ ΚΙΝΗΜΑΤΟΓΡΑΦΟ: ΖΗΤΗΜΑΤΑ ΜΕΘΟΔΟΛΟΓΙΑΣ, ΘΕΩΡΙΑΣ, ΙΣΤΟΡΙΑΣ στην Αίθουσα Σεμιναρίων της Βιβλιοθήκης του Παντείου Πανεπιστημίου (ώρα: 6-8 μ.μ.). Στη συνάντηση με γενικό τίτλο ΖΗΤΗΜΑΤΑ ΣΥΓΧΡΟΝΟΥ ΕΛΛΗΝΙΚΟΥ ΚΙΝΗΜΑΤΟΓΡΑΦΟΥ ΙΙΙ θα μιλήσουν η Μαρία Χάλκου (Δρ. Κινηματογραφικών Σπουδών και Επιμελήτρια του Filmicon: Journal of Greek Film Studies) με θέμα Η νοσταλγία στο σύγχρονο ελληνικό κινηματογράφο και η Άννα Πούπου (Δρ. Κινηματογραφικών Σπουδών, Πανεπιστήμιο Paris III–Sorbonne Nouvelle) με θέμα Διακειμενικές επιδράσεις στο κινηματογραφικό έργο του Φίλιππου Τσίτου. Θα ακολουθήσει συζήτηση με τις ομιλήτριες.

Keynote Speaker: Thomas Elsaesser

The Greek films of the period 1945-1967 have traditionally been classified as belonging to the Old Greek Cinema, a label that has harbored several problematic assumptions regarding the artistic merit and the cultural significance of Greek filmmaking practices of the time. Most writings on Old Greek Cinema seem to reproduce the standard tenets of an equally ‘old’ trend in film historiography, which is built on two key premises; firstly, the interest in film as an art form and, secondly, the examination of film as a reflection or mirror of society. Adhering to the first principle, several scholars so far have focused on a limited number of popular films of that period and criticized them for lacking artistic sophistication, imitating Hollywood formulas and, above all, not being cinematic enough. Other academics have analyzed extensively the same small sample of films focusing on the ways they represented various aspects of Greek society, and using the standard interpretative models of semiotics, psychoanalysis or feminism. [...]

Την Τρίτη 27 Μαΐου θα συνεχιστούν οι συναντήσεις του σεμιναρίου ΑΠΟ ΤΟΝ ΠΡΩΙΜΟ ΣΤΟ ΣΥΓΧΡΟΝΟ ΕΛΛΗΝΙΚΟ ΚΙΝΗΜΑΤΟΓΡΑΦΟ: ΖΗΤΗΜΑΤΑ ΜΕΘΟΔΟΛΟΓΙΑΣ, ΘΕΩΡΙΑΣ, ΙΣΤΟΡΙΑΣ στην Αίθουσα Σεμιναρίων της Βιβλιοθήκης του Παντείου Πανεπιστημίου (ώρα: 6-8 μ.μ.). Στη συνάντηση με γενικό τίτλο ΚΙΝΗΜΑΤΟΓΡΑΦΟΣ, ΙΣΤΟΡΙΑ, ΙΔΕΟΛΟΓΙΑ ΙΙ θα μιλήσει ο Βλάσης Κομνηνός (Δρ. Τμήματος Επικοινωνίας και ΜΜΕ στο ΕΚΠΑ) με θέμα Κινηματογραφικές αναπαραστάσεις του ελληνικού Εμφυλίου πολέμου από τη δικτατορία των συνταγματαρχών στη μεταπολίτευση και μέχρι την Ελλάδα της κρίσης . Θα ακολουθήσει συζήτηση με τον ομιλητή.