[Commlist] Call for chapters: Transnational Greek Cinema

CALL FOR CHAPTERS: TRANSNATIONAL GREEK CINEMA
Edited volume by Olga Kourelou and Philip E. Phillis

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). On the one hand, this is the result of the
intensification of co-production activity and the distribution and 
consumption of Greek films beyond their national borders. On the other, 
this is evident in the thematic preoccupations of an ever-larger number 
of films that take a more fluid approach towards the national by 
focusing on the multicultural make-up of Greek society and by bringing 
to the fore the subjectivities of ethnic ‘others’, questioning thus 
nationalist myths of purity, authenticity and containment.

This edited volume invites chapter proposals that will open up 
discussions of Greek cinema and film culture beyond the national through 
a consideration of its transnational dimensions. The scope of the book 
is historical in that we are interested in mapping out Greek cinema’s 
transnationalism diachronically. While scholars have rightly pointed out 
the recent outwardness of Greek cinema, Greek film culture has always 
been transnational. This was especially the case in the post-war 
era, when production and exhibition practices, as Dimitris Eleftheriotis 
has demonstrated (2001, 2006), were of a hybrid character, involving 
cultural exchanges with both the West and the East. However, the 
transnationalism of this period of Greek cinema, and of others, remains 
under-researched and this gap in our knowledge is something this book 
aims to fill. We welcome contributions adopting different methodologies 
in their analysis, from empirical to text-based. The goal of this 
publication is to explore at what levels the transnational manifests 
itself in Greek cinema, whether this is in terms of production, 
distribution, exhibition, creative personnel, content, or form, as well 
as to what effect, looking specifically at the politics and ideological 
implications
within transnational flows. For, as Rosalind Galt reminds us, ‘the 
transnational is always political because it demands that we think about 
the relationships of cinema and geopolitics through, between, and beyond 
the state’ (2016).

Topics may include but are not limited to:

- Transnational modes of production, distribution and exhibition from 
early Greek cinema to today
- Co-productions
- Auterism and cosmopolitanism
- Genre flows, remakes and remixes
- Transnational cinephilia
- Transnational actors and stars
- Migration (representations of migrants, refugees and ethnic ‘others’; 
migrant and diasporic filmmakers; borders and border-crossing)
- Queer transnationalism
- Greek locations in international filmmaking, and film tourism
- Reception of Greek films abroad (festivals, audiences, exhibition 
practices, critical reception)
- Transnational readings of the so-called ‘new’ and ‘old Greek cinema’
- Language, dubbing, subtitling

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The edited volume is under consideration with Edinburgh University Press.

Please send a title, 300 word abstract and a short biography in a single 
file to (transnationalgreekcinema /at/ gmail.com)  by 30 th September 2024. The 
final chapters should be around 6000-8000 words and submitted to the 
editors by the end of May 2025. No payment from authors will be required.


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