Public Film Funding at a Crossroads - Appendix: Greece and Cyprus

https://analysis.filmivast.se/public-film-funding-at-a-crossroads

The Hindered Drive toward Internationalisation: Thessaloniki (International) Film Festival

Originally a site for the promotion of the Greek film production, the Thessaloniki Film Festival, founded in 1960, gradually evolved to showcase international cinema, with a special emphasis on Balkan film. By focusing on the festival’s international aspirations, this account highlights certain under-researched parts of its history during which the festival offered parallel, competitive or not, programs of non-Greek films. In exploring this history, this article foregrounds tensions among key stakeholders, and maps these over the country’s broader sociopolitical dynamics, as well as in relation to broader developments in the European and international film festival scene

Greek screen industries: From political economy to Media Industry Studies

This introductory article to the Special Issue ‘Greek Screen Industries’ of the Journal of Greek Media and Culture offers a critical overview of the recently emerging field of Media Industry Studies and situates existing work on Greek screen industries in its context. It argues that the current fragmentation and lack of dialogue between social sciences and arts and humanities approaches on the topic is particularly marked in the Greek context, a fact that can be explained by institutional and historical reasons. It calls for an expansion of the agendas privileged by political economy approaches to screen media towards the more pluralistic, empirical and culture-orientated perspectives facilitated by Media Industry Studies.</jats:p

Revisiting contemporary Greek film cultures: Weird Wave and beyond

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Transitions in the Periphery: Funding Film Production in Greece since the Financial Crisis

The article focuses on Greece and explores the extent and ways in which film production funding cultures have changed in the period 2010-2015. It maps out the hybrid modes of funding embraced by filmmakers in this period, and explores the extent to which new models such as crowdfunding were adopted, European co-production opportunities were more fully embraced, as well as how far traditional modes of financing such as, on the one hand, state funding, and, on the other, private, distributor-led, backing have persisted. As a country of the European periphery, and one particularly hard-hit by the recent financial crisis, Greece offers a good example of the processes of an uncertain, but also creatively productive, cultural and financial transition. Set within the broader context of global changes led by technology, the national case study illustrates how state and private top-bottom funding initiatives have begun to co-exist with bottom-up production and dissemination processes, and how some new players have entered the scene. The patterns revealed through this exploration of the new funding cultures for film production in Greece contribute to an understanding of the impact of global economic transformations on a national level, and help us assess the effectiveness and viability of the new funding models for small markets

56th Thessaloniki International Film Festival. Balkan Survey Section.

Lydia Papadimitriou's review of the Balkan Survey section at the 56th Thessaloniki International Film Festiva

Session 31: Bringing communities together: The LJMU MA Short Film Festival as an educational, professional, and community-building experience

Launched in 2021, the LJMU MA Short Film Festival, in an annual international student film festival organised as part of the MA Film in the context of the academic curriculum. While formally taught and graded, the LJMU MA SFF is also a public-facing event, accessible both ‘in person’ to local communities and online to a global audience. In putting the film festival together, the students engage with different roles: programmers, editors, public relations professionals, social media content creators, Q&amp;A hosts, presenters and more. As an educational experience, this not only gives them insights into various professional skills, but it also highlights the importance of teamwork, and the related responsibilities and rewards. The public-facing nature of the festival, and the fact that it carries the brand name of the University underline the necessity for high quality standards to be maintained in the programme and its delivery to the audience. Film festivals aim to reach audiences, open-up debate and create positive social impact in the context of a heightened atmosphere of celebration that encourages community-building and the sense of belonging. Reflecting such communal spirit, this presentation will bring together past and current MA students who will share with their tutors/paper convenors and the conference audience their experiences in co-organising the festival and helping reach a wider public, both locally and internationally. It will highlight the importance of bringing experiential and public-facing practices in the classroom as educational tools that enhance community within and beyond it. It will provide insights into how to use the festival as a platform for courageous and innovative thinking, as well as how to use creativity and technology to embrace diversity and inclusion. Bringing communities together: The LJMU MA Short Film Festival as an educational, professional, and community-building experience PowerPoint.&nbsp; Only LJMU staff and students have access to this resource

Social media and orthodontic treatment from the patient's perspective: a systematic review.

BACKGROUND Social media are one of the most common and easily accessible ways of gaining information about orthodontic treatment. OBJECTIVE The main objective of this study was to systematically search the literature and determine the various aspects of the interrelationship between social media and orthodontics from the patient's perspective. SEARCH METHODS Electronic database searches of published and unpublished literature were performed. The reference lists of all eligible articles were hand-searched for additional studies. SELECTION CRITERIA Randomized clinical trials (RCTs), prospective, retrospective, and cross-sectional studies were included. DATA COLLECTION AND ANALYSIS Study selection, data extraction, and risk of bias assessment were performed individually and in duplicate by the first two authors. RESULTS One RCT, three retrospective, and four cross-sectional studies were deemed as eligible for inclusion in this review. The studies included patient's statements in social media or results from questionnaires given to patients. The social media reported were with order of frequency: Twitter, YouTube, Facebook, Google+, Pinterest, and Instagram. The feelings the patients expressed seemed to be more positive than negative: enthusiasm, self-esteem and pleasure, excitement about the aesthetic result, excitement after braces removal but also antipathy, annoyances, reduced self-esteem, and impatience for removing mechanisms. In addition, one study referred to bullying through Twitter. LIMITATIONS The high amount of heterogeneity precluded a valid interpretation of the results through pooled estimates. CONCLUSIONS AND IMPLICATIONS This systematic review demonstrated that information about orthodontics, how the patient feels, and other psychosocial facets are spread through social media. It is intuitive that research relating to the effects and impact of orthodontic interventions should account not only for the physical impacts of treatment but also to encompass patient-centered outcomes. REGISTRATION The protocol of this study was not registered in publicly assessable database. CONFLICTS OF INTEREST None to declare

Journal of Greek Media and Culture [Issue editor]

No abstract available

Cyclin D1 in invasive breast carcinoma: favourable prognostic significance in unselected patients and within subgroups with an aggressive phenotype

Aims: To study the clinicopathological and prognostic value of cyclin D1 overexpression in patients with breast carcinoma. Methods and results: Immunohistochemistry was performed on paraffin-embedded tissue specimens from 290 invasive breast carcinomas to detect the proteins cyclin D1, oestrogen receptor (ER), progesterone receptor (PR), p53, c-erbB2, and topoisomerase IIa (topoIIa). Cyclin D1 staining was quantified using a computerized image analysis method. Cyclin D1 overexpression characterized smaller, ER-positive and PR-positive tumours (P = 0.017, P &lt; 0.0001, and P &lt; 0.0001, respectively), of a lower histological and nuclear grade (P = 0.011 and P &lt; 0.0001, respectively), and with reduced expression of topoIIa (P = 0.001) and p53 (P &lt; 0.001). Cyclin D1 was found to have an independent favourable impact on the overall survival of both the unselected cohort of patients (P = 0.011) and of patients with ER-negative and lymph node-positive tumours (P = 0.034 and P = 0.015, respectively). In triple-negative tumours, cyclin D1 overexpression was found to have independent favourable impacts on both overall and relapse-free survival (P = 0.002 for both). Conclusions: This is the first immunohistochemical study to dissociate the advantageous prognostic effect of cyclin D1 overexpression from its association with ER expression, and to provide evidence that cyclin D1 overexpression may be a marker of prolonged survival in patient subgroups with aggressive phenotypes