As far as Greek cinema is concerned, the last few decades have seen both a rise in genre-includin... more As far as Greek cinema is concerned, the last few decades have seen both a rise in genre-including horror-films and the emergence of the so-called (Greek) Weird Wave, a term that refers not to a specific genre as such but rather to an aesthetic (mostly with regard to the stylistic approach but frequently with regard to the subject matter too). Boasting (relatively) big production value and wide media exposure, a lot of films from both these types tend to touch on the concept of the monstrous: the former mostly in a literal sense (zombies, vampires, etc.), the latter in a more metaphorical one (ghastly behaviors of actual humans). Using a semiotic/aesthetic analysis, the proposed paper explores how this shift towards the depiction of the monstrous can be traced in two examples of horror movies (Evil and Evil: In the Time of Heroes) plus in two of the most characteristic pieces of Greek Weird Wave filmmaking (Dogtooth and Miss Violence). Furthermore, the proposed paper explores how these outbursts of monstrosity are generated in the aforementioned films. Lastly, it examines how the monstrous and its representations are finding their way into more mainstream productions and audiences, and how such audiences have become more accustomed to the depiction of the grotesque in contemporary films, genre, "weird" or otherwise.
Proceedings of the International Conference on Digital Culture & AudioVisual Challenges Corfu, Greece, June 1-2, 2018., 2018
The advent of new technologies in the last two decades has facilitated filmmakers to an extraordi... more The advent of new technologies in the last two decades has facilitated filmmakers to an extraordinary degree. Digital technology offers artists the ability to shoot, edit, distribute and advertise their films in an unprecedented manner. All this is done by the filmmakers themselves, in the spirit of DIY-Do It Yourself. This paper aims to present how these developments have helped filmmakers in Greece, especially in the genres of horror, sci-fi, and fantasy. The methodology of the paper will be based on the relevant literature concerning filmmaking, digital technologies and the film industry. Moreover, it will draw on examples of films such as Evil (2005), Evil II (2009), Kamme Koumando (2012) and others.
Taboo-Transgression-Transcendence in Art & Science 2017, 2018
The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presenta... more The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presentations and artists' talks focusing: a) on questions about the nature of the forbidden and about the aesthetics of liminality - as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.
This article focuses on the processes that the largest shopping mall in Athens has developed in o... more This article focuses on the processes that the largest shopping mall in Athens has developed in order to produce meaning about itself as an institution of consumption, as well as the consumer experience and practices, and its visitors–consumers. From a poststructuralist perspective, we analyze the signifying articulations that the promotional discourse attempts, along with the linguistic and visual techniques which activate specific significations about this microcosm of consumption, the “fun” experience, fashion, beauty, shopping and entertainment practices, eating out, and the consumer subjectivity. The ultimate aim of this research is to point out the cultural role of such an institution with regard to the configuration of an order of discourse about consumption and the reproduction of the consumerist ethos during an economic crisis, as well as the possible effects that such a discourse might have on a wider cultural level.
Flesh and Blood: Generic Monstrosities in Contemporary Greek Film, Jul 2022
As far as Greek cinema is concerned, the last few decades have seen both a rise in genre –includi... more As far as Greek cinema is concerned, the last few decades have seen both a rise in genre –including horror- films and the emergence of the so-called (Greek) Weird Wave, a term that refers not to a specific genre as such but rather to an aesthetic (mostly with regard to the stylistic approach but frequently with regard to the subject matter too). Boasting (relatively) big production value and wide media exposure, a lot of films from both these types tend to touch on the concept of the monstrous: the former mostly in a literal sense (zombies, vampires, etc.), the latter in a more metaphorical one (ghastly behaviors of actual humans). Using a semiotic/aesthetic analysis, the proposed paper explores how this shift towards the depiction of the monstrous can be traced in two examples of horror movies (Evil and Evil: In the Time of Heroes) plus in two of the most characteristic pieces of Greek Weird Wave filmmaking (Dogtooth and Miss Violence). Furthermore, the proposed paper explores how these outbursts of monstrosity are generated in the aforementioned films. Lastly, it examines how the monstrous and its representations are finding their way into more mainstream productions and audiences, and how such audiences have become more accustomed to the depiction of the grotesque in contemporary films, genre, “weird” or otherwise.
The zombie's prominence as the leading monster in contemporary pop culture has been widely recogn... more The zombie's prominence as the leading monster in contemporary pop culture has been widely recognized. This increase in popularity has been combined with various other changes. Modern zombies have evolved to become faster, stronger, and more alert. Occasionally, they also tend to possess consciousness, moral awareness, and initiative and audiences increasingly sympathize or even identify with these undead beings rather than the living. Finally, there has been a shift in the zombie's hybridity, moving beyond conventional dichotomies, such as "dead/living," "evil/neutral," "oppressed/menacing," and "abject/familiar," and altering how we perceive them and perhaps how they see themselves. Zombies now exhibit agency, intelligence, and even cuteness, transcending their traditional role as embodiments of oppression, emotional numbness, and obedience. They have emerged as symbols of rebellion, diversity, and desirability. These new zombies no longer solely embody the abject or uncanny; they now embody both beast and beauty within a single entity. They can be seen as Romeos and Juliets, striving to reconcile conflicts between different groups. This chapter aims to explore this trend, questioning why and how these monsters are becoming increasingly consumable and desirable. It seeks to examine what this phenomenon reveals about our current hypermodern, late-stage capitalist era.
ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ ΚΑΙ ΠΡΑΚΤΙΚΕΣ ΔΙΑΚΥΒΕΡΝΗΣΗΣ ΣΕ ΚΑΙΡΟ ΚΡΙΣΗΣ, 2022
Κεφάλαιο στο Συλλογικό Τόμο "ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ Κ... more Κεφάλαιο στο Συλλογικό Τόμο "ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ ΚΑΙ ΠΡΑΚΤΙΚΕΣ ΔΙΑΚΥΒΕΡΝΗΣΗΣ ΣΕ ΚΑΙΡΟ ΚΡΙΣΗΣ", ο οποίος παρουσιάζει μέρος των ευρημάτων του ερευνητικού έργου με τίτλο «Consumerism in a period of economic crisis: Consumption practices and forms of governance» (ΕΚΚΕ/ΕΛΙΔΕΚ).
Το παρόν κείμενο αποπειράται να αναδείξει το πώς ο προωθητικός λόγος μιας τράπεζας στην Ελλάδα της κρίσης διαμορφώνει την ταυτότητα του εαυτού της και των πελατών της ως έλλογων υποκειμένων, τα οποία γνωρίζουν να χειρίζονται τα οικονομικά τους με τον «ορθό» τρόπο. Επικεντρώνεται σε διαφημιστικά βίντεο από συγκεκριμένες καμπάνιες που σχεδίασε η Τράπεζα Πειραιώς για υπηρεσίες της. Τα βίντεο αυτά βρίσκονται διαθέσιμα και στη δημοφιλή πλατφόρμα YouTube. Καθότι έχουμε να κάνουμε με τέτοιου είδους μέσα, η διαδικασία υποκειμενοποίησης των πελατών της ως έλλογων υποκειμένων προκύπτει και μέσα από συγκεκριμένες τεχνικές οπτικοακουστικής αφήγησης. Τούτου δοθέντος, θα ήταν ίσως χρήσιμο να αναλυθεί το τι αποτελεί έναν έλλογο, ορθολογικό, οικονομημένο τρόπο αφήγησης. Προκειμένου να επιτευχθεί αυτό, θα χρειαστεί αρχικά να ανατρέξουμε στους κώδικες οπτικοακουστικής αφήγησης που αναπτύχθηκαν κυρίως στο πρώτο μισό του προηγούμενου αιώνα και κυρίως στον εμπορικό αμερικανικό κινηματογράφο.
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As far as Greek cinema is concerned, the last few decades have seen both a rise in genre-includin... more As far as Greek cinema is concerned, the last few decades have seen both a rise in genre-including horror-films and the emergence of the so-called (Greek) Weird Wave, a term that refers not to a specific genre as such but rather to an aesthetic (mostly with regard to the stylistic approach but frequently with regard to the subject matter too). Boasting (relatively) big production value and wide media exposure, a lot of films from both these types tend to touch on the concept of the monstrous: the former mostly in a literal sense (zombies, vampires, etc.), the latter in a more metaphorical one (ghastly behaviors of actual humans). Using a semiotic/aesthetic analysis, the proposed paper explores how this shift towards the depiction of the monstrous can be traced in two examples of horror movies (Evil and Evil: In the Time of Heroes) plus in two of the most characteristic pieces of Greek Weird Wave filmmaking (Dogtooth and Miss Violence). Furthermore, the proposed paper explores how these outbursts of monstrosity are generated in the aforementioned films. Lastly, it examines how the monstrous and its representations are finding their way into more mainstream productions and audiences, and how such audiences have become more accustomed to the depiction of the grotesque in contemporary films, genre, "weird" or otherwise.
Proceedings of the International Conference on Digital Culture & AudioVisual Challenges Corfu, Greece, June 1-2, 2018., 2018
The advent of new technologies in the last two decades has facilitated filmmakers to an extraordi... more The advent of new technologies in the last two decades has facilitated filmmakers to an extraordinary degree. Digital technology offers artists the ability to shoot, edit, distribute and advertise their films in an unprecedented manner. All this is done by the filmmakers themselves, in the spirit of DIY-Do It Yourself. This paper aims to present how these developments have helped filmmakers in Greece, especially in the genres of horror, sci-fi, and fantasy. The methodology of the paper will be based on the relevant literature concerning filmmaking, digital technologies and the film industry. Moreover, it will draw on examples of films such as Evil (2005), Evil II (2009), Kamme Koumando (2012) and others.
Taboo-Transgression-Transcendence in Art & Science 2017, 2018
The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presenta... more The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presentations and artists' talks focusing: a) on questions about the nature of the forbidden and about the aesthetics of liminality - as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.
This article focuses on the processes that the largest shopping mall in Athens has developed in o... more This article focuses on the processes that the largest shopping mall in Athens has developed in order to produce meaning about itself as an institution of consumption, as well as the consumer experience and practices, and its visitors–consumers. From a poststructuralist perspective, we analyze the signifying articulations that the promotional discourse attempts, along with the linguistic and visual techniques which activate specific significations about this microcosm of consumption, the “fun” experience, fashion, beauty, shopping and entertainment practices, eating out, and the consumer subjectivity. The ultimate aim of this research is to point out the cultural role of such an institution with regard to the configuration of an order of discourse about consumption and the reproduction of the consumerist ethos during an economic crisis, as well as the possible effects that such a discourse might have on a wider cultural level.
Flesh and Blood: Generic Monstrosities in Contemporary Greek Film, Jul 2022
As far as Greek cinema is concerned, the last few decades have seen both a rise in genre –includi... more As far as Greek cinema is concerned, the last few decades have seen both a rise in genre –including horror- films and the emergence of the so-called (Greek) Weird Wave, a term that refers not to a specific genre as such but rather to an aesthetic (mostly with regard to the stylistic approach but frequently with regard to the subject matter too). Boasting (relatively) big production value and wide media exposure, a lot of films from both these types tend to touch on the concept of the monstrous: the former mostly in a literal sense (zombies, vampires, etc.), the latter in a more metaphorical one (ghastly behaviors of actual humans). Using a semiotic/aesthetic analysis, the proposed paper explores how this shift towards the depiction of the monstrous can be traced in two examples of horror movies (Evil and Evil: In the Time of Heroes) plus in two of the most characteristic pieces of Greek Weird Wave filmmaking (Dogtooth and Miss Violence). Furthermore, the proposed paper explores how these outbursts of monstrosity are generated in the aforementioned films. Lastly, it examines how the monstrous and its representations are finding their way into more mainstream productions and audiences, and how such audiences have become more accustomed to the depiction of the grotesque in contemporary films, genre, “weird” or otherwise.
The zombie's prominence as the leading monster in contemporary pop culture has been widely recogn... more The zombie's prominence as the leading monster in contemporary pop culture has been widely recognized. This increase in popularity has been combined with various other changes. Modern zombies have evolved to become faster, stronger, and more alert. Occasionally, they also tend to possess consciousness, moral awareness, and initiative and audiences increasingly sympathize or even identify with these undead beings rather than the living. Finally, there has been a shift in the zombie's hybridity, moving beyond conventional dichotomies, such as "dead/living," "evil/neutral," "oppressed/menacing," and "abject/familiar," and altering how we perceive them and perhaps how they see themselves. Zombies now exhibit agency, intelligence, and even cuteness, transcending their traditional role as embodiments of oppression, emotional numbness, and obedience. They have emerged as symbols of rebellion, diversity, and desirability. These new zombies no longer solely embody the abject or uncanny; they now embody both beast and beauty within a single entity. They can be seen as Romeos and Juliets, striving to reconcile conflicts between different groups. This chapter aims to explore this trend, questioning why and how these monsters are becoming increasingly consumable and desirable. It seeks to examine what this phenomenon reveals about our current hypermodern, late-stage capitalist era.
ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ ΚΑΙ ΠΡΑΚΤΙΚΕΣ ΔΙΑΚΥΒΕΡΝΗΣΗΣ ΣΕ ΚΑΙΡΟ ΚΡΙΣΗΣ, 2022
Κεφάλαιο στο Συλλογικό Τόμο "ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ Κ... more Κεφάλαιο στο Συλλογικό Τόμο "ΚΑΤΑΝΑΛΩΣΗ, ΚΑΤΑΝΑΛΩΤΕΣ, ΚΑΤΑΝΑΛΩΤΙΣΜΟΣ: ΠΟΛΙΤΙΚΕΣ ΑΝΑΠΑΡΑΣΤΑΣΗΣ ΚΑΙ ΠΡΑΚΤΙΚΕΣ ΔΙΑΚΥΒΕΡΝΗΣΗΣ ΣΕ ΚΑΙΡΟ ΚΡΙΣΗΣ", ο οποίος παρουσιάζει μέρος των ευρημάτων του ερευνητικού έργου με τίτλο «Consumerism in a period of economic crisis: Consumption practices and forms of governance» (ΕΚΚΕ/ΕΛΙΔΕΚ).
Το παρόν κείμενο αποπειράται να αναδείξει το πώς ο προωθητικός λόγος μιας τράπεζας στην Ελλάδα της κρίσης διαμορφώνει την ταυτότητα του εαυτού της και των πελατών της ως έλλογων υποκειμένων, τα οποία γνωρίζουν να χειρίζονται τα οικονομικά τους με τον «ορθό» τρόπο. Επικεντρώνεται σε διαφημιστικά βίντεο από συγκεκριμένες καμπάνιες που σχεδίασε η Τράπεζα Πειραιώς για υπηρεσίες της. Τα βίντεο αυτά βρίσκονται διαθέσιμα και στη δημοφιλή πλατφόρμα YouTube. Καθότι έχουμε να κάνουμε με τέτοιου είδους μέσα, η διαδικασία υποκειμενοποίησης των πελατών της ως έλλογων υποκειμένων προκύπτει και μέσα από συγκεκριμένες τεχνικές οπτικοακουστικής αφήγησης. Τούτου δοθέντος, θα ήταν ίσως χρήσιμο να αναλυθεί το τι αποτελεί έναν έλλογο, ορθολογικό, οικονομημένο τρόπο αφήγησης. Προκειμένου να επιτευχθεί αυτό, θα χρειαστεί αρχικά να ανατρέξουμε στους κώδικες οπτικοακουστικής αφήγησης που αναπτύχθηκαν κυρίως στο πρώτο μισό του προηγούμενου αιώνα και κυρίως στον εμπορικό αμερικανικό κινηματογράφο.
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Το παρόν κείμενο αποπειράται να αναδείξει το πώς ο προωθητικός λόγος μιας τράπεζας στην Ελλάδα της κρίσης διαμορφώνει την ταυτότητα του εαυτού της και των πελατών της ως έλλογων υποκειμένων, τα οποία γνωρίζουν να χειρίζονται τα οικονομικά τους με τον «ορθό» τρόπο. Επικεντρώνεται σε διαφημιστικά βίντεο από συγκεκριμένες καμπάνιες που σχεδίασε η Τράπεζα Πειραιώς για υπηρεσίες της. Τα βίντεο αυτά βρίσκονται διαθέσιμα και στη δημοφιλή πλατφόρμα YouTube. Καθότι έχουμε να κάνουμε με τέτοιου είδους μέσα, η διαδικασία υποκειμενοποίησης των πελατών της ως έλλογων υποκειμένων προκύπτει και μέσα από συγκεκριμένες τεχνικές οπτικοακουστικής αφήγησης. Τούτου δοθέντος, θα ήταν ίσως χρήσιμο να αναλυθεί το τι αποτελεί έναν έλλογο, ορθολογικό, οικονομημένο τρόπο αφήγησης. Προκειμένου να επιτευχθεί αυτό, θα χρειαστεί αρχικά να ανατρέξουμε στους κώδικες οπτικοακουστικής αφήγησης που αναπτύχθηκαν κυρίως στο πρώτο μισό του προηγούμενου αιώνα και κυρίως στον εμπορικό αμερικανικό κινηματογράφο.
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Το παρόν κείμενο αποπειράται να αναδείξει το πώς ο προωθητικός λόγος μιας τράπεζας στην Ελλάδα της κρίσης διαμορφώνει την ταυτότητα του εαυτού της και των πελατών της ως έλλογων υποκειμένων, τα οποία γνωρίζουν να χειρίζονται τα οικονομικά τους με τον «ορθό» τρόπο. Επικεντρώνεται σε διαφημιστικά βίντεο από συγκεκριμένες καμπάνιες που σχεδίασε η Τράπεζα Πειραιώς για υπηρεσίες της. Τα βίντεο αυτά βρίσκονται διαθέσιμα και στη δημοφιλή πλατφόρμα YouTube. Καθότι έχουμε να κάνουμε με τέτοιου είδους μέσα, η διαδικασία υποκειμενοποίησης των πελατών της ως έλλογων υποκειμένων προκύπτει και μέσα από συγκεκριμένες τεχνικές οπτικοακουστικής αφήγησης. Τούτου δοθέντος, θα ήταν ίσως χρήσιμο να αναλυθεί το τι αποτελεί έναν έλλογο, ορθολογικό, οικονομημένο τρόπο αφήγησης. Προκειμένου να επιτευχθεί αυτό, θα χρειαστεί αρχικά να ανατρέξουμε στους κώδικες οπτικοακουστικής αφήγησης που αναπτύχθηκαν κυρίως στο πρώτο μισό του προηγούμενου αιώνα και κυρίως στον εμπορικό αμερικανικό κινηματογράφο.
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