{"id":570,"date":"2024-05-17T09:01:35","date_gmt":"2024-05-17T09:01:35","guid":{"rendered":"https:\/\/beta.strategikon.gr\/?page_id=570"},"modified":"2024-06-03T08:03:26","modified_gmt":"2024-06-03T08:03:26","slug":"register","status":"publish","type":"page","link":"https:\/\/beta.strategikon.gr\/index.php\/register\/","title":{"rendered":"Current"},"content":{"rendered":"\n
\"\"\/<\/figure>\n\n\n\n

Issue 8, September 2023<\/h1>\n\n\n\n

Righteous Images, Moralizing Screens: Censorship in the 20th Century Revisited<\/em><\/h1>\n\n\n\n

edited by Maria Chalkou<\/a>, Christos Triantafyllou<\/a><\/p>\n\n\n\n

Part 1: Special Issue<\/h5>\n\n\n\n

EDITORIAL<\/h2>\n\n\n\n

Editorial Note<\/a><\/h4>\n\n\n\n

Christos Triantafyllou<\/a>, Maria Chalkou<\/a><\/p>\n\n\n\n

ARTICLES<\/h2>\n\n\n\n

Die Frau mit den Millionen<\/em> (1923) \u03ba\u03b1\u03b9 Der F\u00fcrst der Berge<\/em> (1932): \u0394\u03cd\u03bf \u03bc\u03b5\u03c3\u03bf\u03c0\u03bf\u03bb\u03b5\u03bc\u03b9\u03ba\u03ad\u03c2 \u03bc\u03b5\u03bb\u03ad\u03c4\u03b5\u03c2 \u03c0\u03b5\u03c1\u03af\u03c0\u03c4\u03c9\u03c3\u03b7\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7 \u03b4\u03b9\u03b5\u03b8\u03bd\u03b9\u03ba\u03ae \u03bb\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1 \u03c3\u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03c3\u03c4\u03b5\u03c1\u03b5\u03bf\u03c4\u03c5\u03c0\u03b9\u03ba\u03cc \u03bb\u03cc\u03b3\u03bf \u03c3\u03c4\u03bf \u03c0\u03bb\u03b1\u03af\u03c3\u03b9\u03bf \u03c4\u03c9\u03bd \u03b5\u03bb\u03bb\u03b7\u03bd\u03bf\u03b3\u03b5\u03c1\u03bc\u03b1\u03bd\u03b9\u03ba\u03ce\u03bd \u03b4\u03b9\u03b1\u03c3\u03c4\u03b1\u03c5\u03c1\u03ce\u03c3\u03b5\u03c9\u03bd<\/a><\/h4>\n\n\n\n

\u03a0\u03ad\u03c4\u03c1\u03bf\u03c2 \u039a\u03ce\u03c1\u03b7\u03c2<\/a><\/p>\n\n\n\n

Controlling the social power of cinema in postwar Italy: The case of the \u201cforbidden film\u201d L\u2019armata s\u2019agapo<\/em><\/a><\/h4>\n\n\n\n

Chiara Boatti<\/a><\/p>\n\n\n\n

\u00ab\u0394\u03b5\u03bd \u03c5\u03c0\u03ae\u03c1\u03c7\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03b1 \u03c5\u03c0\u03b7\u03c1\u03b5\u03c3\u03af\u03b1 \u03c4\u03bf\u03c5 \u03b1\u03c1\u03bc\u03bf\u03b4\u03af\u03bf\u03c5 \u03c5\u03c0\u03bf\u03c5\u03c1\u03b3\u03b5\u03af\u03bf\u03c5 \u03bd\u03b1 \u03b4\u03b9\u03ad\u03ba\u03c1\u03b9\u03bd\u03b5 \u03c4\u03b1\u03c2 \u03b1\u03c3\u03c7\u03b7\u03bc\u03af\u03b1\u03c2;\u00bb: \u03a4\u03bf \u03b1\u03bd\u03b5\u03c0\u03af\u03c3\u03b7\u03bc\u03bf \u03b4\u03af\u03ba\u03c4\u03c5\u03bf \u03bb\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03bf\u03b9 \u03c0\u03b1\u03c1\u03b5\u03bc\u03b2\u03ac\u03c3\u03b5\u03b9\u03c2 \u03c4\u03bf\u03c5 \u03c3\u03c4\u03bf\u03bd \u03b8\u03b5\u03c3\u03bc\u03bf\u03b8\u03b5\u03c4\u03b7\u03bc\u03ad\u03bd\u03bf \u03ba\u03c1\u03b1\u03c4\u03b9\u03ba\u03cc \u03bc\u03b7\u03c7\u03b1\u03bd\u03b9\u03c3\u03bc\u03cc \u03c0\u03c1\u03bf\u03bb\u03b7\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u03bb\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1\u03c2 \u03c4\u03b7\u03bd \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf 1945 \u2013 1973<\/a><\/h4>\n\n\n\n

\u0393\u03b9\u03ac\u03bd\u03bd\u03b7\u03c2 \u0393\u03ba\u03bb\u03b1\u03b2\u03af\u03bd\u03b1\u03c2<\/a><\/p>\n\n\n\n

\u0391\u03c5\u03c4\u03bf\u03bb\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b3\u03c5\u03bc\u03bd\u03cc: \u03a0\u03b5\u03c1\u03b9\u03c0\u03c4\u03c9\u03c3\u03b9\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03ac \u03c4\u03b7\u03c2 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u03b5\u03c1\u03c9\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae\u03c2 \u03c4\u03b1\u03b9\u03bd\u03af\u03b1\u03c2 \u03c3\u03c4\u03b7 \u03b4\u03b5\u03ba\u03b1\u03b5\u03c4\u03af\u03b1 \u03c4\u03bf\u03c5 1970<\/a><\/h4>\n\n\n\n

\u039f\u03c1\u03c3\u03b1\u03bb\u03af\u03b1-\u0395\u03bb\u03ad\u03bd\u03b7 \u039a\u03b1\u03c3\u03c3\u03b1\u03b2\u03ad\u03c4\u03b7<\/a><\/p>\n\n\n\n

\u00ab\u0391\u03c0\u03bf\u03c0\u03bd\u03b9\u03ba\u03c4\u03b9\u03ba\u03ae \u03b1\u03c4\u03bc\u03cc\u03c3\u03c6\u03b1\u03b9\u03c1\u03b1 \u03b1\u03bc\u03bf\u03c1\u03b1\u03bb\u03b9\u03c3\u03bc\u03bf\u03cd \u03b5\u03b9\u03c2 \u03b5\u03c0\u03af\u03c0\u03b5\u03b4\u03bf\u03bd \u03b1\u03bb\u03cc\u03b3\u03bf\u03c5 \u03ba\u03c4\u03b7\u03bd\u03c9\u03b4\u03af\u03b1\u03c2\u00bb: \u039b\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1 \u03ba\u03b1\u03b9 \u03b7\u03b8\u03b9\u03ba\u03cc\u03c2 \u03c0\u03b1\u03bd\u03b9\u03ba\u03cc\u03c2 \u03c3\u03c4\u03bf\u03bd \u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf \u03c4\u03c1\u03cc\u03bc\u03bf\u03c5<\/a><\/h4>\n\n\n\n

\u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c1\u03b9\u03b1\u03bd\u03c4\u03b1\u03c6\u03cd\u03bb\u03bb\u03bf\u03c5<\/a><\/p>\n\n\n\n

PHOTO ESSAY<\/h2>\n\n\n\n

Killed Negatives: Depicting Poverty, Staging Prosperity<\/a><\/h4>\n\n\n\n

Nayia Yiakoumaki<\/a><\/p>\n\n\n\n

SCRIPT<\/h2>\n\n\n\n

\u00ab\u039f \u039b\u03ac\u03b6\u03b1\u03c1\u03bf\u03c2\u00bb: \u0388\u03bd\u03b1 \u03b1\u03c0\u03bf\u03c1\u03c1\u03b9\u03c6\u03b8\u03ad\u03bd \u03c3\u03b5\u03bd\u03ac\u03c1\u03b9\u03bf \u03c4\u03c9\u03bd \u0394\u03b7\u03bc\u03ae\u03c4\u03c1\u03b7 \u0391\u03c5\u03b3\u03b5\u03c1\u03b9\u03bd\u03bf\u03cd \u03ba\u03b1\u03b9 \u039b\u03ac\u03ba\u03b7 \u03a0\u03b1\u03c0\u03b1\u03c3\u03c4\u03ac\u03b8\u03b7<\/a><\/h4>\n\n\n\n

\u039c\u03b1\u03c1\u03af\u03b1 \u03a7\u03ac\u03bb\u03ba\u03bf\u03c5<\/a><\/p>\n\n\n\n

Part 2
edited by Maria Chalkou<\/a><\/h5>\n\n\n\n

INTERVIEW<\/h2>\n\n\n\n

Broadway<\/em> (2022): Interview with director Christos Massalas<\/a><\/h4>\n\n\n\n

Marios Psaras<\/a><\/p>\n\n\n\n

FILM & TV REVIEWS<\/h2>\n\n\n\n

Maestro\/Maestro in Blue<\/em> (MEGA TV\/Netflix, 2022-)<\/a><\/h4>\n\n\n\n

Georgia Aitaki<\/a><\/p>\n\n\n\n

Digger<\/em> (2020) by Georgis Grigorakis and ecocinema<\/a><\/h4>\n\n\n\n

Georgia Tsatsani<\/a><\/p>\n\n\n\n

\u0397 \u03c0\u03cc\u03bb\u03b7 \u03ba\u03b1\u03b9 \u03b7 \u03c0\u03cc\u03bb\u03b7<\/em> (2021) \u03c4\u03c9\u03bd \u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c5 \u03a0\u03b1\u03c3\u03c3\u03b1\u03bb\u03ae & \u03a3\u03cd\u03bb\u03bb\u03b1 \u03a4\u03b6\u03bf\u03c5\u03bc\u03ad\u03c1\u03ba\u03b1<\/a><\/h4>\n\n\n\n

\u03a7\u03ac\u03b9\u03b4\u03c9 \u0395\u03be\u03ac\u03c1\u03c7\u03bf\u03c5<\/a><\/p>\n\n\n\n

BOOK REVIEWS<\/h2>\n\n\n\n

\u039f \u0386\u03b3\u03b3\u03b5\u03bb\u03bf\u03c2 \u03a4\u03b5\u03c1\u03b6\u03ac\u03ba\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03bf \u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2<\/em> \u03c4\u03bf\u03c5 \u0398\u03b1\u03bd\u03ac\u03c3\u03b7 \u0391\u03b3\u03ac\u03b8\u03bf\u03c5, \u0391\u03b8\u03ae\u03bd\u03b1: Gutenberg, 2020<\/a><\/h4>\n\n\n\n

\u039f\u03c1\u03c3\u03b1\u03bb\u03af\u03b1-\u0395\u03bb\u03ad\u03bd\u03b7 \u039a\u03b1\u03c3\u03c3\u03b1\u03b2\u03ad\u03c4\u03b7<\/a><\/p>\n\n\n\n

The Cinematic Language of Theo Angelopoulos<\/em> by Vrasidas Karalis, New York & Oxford: Berghahn, 2021<\/a><\/h4>\n\n\n\n

Anna Poupou<\/a><\/p>\n\n\n\n

The Cinema of Yorgos Lanthimos: Film, Form, Philosophy<\/em> edited by Eddie Falvey, New York and London: Bloomsbury Publishing Inc, 2022<\/a><\/h4>\n\n\n\n

Eleftheria-Rania Kosmidou<\/a><\/p>\n\n\n\n

\u0397 \u03b1\u03bd\u03ac\u03b4\u03c5\u03c3\u03b7 \u03b5\u03bd\u03cc\u03c2 \u03bd\u03ad\u03bf\u03c5 \u03ba\u03cd\u03bc\u03b1\u03c4\u03bf\u03c2 \u03c3\u03c4\u03bf\u03bd \u03c3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03bf \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03cc \u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf: \u0394\u03b9\u03b1\u03b4\u03b9\u03ba\u03b1\u03c3\u03af\u03b5\u03c2 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae\u03c2 \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae\u03c2, \u03ba\u03b1\u03b8\u03b9\u03ad\u03c1\u03c9\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2 \u03c3\u03c4\u03bf\u03bd \u03ba\u03cc\u03c3\u03bc\u03bf \u03c4\u03b7\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \/ The emergence of a New Wave in contemporary Greek Cinema: Processes of artistic production, legitimization and communication in the art world<\/em> by Eirini Sifaki, Anastasia Stamou, Maria Papadopoulou, National Centre of Social Research, 2020 [in Greek]<\/a><\/h4>\n\n\n\n

Tonia Kazakopoulou<\/a><\/p>\n\n\n\n

\u03a7\u03ce\u03c1\u03b1, \u03c3\u03b5 \u03b2\u03bb\u03ad\u03c0\u03c9: \u039f \u03b5\u03b9\u03ba\u03bf\u03c3\u03c4\u03cc\u03c2 \u03b1\u03b9\u03ce\u03bd\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03bf\u03cd \u03c3\u03b9\u03bd\u03b5\u03bc\u03ac<\/em> \u03c4\u03c9\u03bd \u0391\u03c6\u03c1\u03bf\u03b4\u03af\u03c4\u03b7 \u039d\u03b9\u03ba\u03bf\u03bb\u03b1\u0390\u03b4\u03bf\u03c5 \u03ba\u03b1\u03b9 \u0394\u03b7\u03bc\u03ae\u03c4\u03c1\u03b7 \u03a0\u03b1\u03c0\u03b1\u03bd\u03b9\u03ba\u03bf\u03bb\u03ac\u03bf\u03c5 (\u03b5\u03c0\u03b9\u03bc.), \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1 \u039a\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c5, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03b5\u03c6\u03ad\u03bb\u03b7, 2022<\/a><\/h4>\n\n\n\n

\u0394\u03b7\u03bc\u03ae\u03c4\u03c1\u03b7\u03c2 \u039a\u03b5\u03c7\u03c1\u03ae\u03c2<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Issue 8, September 2023 Righteous Images, Moralizing Screens: Censorship in the 20th Century Revisited edited by Maria Chalkou, Christos Triantafyllou Part 1: Special Issue EDITORIAL Editorial Note Christos Triantafyllou, Maria Chalkou ARTICLES Die Frau mit den Millionen (1923) \u03ba\u03b1\u03b9 Der F\u00fcrst der Berge (1932): \u0394\u03cd\u03bf \u03bc\u03b5\u03c3\u03bf\u03c0\u03bf\u03bb\u03b5\u03bc\u03b9\u03ba\u03ad\u03c2 \u03bc\u03b5\u03bb\u03ad\u03c4\u03b5\u03c2 \u03c0\u03b5\u03c1\u03af\u03c0\u03c4\u03c9\u03c3\u03b7\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7 \u03b4\u03b9\u03b5\u03b8\u03bd\u03b9\u03ba\u03ae \u03bb\u03bf\u03b3\u03bf\u03ba\u03c1\u03b9\u03c3\u03af\u03b1 \u03c3\u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03c3\u03c4\u03b5\u03c1\u03b5\u03bf\u03c4\u03c5\u03c0\u03b9\u03ba\u03cc \u03bb\u03cc\u03b3\u03bf \u03c3\u03c4\u03bf \u03c0\u03bb\u03b1\u03af\u03c3\u03b9\u03bf \u03c4\u03c9\u03bd…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-570","page","type-page","status-publish","hentry"],"wpmagazine_modules_lite_featured_media_urls":{"thumbnail":"","cvmm-medium":"","cvmm-medium-plus":"","cvmm-portrait":"","cvmm-medium-square":"","cvmm-large":"","cvmm-small":"","full":""},"categories_names":null,"comments_number":"0","_links":{"self":[{"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/pages\/570","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/comments?post=570"}],"version-history":[{"count":3,"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/pages\/570\/revisions"}],"predecessor-version":[{"id":637,"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/pages\/570\/revisions\/637"}],"wp:attachment":[{"href":"https:\/\/beta.strategikon.gr\/index.php\/wp-json\/wp\/v2\/media?parent=570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}