Thursday, March 4, 2010



In Greece, education-centered films are rare. Most of them were produced during the 1980s and were of bad taste, knock-about comedies. We chose two films and a documentary, representative of:

  • the time,
  • the changes (social and political),
  • the differences in setting, theme, plot, and character,
  • the implied radicalness,
  • the popularity and critical praise,

and they were studied and analyzed for :

Ø the specific images they portray relative to the good teacher, the good student and the good school

Ø the treatment of race, ethnicity, gender, language, and class

Ø the critical frameworks and theoretical perspectives included in Image and Education

Ø the potential consequences of pedagogical image, specifically anti-democratic, anti-collectivity, disciplinarity, oppression, and inauthenticity.

Ø the implications relative to resistance, in terms both of how resistance is represented within the texts themselves, and how each might be appropriated for a resistance-based pedagogy in the classroom.


The Greek cinema is one of the most important pieces of the Modern Greek culture, in spite of its young age and the poor means of the Greek cinematographic production. It gave birth to masterpieces of cinematographic art and made world known important directors, scenario writers, photography directors, composers and amazing actors. We consider the Greek cinema as a single total and we do not make the segregation in old commercial and new qualitative cinema, a segregation that we consider false and factitious. If there is a need to “partition” for historical reasons, we can spot three periods.

v Pre World War II, that includes the first attempts for the creation of local cinematographic production.

v After World War II, that substantially begins by the end of the German occupation, with the film “Claps” of Giorgos Tzavellas.

v The Post World War II era that begins with the liberation and emancipation of the artistic forces after the fall of the dictatorship (1973) and considers the film "Thiasos" (theatre troupe) of Thodoros Aggelopoulos as its brilliant starting line. For us commercial and qualitative segregation does not exist in the Greek cinema. As in all the Arts thus and here, exists only good and bad cinema, no matter what side its creators place themselves.

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