Geli Mademli - Academia.edu (original) (raw)
Papers by Geli Mademli
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations of crisis in Greece, leading to a crisis of representation. Second, it addresses the complexity of the relationship between humans, technologies, narratives, material and non-material actors, and in particular in the process of filming external reality, suggesting the ability of this nexus to evoke new, critical subjectivities in times of crisis.
European Journal of English Studies
Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.
This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rac... more This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rachel Tsangari, which was commissioned by the non-profit organization DESTE Foundation for Contemporary Art in the context of a project that bridges fashion and other art forms. Through an analysis of both the installation piece and the film that comprise the artwork, the article argues that The Capsule introduces a methodological tool for the understanding of artistic practices: a concept named after its own title and adapting Andrew Pickering’s notion of the ‘mangle of practice’ from the context of the production of scientific knowledge to the one defined by two artistic expressions – fashion and cinema – which are often regarded as commodities yet they negotiate in a profound way the processes of subjectification within fixed social norms. The goal of the article is to prove how this particular interaction between fashion and cinema will help us perceive them as primarily performative m...
Filmicon, Journal of Greek Film Studies, 2018
This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light... more This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light of contemporary apparatus theory. A close reading of a number of sequences aims to highlight the importance of the film's legacy for New Greek Cinema, its uniqueness in conveying the specificity of the cinematic medium, and its role in the emergence of a new subjectivity entangled with the crisis of ideology. My analysis situates the film's release within the socio-political context of Greek film industry of the time, but diverges from social science methodologies in cinema studies: By focusing primarily on the filmic devices and tropes that reveal the agency of the cinematic dispositif, I suggest that the film responds to the bulk production of Greek art-house historical films during the polity change (i.e. the transition from Military Junta to democracy from 1974 onwards) with individuating what Jacques Rancière calls "the emancipated spectator" (2011). By delineating a radical form of cinephilia that acknowledges the mechanisms of visual assemblages, I argue, Revanche urges the viewers to consider the complex relation between technology and representation, past and present, the personal and the political.
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations o...
Peripheral Visions in the Globalizing Present, 2000
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations o...
Journal of Greek Media & Culture
Journal of Greek Media & Culture
FILMICON: Journal of Greek Film Studies ISSUE 5, December 2018, 2018
This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light... more This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light of contemporary apparatus theory. A close reading of a number of sequences aims to highlight the importance of the film's legacy for New Greek Cinema, its uniqueness in conveying the specificity of the cinematic medium, and its role in the emergence of a new subjectivity entangled with the crisis of ideology. My analysis situates the film's release within the socio-political context of Greek film industry of the time, but diverges from social science methodologies in cinema studies: By focusing primarily on the filmic devices and tropes that reveal the agency of the cinematic dispositif, I suggest that the film responds to the bulk production of Greek art-house historical films during the polity change (i.e. the transition from Military Junta to democracy from 1974 onwards) with individuating what Jacques Rancière calls "the emancipated spectator" (2011). By delineating a radical form of cinephilia that acknowledges the mechanisms of visual assemblages, I argue, Revanche urges the viewers to consider the complex relation between technology and representation, past and present, the personal and the political.
Fashionating Images: Audiovisual Media Studies Meet Fashion / Comunicazioni Sociali – Journal of Media, Performing Arts and Cultural Studies Vol. 1, Vita e Pensiero Pubs. , 2017
This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rac... more This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rachel Tsangari, which was commissioned by the non-profit organization DESTE Foundation for Contemporary Art in the context of a project that bridges fashion and other art forms. Through an analysis of both the installation piece and the film that comprise the artwork, the article argues that The Capsule introduces a methodological tool for the understanding of artistic practices: a concept named after its own title and adapting Andrew Pickering’s notion of the ‘mangle of practice’ from the context of the production of scientific knowledge to the one defined by two artistic expressions – fashion and cinema – which are often regarded as commodities yet they negotiate in a profound way the processes of subjectification within fixed social norms. The goal of the article is to prove how this particular interaction between fashion and cinema will help us perceive them as primarily performative media, as opposed to representational ones.
Breaking Labels, Frames Cinema Journal, Issue 9, 2016
Book Chapters by Geli Mademli
We, the Monster, Orestis Andreadakis (ed), Thessaloniki Film Festival Publications, Thessaloniki/Athens, 2024
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations of crisis in Greece, leading to a crisis of representation. Second, it addresses the complexity of the relationship between humans, technologies, narratives, material and non-material actors, and in particular in the process of filming external reality, suggesting the ability of this nexus to evoke new, critical subjectivities in times of crisis.
Compact Cinematics: The Moving Image in the Age of Bit-Sized Media, Bloomsbury Academic, pp. 75–81, 2017
This essay focuses on film festivals and the transition from the offline editions to the digital ... more This essay focuses on film festivals and the transition from the offline editions to the digital online environment, and the transformation in curatorial practices it entails. It argues that the development of network technologies has led to the elimination of the role of the festival curator/programmer as an expert authority and an intermediary agent between different interested parties in the film industry. Through a series of examples, it analyzes the complications in the gradual shift of attention from the curator to the view(s)ers and the ways in which the latter are prompted to interact with the platform apparatus, with an emphasis in the importance of a short film format.
Peripheral Visions in the Globalizing Present: Space, Mobility, Aesthetics, Brill Publishers, Thamyris/Intersecting: Place, Sex and Race Series, Volume: 31), 2016
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations of crisis in Greece, leading to a crisis of representation. Second, it addresses the complexity of the relationship between humans, technologies, narratives, material and non-material actors, and in particular in the process of filming external reality, suggesting the ability of this nexus to evoke new, critical subjectivities in times of crisis.
European Journal of English Studies
Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.
This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rac... more This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rachel Tsangari, which was commissioned by the non-profit organization DESTE Foundation for Contemporary Art in the context of a project that bridges fashion and other art forms. Through an analysis of both the installation piece and the film that comprise the artwork, the article argues that The Capsule introduces a methodological tool for the understanding of artistic practices: a concept named after its own title and adapting Andrew Pickering’s notion of the ‘mangle of practice’ from the context of the production of scientific knowledge to the one defined by two artistic expressions – fashion and cinema – which are often regarded as commodities yet they negotiate in a profound way the processes of subjectification within fixed social norms. The goal of the article is to prove how this particular interaction between fashion and cinema will help us perceive them as primarily performative m...
Filmicon, Journal of Greek Film Studies, 2018
This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light... more This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light of contemporary apparatus theory. A close reading of a number of sequences aims to highlight the importance of the film's legacy for New Greek Cinema, its uniqueness in conveying the specificity of the cinematic medium, and its role in the emergence of a new subjectivity entangled with the crisis of ideology. My analysis situates the film's release within the socio-political context of Greek film industry of the time, but diverges from social science methodologies in cinema studies: By focusing primarily on the filmic devices and tropes that reveal the agency of the cinematic dispositif, I suggest that the film responds to the bulk production of Greek art-house historical films during the polity change (i.e. the transition from Military Junta to democracy from 1974 onwards) with individuating what Jacques Rancière calls "the emancipated spectator" (2011). By delineating a radical form of cinephilia that acknowledges the mechanisms of visual assemblages, I argue, Revanche urges the viewers to consider the complex relation between technology and representation, past and present, the personal and the political.
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations o...
Peripheral Visions in the Globalizing Present, 2000
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations o...
Journal of Greek Media & Culture
Journal of Greek Media & Culture
FILMICON: Journal of Greek Film Studies ISSUE 5, December 2018, 2018
This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light... more This paper presents an analysis of Nikos Vergitsis's second feature film Revanche (1983) in light of contemporary apparatus theory. A close reading of a number of sequences aims to highlight the importance of the film's legacy for New Greek Cinema, its uniqueness in conveying the specificity of the cinematic medium, and its role in the emergence of a new subjectivity entangled with the crisis of ideology. My analysis situates the film's release within the socio-political context of Greek film industry of the time, but diverges from social science methodologies in cinema studies: By focusing primarily on the filmic devices and tropes that reveal the agency of the cinematic dispositif, I suggest that the film responds to the bulk production of Greek art-house historical films during the polity change (i.e. the transition from Military Junta to democracy from 1974 onwards) with individuating what Jacques Rancière calls "the emancipated spectator" (2011). By delineating a radical form of cinephilia that acknowledges the mechanisms of visual assemblages, I argue, Revanche urges the viewers to consider the complex relation between technology and representation, past and present, the personal and the political.
Fashionating Images: Audiovisual Media Studies Meet Fashion / Comunicazioni Sociali – Journal of Media, Performing Arts and Cultural Studies Vol. 1, Vita e Pensiero Pubs. , 2017
This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rac... more This article focuses on the multi-media artwork The Capsule by the Greek film director Athina Rachel Tsangari, which was commissioned by the non-profit organization DESTE Foundation for Contemporary Art in the context of a project that bridges fashion and other art forms. Through an analysis of both the installation piece and the film that comprise the artwork, the article argues that The Capsule introduces a methodological tool for the understanding of artistic practices: a concept named after its own title and adapting Andrew Pickering’s notion of the ‘mangle of practice’ from the context of the production of scientific knowledge to the one defined by two artistic expressions – fashion and cinema – which are often regarded as commodities yet they negotiate in a profound way the processes of subjectification within fixed social norms. The goal of the article is to prove how this particular interaction between fashion and cinema will help us perceive them as primarily performative media, as opposed to representational ones.
Breaking Labels, Frames Cinema Journal, Issue 9, 2016
We, the Monster, Orestis Andreadakis (ed), Thessaloniki Film Festival Publications, Thessaloniki/Athens, 2024
Languages of Resistance, Transformation, and Futurity in Mediterranean Crisis-Scapes, Palgrave Studies in Globalization, Culture and Society series, pp.231-248, 2020
This chapter examines the potential of media technologies in challenging established discourses r... more This chapter examines the potential of media technologies in challenging established discourses regarding the Greek political, social, and financial crisis, through an analysis of two documentary projects that were launched in the same period, around 2011. The two platforms in focus, namely The Prism GR 2011 and The Caravan Project, were both initiated in an attempt to capture the onset and evolution of the economic recession in Greece, and its impact on social life and everyday politics, through the aggregation and display of micro-narratives of citizens living in the periphery of the country or of its major urban centers. By analyzing the diverse media methodologies implemented, and more specifically archival practices that are rooted in collective documentation, mobility, and interactivity, this chapter pursues a twofold goal. First, it aims to reveal the complications that arise from every act of representation, and in particular in relation to the abundance of representations of crisis in Greece, leading to a crisis of representation. Second, it addresses the complexity of the relationship between humans, technologies, narratives, material and non-material actors, and in particular in the process of filming external reality, suggesting the ability of this nexus to evoke new, critical subjectivities in times of crisis.
Compact Cinematics: The Moving Image in the Age of Bit-Sized Media, Bloomsbury Academic, pp. 75–81, 2017
This essay focuses on film festivals and the transition from the offline editions to the digital ... more This essay focuses on film festivals and the transition from the offline editions to the digital online environment, and the transformation in curatorial practices it entails. It argues that the development of network technologies has led to the elimination of the role of the festival curator/programmer as an expert authority and an intermediary agent between different interested parties in the film industry. Through a series of examples, it analyzes the complications in the gradual shift of attention from the curator to the view(s)ers and the ways in which the latter are prompted to interact with the platform apparatus, with an emphasis in the importance of a short film format.
Peripheral Visions in the Globalizing Present: Space, Mobility, Aesthetics, Brill Publishers, Thamyris/Intersecting: Place, Sex and Race Series, Volume: 31), 2016
AVANCA | CINEMA International Conference Proceedings , 2015
This paper focuses on an emerging range of contemporary narrative films that deal with the experi... more This paper focuses on an emerging range of contemporary narrative films that deal with the experience of the human-through the cinematic experience-as an "archived" one: as an ensemble of artefacts, a practice of negotiation between cultural 'erasure' and preservation, or of classification, storing, processing and retrieving, an example of discontinuity. The aim of this study is introducing a certain typology in detecting generic qualities in a broader corpus of films, and introducing an alternative analysis of what comprises a selfie film. Totally aware of the merging of the colorations of the term "archive" into a more generic umbrella, as an inevitable side-effect of the globalised information society, the makers of these films discard conventional techniques (such as found footage) for suggesting the introduction of new temporalities and of the element of "authenticity," for fear of connecting the archive to the realm of the past. In that context, the films Nymphomaniac by Lars von Trier, Jonathan Glazer's Under the Skin and Richard Linklater's Boyhood, will serve as our case studies.
Visions of Identity: Global Film and Media | The London Film & Media Reader 4 , 2014
FILMICON: Journal of Greek Film Studies, ISSUE 3, October 2015, 2015
Greek Studies Now: Cultural Analysis Workshop, 2022
The Whole Life Repository (Published by Haus der Kulturen der Welt (HKW) in the framework of The Whole Life: An Archive Project), 2021
TORCH | The Oxford Research Centre in the Humanities Humanities Division - University of Oxford (Blog), 5 June 2020, 2020
FILMICON: Journal of Greek Film Studies Blog, 5 September 2016, 2016
In its fourth edition, Syros International Film Festival gave a carte blanche to an emblematic fi... more In its fourth edition, Syros International Film Festival gave a carte blanche to an emblematic figure of experimental filmmaking to curate one of its programs. Pip Chodorov was born in 1965 to a writer and a painter and raised on a farm. He started making films and music in 1971, after studying cognitive science at the University of Rochester. He then moved to Paris to study film semiotics, and in 1990 joined the legendary experimental filmmakers cooperative Light Cone. During his visit to the Greek island, this devoted supporter of the cinematic as a thought process explained how films can function as points of entry to a different state of consciousness and gave us a rare opportunity to discuss the challenges of programming in the era of vast accessibility.
Proximities: Folded Readings on the Archival / A Publication of the Whole Life Academy, supported by the Haus der Kulturen der Welt, 2022
… "sense of loss, of what William Gibson calls the Gone World: 'Somewhere, surely, there is a sit... more … "sense of loss, of what William Gibson calls the Gone World: 'Somewhere, surely, there is a site that contains … everything we have lost,' he suggests, and it is not clear whether he believes one could actually find it." 11 Our guerilla collective hacks the diagrams. Space, matter, and time. The essence of metaphysics in virtuality is based on a logical correlation of sujet, its durée, and memories. The existence is the eternity of life while it is the sum of durée. The essence of temporality. Archives are expected to leap over it per se. "An in nite number of di ractions" 12 Quantum principle of ontological indeterminacy. Space, Quantum principle of ontological indeterminacy. Space, matter, and time. And void: "Virtuality is the indeterminacy of being/nonbeing, a ghostly non/existence. The void is a spectral realm; not even nothing can be free of ghosts. Virtual particles do not traffic in a metaphysics of presence.