ABSTRACT 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.

中文翻译：

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外围的转变：自金融危机以来资助希腊的电影制作

摘要 本文重点关注希腊，并探讨了 2010 年至 2015 年期间电影制作资助文化发生变化的程度和方式。它描绘了这一时期电影人所采用的混合融资模式，并探讨了采用众筹等新模式的程度，更充分地接受欧洲合拍机会，以及传统融资模式的程度例如，一方面是国家资助，另一方面是由分销商主导的私人支持一直存在。作为一个欧洲外围国家，并且在最近的金融危机中受到特别严重的打击，希腊提供了一个很好的例子，说明了不确定但具有创造性的生产力、文化和金融转型过程。在技​​术引领的全球变化的更广泛背景下，国家案例研究说明了国家和私人自上而下的资助举措如何开始与自下而上的制作和传播过程共存，以及一些新参与者如何进入现场。通过探索希腊电影制作的新融资文化所揭示的模式有助于了解全球经济转型对国家层面的影响，并帮助我们评估新的小型市场融资模式的有效性和可行性。