Abstract:The journeys and travails of Albanian immigrants in Greece have featured prominently in contemporary Greek films from 1993 onward. The identity-based strategies of representation we find in these films contest the xenophobic logic of the Greek media, which has reproduced criminality as a mainstay of Albanian identity. At the same time, Greek migration films have failed to radically reassert the terms of belonging, since filmmakers project victimhood in their efforts to portray the hostility of the Greek host. This article addresses two case studies from this corpus, Mirupafshim (See You, 1997) and Eduart (2006), which envision Albanian identities beyond the constraints of otherness, affording genuine humanity and individuality to their migrant protagonists. Analysis of the films’ screenplays, editing, and cinematography provides the basis for an understanding of their challenging evocation of identity, inviting further debate regarding Greek migration cinema and filmic portrayals of Albanian immigrants and Albania.

中文翻译：

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在 Eduart 和 Mirupafshim 中重塑阿尔巴尼亚人的身份

摘要：从 1993 年起，阿尔巴尼亚移民在希腊的旅程和艰辛在当代希腊电影中占有突出地位。我们在这些电影中发现的基于身份的表现策略与希腊媒体的仇外逻辑相矛盾，希腊媒体将犯罪作为阿尔巴尼亚身份的中流砥柱。与此同时，希腊移民电影未能从根本上重申归属感，因为电影制片人在努力描绘希腊东道主的敌意时投射了受害者。本文讨论了该语料库中的两个案例研究，Mirupafshim（见你，1997 年）和 Eduart（2006 年），它们设想阿尔巴尼亚人的身份超越他者的限制，为他们的移民主角提供真正的人性和个性。电影剧本分析、剪辑、