Reviewed by:

• The Queer Greek Weird Wave: Ethics, Politics and the Crisis of Meaning by Marios Psaras
• Harry Karahalios (bio)

Marios Psaras's book is an important contribution to the growing body of monographs and edited collections that analyze Greek filmmaking in the twenty-first century, particularly during the Greek economic crisis, and also locate Greek filmmaking in a European and international context. The monograph is based on Psaras's doctoral dissertation, "Family, Nation and the Medium under Attack: Queer Time and Space in Contemporary Greek Cinema," which he defended in 2015 at Queen Mary University of London.

One of The Queer Greek Weird Wave's contributions is that it analyzes Greek film production through a queer lens and thus contributes to the body of similar academic studies that probe socio-political context, question gender and sexuality, and redefine the construction of national identity and cultural formation in European filmmaking. More importantly, however, The Queer Greek Weird Wave, along with Konstantinos Kyriakos's Desires and Politics: The Queer History of Greek Cinema (1926–2016) (2016) and Dimitris Papanikolaou's There is Something about the Family: Nation, Desire, and Kinship at a Time of Crisis (2018), was the forerunner of a nascent body of scholarship about Greek queer filmmaking and Greek queer cultural production in general.

Despite the hesitation of film scholars to use the term weird as a way of describing Greek crisis cinema, Psaras recovers the "Greek Weird Wave" moniker, being careful, however, to question whether the trend is a direct product of the Greek economic crisis. At the same time, he positions it in a broader filmic genealogy of independent film production whose "oppositional aesthetics [have [End Page 587] challenged] the nation's official historicity and self-representation" (5). Psaras sets up his methodology in the monograph's introduction by presenting a genealogy of the nation's ideological apparatus, which has revolved around the conservative triptych of fatherland, religion, and family. This ideological triptych has consolidated the notion of Greekness since the late eighteenth century and has been deployed in different historical moments by the state in order to address various ideological threats. Nevertheless, strands of Greek cinematic production have taken an ambivalent approach to the nation-state's official ideology, often manifesting aesthetic interventions during different crises from the 1950s onward. The author draws on Rosalind Galt's (2013) concept of default cinema—a strand of global art cinema that addresses economic crisis through a radical queer critique—in order to illustrate this contrapuntal relationship between state ideology and cinema. The concept of default cinema helps Psaras link the "crisis of meaning" of the present to other moments of crisis in the past, and as a result connects the current "oppositional aesthetic" to a longer Greek filmic genealogy (1).

The chapters that follow the book's introduction present close textual analyses of contemporary Greek films that have been or could be linked to the category of the "Weird Wave." Psaras draws on queer theory, phenomenology, and the philosophy of ethics, among other fields, in order to consider the different manifestations of the Greek economic crisis, but also in order to connect the films to a wider history of oppositional Greek and international cinema. Chapter Two reads Dennis Iliades's Hardcore (2004) as a polemic against the banal nationalism that afflicted Greece during the prosperous early 2000s. In doing so, the author draws on Lee Edelman's (2004) notion of the sinthomosexual to show how the narratives of desire of the two female protagonists challenge hegemonic conceptualizations of the nation.

The following two chapters focus on the deconstruction of the Greek family by queering it. Chapter Three examines the way that Yorgos Lanthimos's Κυνόδοντας/Dogtooth (2009) dismantles the narrative of the heteronormative and patriarchal Greek family—traditionally a metaphor for the nation—in order to denounce its narrative construction as normative and homogeneous. In Chapter Four, Psaras reads Panos Koutras's Στρέλλα/A Woman's Way (2009) as a cinematic example of José Esteban Muñoz's (2009) "aesthetic queer utopias," which...

审核人：

• 奇怪的希腊怪异浪潮：伦理，政治与意义的危机by Marios Psaras
• 哈里·卡拉哈里奥斯（生物）

Marios Psaras的书是对不断增长的专着和编辑集的重要贡献，这些专着和编辑集分析了二十一世纪（特别是在希腊经济危机期间）希腊电影的制作，并将希腊电影的制作定位在欧洲和国际环境中。该专着基于帕萨拉斯的博士学位论文“家庭，国家和受攻击的媒介：当代希腊电影中的酷儿时空”，他于2015年在伦敦玛丽皇后大学为他辩护。

一个古怪的希腊古怪波的贡献在于，它分析了希腊电影制作过一个奇怪的镜头，从而有助于类似的学术研究，探头社会政治背景，问题性与性别的身体，并重新定义民族认同的建构和欧洲电影摄制中的文化形成。然而，更重要的是，《古希腊怪异浪潮》，《康斯坦丁诺斯·基里亚科斯的《欲望与政治：希腊电影的古史》（1926–2016）（2016）和迪米特里斯·帕帕尼科劳（Dimitris Papanikolaou）的《关于家庭的事：民族，欲望和亲属关系》危机时刻 （2018）是有关希腊酷儿电影制作和总体上希腊酷儿文化生产的新生奖学金的先驱。

尽管电影学者的犹豫使用术语怪异的描述希腊危机电影的方式，Psaras恢复“希腊古怪浪潮”的绰号，小心，然而，问题的趋势是希腊经济危机的直接产物。同时，他将其定位于独立电影制作的更广泛的电影谱系中，其“反对的美学[对[End Page 587]提出了挑战]该国的官方历史性和自我表现”（5）。帕萨拉斯通过介绍该国意识形态的家谱，在专着的介绍中确立了他的方法论，该家谱围绕着祖国，宗教和家庭的保守三联画展开。自18世纪末以来，为了应对各种意识形态威胁，国家在不同的历史时期进行了部署。然而，希腊电影的生产方式对民族国家的官方意识形态采取了矛盾的态度，在从1950年代开始的不同危机中常常表现出审美干预。作者借鉴罗莎琳德·加尔特（Rosalind Galt，2013）的默认电影概念（这是一门全球艺术电影，通过激进的酷儿批评来应对经济危机），以说明国家意识形态与电影之间这种矛盾的关系。默认电影的概念有助于Psaras将当前的“意义危机”与过去其他危机时刻联系起来，从而将当前的“反对美学”联系起来

本书引言之后的各章对已经或可能与“怪异的浪潮”类别相关的当代希腊电影进行了详尽的文本分析。帕萨拉斯借鉴了古怪的理论，现象学和伦理哲学，以及其他领域，以考虑希腊经济危机的不同表现形式，并将电影与对立的希腊和国际电影的更广泛的历史联系起来。第二章将丹尼斯·伊利亚德斯（Dennis Iliades）的《铁杆》（Hardcore，2004年）解读为对在繁荣的2000年代初期困扰希腊的平庸民族主义的争论。在此过程中，作者借鉴了李·爱德曼（Lee Edelman，2004）的关于同性恋的概念。 展示了两位女性主角的欲望叙事如何挑战国家的霸权概念化。

接下来的两章着重于对希腊家庭的解构。第三章探讨了Yorgos Lanthimos的Κυνόδοντας/ Dogtooth（2009）拆除了异性规范和父权制希腊家庭的叙事的方式（传统上是国家的隐喻），以便谴责其叙事结构是规范性和同质性的。在第四章中，Psaras阅读了Panos Koutras的Στρέλλα/ A Woman's Way（2009），作为JoséEstebanMuñoz（2009）的“审美酷儿乌托邦”的电影示例。