The article examines formal and informal film distribution in Greece since the financial crisis of 2009. By ‘formal’ I refer mainly to commercially organized theatrical, DVD and online distribution, while ‘informal’ consists of various networks of unlicensed circulation of films, usually referred to as ‘piracy’. The article’s aims are threefold: As a media industries study, it focuses on formal distribution; it identifies the players that are involved in the process of rights acquisition and promotion of feature films in Greece, and explains their working practices. From a film studies perspective, it explores the mediating role of - both formal and informal - film distribution in helping (re) define and question the notion of national cinema. And finally, from a broader cultural studies angle, it presents a profile of the country in terms of what films circulate and how they are being watched, while pointing to comparisons with global and other national patterns of change. The article positions Greece in the broader context of recent debates around contemporary film distribution and piracy, highlights methodological issues, and identifies the way in which global distribution practices manifest themselves locally in a specific ‘small’ territory of the European periphery.

中文翻译：

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希腊的电影发行：金融危机以来的正式和非正式流通网络

本文考察了自 2009 年金融危机以来希腊的正式和非正式电影发行。我所说的“正式”主要是指商业组织的戏剧、DVD 和在线发行，而“非正式”则包括各种未经许可的电影流通网络，通常指的是作为'盗版'。本文的目的有三个：作为媒体行业研究，它侧重于正式发行；它确定了参与希腊故事片版权获取和推广过程的参与者，并解释了他们的工作实践。从电影研究的角度，它探讨了正式和非正式电影发行在帮助（重新）定义和质疑国家电影概念方面的中介作用。最后，从更广泛的文化研究角度，它根据电影的传播方式和观看方式展示了该国的概况，同时指出了与全球和其他国家变化模式的比较。这篇文章将希腊置于最近围绕当代电影发行和盗版的辩论的更广泛背景中，突出方法论问题，并确定了全球发行实践在欧洲外围特定“小”领土上的本地表现方式。