*CFP* “THE FILMS OF ANTOUANETTA AGGELIDI”, REFOCUS, BOOK CHAPTERS

Antouanetta Aggelidi is a Greek film director and visual artist. Her work is unique and has had a significant impact on experimental cinema. She has directed four full-length fiction films – Idées Fixes / Dies Irae (1977), Topos (1985), The Hours: A Square Film (1995) and Thief or Reality (2001) – which have been screened at international film festivals and contemporary art museums, while she has also shot several short films and created visual installations. She is a member of the European Film Academy (E.F.A.) and a founding member of the Hellenic Film Academy (H.F.A.), of which she was the vice-president from 2009 to 2011. The inversion and juxtaposition of codes, as well as the dream-mechanism and the uncanny, constitute her main creative strategies. The complexity of cinematic heterogeneity and the narrative multiplicity of different filmic elements characterize her work.

Although Antouanetta Aggelidi is recognised as an important filmmaker and artist from Greece, there is lack of international academic texts and books regarding her work. Even if there are some books about Aggelidi, all of them are in Greek, making it very difficult for international scholars to learn about and research her work. Moreover, these books have a biographical tone, and so there is no sustained academic monograph or edited collection that covers the entirety of her work. This edited collection will fill this gap in the academic community. The proposed edited collection intends to put together a comprehensive and fresh study of her work.

*CFP* "THE CINEMA OF YORGOS LANTHIMOS: A CINEMA OF APATHY", EDITED COLLECTION

The cinema of Yorgos Lanthimos is emerging as one of the most exciting bodies of work in contemporary film. Lanthimos broke into feature filmmaking with the romantic-comedy My Best Friend before going on to direct his own screenplay with the considerably more experimental Kinetta, a film that foreshadowed much of his later work. Lanthimos found international acclaim with Dogtooth in 2009, which was followed by a string of festival hits that include Alps, The Lobster, The Killing of a Sacred Deer, and The Favourite. While Lanthimos is mostly known for his work as a director, he has also notably served as actor and producer in collaborator Athina Rachel Tsangari’s Attenberg. There are arguments to be made that Lanthimos’s cinema demonstrates clear authorial continuity between texts, and is recognisable for its contravention of aesthetic, thematic and generic boundaries. Across an impressive body of work, Lanthimos has demonstrated a sustained preoccupation with trauma, grief, loss, loneliness, sex and violence that continue to be the thematic currency of his work.  Given the recent success of The Favourite, and coinciding with Lanthimos's now considerable status within international film discourse, it is high time that he is given the scholarly scrutiny that his cinema deserves. In keeping with the range of perspectives that Lanthimos’s cinema invites, an edited collection of writing will allow for an evocative survey of approaches to one of the most distinct filmographies in contemporary cinema.