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Excerpted from a Greek music documentary on the rebetika legend Markos Vamvakaris:

MarkosVamvakarisCensoredLyricsMetaxasRebetika

He wasn’t allowed to sing these lyrics during the dictatorship of Metaxas, but the fact is if someone wrote similar lyrics today they too would be censored.

The reality with free speech in Greece  nowadays is more like this, with the same censorship of bloggers we see everywhere else in Europe:

Blogger, άνεργος και εθελοντής διασώστης, που κατήγγειλε αντεργατική συμπεριφορά εταιρίας security, καταδικάστηκε ερήμην με χρηματική πληρωμή και εάν δεν την πληρώσει η ποινή του θα είναι φυλάκιση 12 μηνών.
Ελληνική Δικαιοσύνη: «Καταγγέλλεις εταιρία security για αντεργατικές μεθόδους; Ή πλήρωσε ή μπες φυλάκιση»

Κυβέρνηση: «Θα τσακίσω τα μικρά blogs, θα δώσω λεφτά στα συστημικά ενημερωτικά portals και θα πω πως είμαι αριστερή»
Κυβέρνηση: «Θα τσακίσω τα μικρά blogs, θα δώσω λεφτά στα συστημικά ενημερωτικά portals και θα πω πως είμαι αριστερή»

The 2015 Greek documentary Refugee Highway by Chronis Pechlivanidis, a must-see documentary about the refugee crisis that will never be shown in Western countries because it completely humanizes the refugees, has now been made freely available on Vimeo for HQ viewing with Greek subtitles (74 minutes) and with English subs:

 

THE REFUGEE HIGHWAY is a feature-length docudrama in the form of a fiction about an Afghan family which flees their homeland illegally due to severe Taliban attacks to Greece.

They spend several years in exile in Iran before relocating to Greece in 2009, what they thought would be a final safe haven in which to raise their children. Instead, the nightmare they ran away from in Afghanistan catches up with them in Europe, in the centre of Athens. A bomb hidden in a briefcase mistaken for garbage by the 15-year old son and 10-year old daughter explodes, killing the boy and blinding the girl, while their mother bears witness to the attack.

Fear of Muslim immigrants as a security risk has intensified due to the increasing influx of refugees globally and constant coverage of international terrorism by the media. THE REFUGEE HIGHWAY gives a human face to these statistics. This moving film will challenge the audience to re-evaluate their understanding of the international refugee problem. It will reveal the harsh reality of human smuggling in the quest for safety and security.

– See more at: http://www.onos.gr/other-productions/the-refugee-highway/

Read more:

Δες το ντοκιμαντέρ του Χρόνη Πεχλιβανίδη, «Refugee Highway»
Ένα οδοιπορικό στις βαθιές πτυχές του προσφυγικού και μία αληθινή ιστορία

 

 

A few days ago Konstantina Voulgaris re-published the following 2015 article by her brother The Boy on her anarchist news blog Hit & Run:

This reblogging of the 2015 article just-oh-so-happened to coincide with Ronan Farrow’s public statements in The Hollywood Reporter wherein he confirmed that Woody Allen molested his sister Dylan Farrow and subsequently ran a cover-up of the scandal with the help of Hollywood, the American mainstream media and an army of lawyers, psychologists and publicists:

Quoting from The Hollywood Reporter, these are the heartfelt comments from a brother unapologetically standing up for his sister in a public forum and finally speaking truth to Hollywood’s power to cover up child abuse and to allow pedophiles to thrive in an atmosphere of virtual impunity:

I believe my sister. This was always true as a brother who trusted her, and, even at 5 years old, was troubled by our father’s strange behavior around her: climbing into her bed in the middle of the night, forcing her to suck his thumb – behavior that had prompted him to enter into therapy focused on his inappropriate conduct with children prior to the allegations.

But more importantly, I’ve approached the case as an attorney and a reporter, and found her allegations to be credible. The facts are persuasive and well documented. I won’t list them again here, but most have been meticulously reported by journalist Maureen Orth in Vanity Fair. The only final legal disposition is a custody ruling that found Woody Allen’s behavior “grossly inappropriate” and stressed that “measures must be taken to protect [Dylan].”

Here is exactly what charges not being pursued looked like in my sister’s case in 1993: The prosecutor met with my mother and sister. Dylan already was deeply traumatized – by the assault and the subsequent legal battle that forced her to repeat the story over and over again. (And she did tell her story repeatedly, without inconsistency, despite the emotional toll it took on her.) The longer that battle, the more grotesque the media circus surrounding my family grew. My mother and the prosecutor decided not to subject my sister to more years of mayhem. In a rare step, the prosecutor announced publicly that he had “probable cause” to prosecute Allen, and attributed the decision not to do so to “the fragility of the child victim.”

My mother still feels it was the only choice she could make to protect her daughter. But it is ironic: My mother’s decision to place Dylan’s well-being above all else became a means for Woody Allen to smear them both.”

Ronan Farrow: My Father, Woody Allen, and the Danger of Questions Unasked
https://www.yahoo.com/celebrity/father-woody-allen-danger-questions-unasked-guest-column-100415073.html

Additionally, read here what Ronan Farrow says about the role of the new media in exposing Hollywood pedophiles while the old media were busy running their cover-ups for them. What is particularly disturbing is that in Greece it’s actually the new media – websites like Flix.gr, Hitandrun.gr, etc – that are basically running the Woody Allen celebratory distraction like a chorus of cheerleaders, because these Athenian cinephile film-nerds have made it acceptable for Greek hipsters in general to openly flirt with pedophilia (the evidence of this is all over the Greek part of Facebook, with casual pedophilia being posted all over the place and Alexander posting incest child rape-jokes on his timeline such as: “O Woody Allen γαμάει,  ρώτα την κόρη του.”, which is really sickening to behold), and consider Woody Allen a hero exactly because he gets to molest his own daughter with virtual impunity, making him the ultimate badass in the eyes of these Athenian pedophilia-apologists:

But the old-school media’s slow evolution has helped to create a culture of impunity and silence. Amazon paid millions to work with Woody Allen, bankrolling a new series and film. Actors, including some I admire greatly, continue to line up to star in his movies. “It’s not personal,” one once told me. But it hurts my sister every time one of her heroes like Louis C.K., or a star her age, like Miley Cyrus, works with Woody Allen. Personal is exactly what it is – for my sister, and for women everywhere with allegations of sexual assault that have never been vindicated by a conviction.

Tonight, the Cannes Film Festival kicks off with a new Woody Allen film. There will be press conferences and a red-carpet walk by my father and his wife (my sister). He’ll have his stars at his side – Kristen Stewart, Blake Lively, Steve Carell, Jesse Eisenberg. They can trust that the press won’t ask them the tough questions. It’s not the time, it’s not the place, it’s just not done.

That kind of silence isn’t just wrong. It’s dangerous. It sends a message to victims that it’s not worth the anguish of coming forward. It sends a message about who we are as a society, what we’ll overlook, who we’ll ignore, who matters and who doesn’t.

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FB meme example of Americans making fun of child rape. #peak_American

Greek cinephiles and film-industry people are obsessed with this sack of filth because the Greek Minister of Culture appeared on TV a few years ago claiming that Woody Allen had supposedly expressed an interest in shooting his next movie in Greece. There is no actual public evidence of this whatsoever, but ever since that interview Greek cinephiles been doing one tribute to Woody Allen after another in the hopes that Woody Allen will see these tributes (yeah right) and will notice how much he is worshipped in Greece (like he gives a shit) and will basically hire these Athenian hipsters to be on the Greek film-crew of his next film (keep dreaming, he will probably just bring in his own crew from the States). In other words, these Greek cinephile hipsters are willing to associate themselves with someone who used his power to cover up his incest and pedophilia just for the sake of being able to list having worked on a Woody Allen movie on their IMDB profiles. This is the face of moral bankruptcy in Greece, which extends beyond the film-scene and into all avenues of society where corruption reigns supreme.

I still have somewhere in my archive a printscreen image of the TV interview that the then Greek minister of culture gave with one of the commercial TV channels during which she spoken favourably about Woody Allen coming to Greece for a filmshoot. I can’t find that still right now, but if I do locate it I will upload it here later, because everyone needs to see how a minister got on television and told the people of a country that she was looking forward to bringing in a child abuser to shoot a film, all in the name of kickstarting the Greek economy and profiling Greece abroad. This continuous stream of pedophilia-apologetics is completely unacceptable and must be condemned.

 

One of the many pink unicorns of the Filmmakers in the Fog protest movement was the creation of a National Greek Filmschool. As the documentaries below explain Greece already has several private filmschools as well as an academic film department, so there really is no need for yet another educational institution. The first documentary listed below shows that the amount of Greek films being released per year exploded due to the widespread use of digital means of filmmaking. Nothing indicates that the creation of a national filmschool would do anything to channel this explosion in digital filmmaking. The demand for the creation of such a school was rather a veiled attempt from the Athenian filmmakers to move filmstudents away from the city of Thessaloniki (where the state-run academic film department is located) to Athens, as well as to artificially create government-funded employment for FOG filmmakers to ensure a steady source of income for them through teaching when they are not making films. Rather than admit this, the demand for a National Film School remains to this day. The fact is that what filmmakers really need to survive financially is more commercial screening opportunities. Not more schools functioning as useless degree-factories. In a country where every household budget is in decline and the spending power of the individual consumer in search of divertisement has all but disappeared, it is unlikely that existing filmmakers will ever see the prudency of their films gaining more access to theatres rather than their unemployed asses gaining more access to government-funded school institutions at the expense of yet another generation of students deceitfully promised film careers but in the end left unemployed themselves with a worthless filmmaking degree.
A 2004 documentary about the state of Greek filmmaking, specifically of the Greek short film, four years before the crsis and five years before Filmmakers in the Fog (Greek, no subs). Note the demands for the creation a national Greek filmschool:

A 2013 documentary about the state of Greek filmmaking after Filmmakers in the Fog had pretty much collapsed as a movement (Greek, English subs). Note here the admission that nothing was done to create a national Greek filmschool despite the intent to do so:

And if you think this misery is exclusive to Greece, tune in later this year for the premiere of the following British documentary:

Why am I listing a documentary about British cinema in an article about the sorry state of Greek film and the misdirected demands for a new filmschool? Because everything that is detailed in this British documentary about the decline of the British film industry is twice the case in Greece. There was a British national cinema #FAIL before there was a Greek national cinema #FAIL and many Greek filmmakers are unaware of this fact. At least the British have the decency to admit that 1) they put the wrong people in the wrong positions (those appointed themselves openly admit as much) and 2) the destruction of the British film industry was the result of deliberate politics. Therefore, this British documentary while seemingly remote and irrelevant, must be seen back to back with the previous two Greek documentaries.