Short CV

Eleftheria Thanouli is Professor in Film Theory. Her research interests include the representation of history on film, film narratology, digital cinema, film and politics, and world cinema. She is the author of three monographs: Post-classical Cinema: an International Poetics of Film Narration (London: Wallflower Press, 2009), Wag the Dog: a Study on Film and Reality in the Digital Age (New York: Bloomsbury, 2013) and History and Film: A Tale of Two Disciplines (New York: Bloomsbury, 2018) and A Guide to Post-classical Narration: The Future of Film Storytelling (Bloomsbury, 2023). She has also contributed chapters in key publications, such as The Routledge Encyclopedia of Film Theory (London: Routledge, 2013), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford UP, 2013) and The Routledge Companion to Cinema and Politics (New York: Routledge, 2016). 

Publications

Books

• A Guide to Post-classical Narration: The Future of Film Storytelling (Bloomsbury, 2023)
• History and Film: A Tale of Two Disciplines (New York: Bloomsbury, 2018)
• Wag the Dog: A Study on Film and Reality in the Digital Age (New York: Bloomsbury, 2013)
• Post-classical cinema: An international poetics of film narration (London: Wallflower Press, 2009)

Articles in referred journals

• “A Nazi hero in Greek cinema: history and parapraxis in Kostas Manousakis’s Prodosia.” Journal of Greek Media & Culture 1.1 (2015): 63-77.

• ‘The prospects of a European independent cinema: new stakes and tactics in the era of globalization and new solutions’, Utopia, 91(Sep.-Oct. 2010): 165-178.
• ‘Art cinema’ narration today: Breaking down a wayward paradigm’, Scope, 14, (June 2009): 1-14.
• Orson Welles and Rouben Mamoulian: Dr. Jekyll and Mr. Hyde?, Kinema, 30 (2008): 79-92.
• ‘Narration in World cinema: mapping the flows of formal exchange in the era of globalization’, New Cinemas, (January 2008), 6, 1: 5-16.
• ‘Post-classical narration: a new cinematic paradigm in contemporary cinema’, New Review of Film and Television Studies, (December 2006), 4, 3: 183-196.
• ‘World War II revisited: narration and representations of War in Terrence Malick’s The Thin Red Line’, Kinema, 23, (2005): 45-60.
• ‘Hyperreal space and urban experiences in contemporary Greek cinema’, Cinema et Cie, no. 5, (October 2004): 100-6.

Chapters in edited volumes

• “Representing 9/11 in Hollywood cinema” in Yannis Tzioumakis and Claire Molloy (eds), 2016. The Routledge Companion to Cinema and Politics (New York: Routledge, 2016): 301-311.

• ‘Debating the Digital: Film and Reality in Barry Levinson’s Wag the Dog’, στο Carol Vernallis, Amy Herzog and John Richardson, The Oxford Handbook of Sound and Image in Digital Media, Oxford: Oxford UP (Υπό έκδοση)
• ‘Film style in Old Greek Cinema: the case of Dinos Dimopoulos’, in Yannis Tzioumakis and Lydia Papadimitriou (eds) (2012), Greek Cinema: Texts, Histories, Identities (London: Intellect).
• ‘The moving images in the digital era: Looking into the changes in the nature and form of the cinematic medium’ in Michalis Kokkonis, Grigoris Paschalidis and Philimon Bantimaroudis (eds), (2010), Digital Media: The culture of sound and spectacle, (Athens: Kritiki): 83-113.
• ‘To Be or Not to Be Post-Classical? That is the Question’ in Patricia Pisters, Jaap Kooijman and Wanda Strauven (eds) (2008), Mind the Screen: Media Concepts According to Thomas Elsaesser (Amsterdam: Amsterdam U. P.): 218-228.
• ‘Looking for Access in Narrative Complexity. The new and the old in Oldboy’, in Warren Buckland (ed.) (2008), Puzzle films: Complex Storytelling in contemporary cinema (London: Blackwell): 217-232.