Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Lee, Toby Kim. 2013. Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11181137 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival A dissertation presented by Toby Kim Lee to The Department of Anthropology in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Anthropology Harvard University Cambridge, Massachusetts April 30, 2013 © 2013 Toby Lee All rights reserved. Dissertation Advisor: Professor Michael Herzfeld Toby Lee Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival Abstract This dissertation explores the relationship between state, citizen and public culture through an ethnographic and historical examination of the Thessaloniki International Film Festival in northern Greece. In the two-year period leading up to and following its fiftieth anniversary in 2009, the festival was caught up in the larger economic, political and social crises that have overtaken Greece in the last five years - a painful period of rapid transformation and neoliberalization for one of Europe’s staunchest social-welfare states. As the Greek state faces bankruptcy - both economic and political - it is being forced to revisit the terms of its social contract with its citizens. In a country where “culture” was once touted as a national “heavy industry,” the relationship between the state and cultural production is also being restructured. Public culture is one of the areas of social life in which people are now struggling with these changes and attempting to redefine what it means to be a citizen of the Greek state - utilizing and revising local, national and transnational identities in the process. In this larger context, I consider how the Thessaloniki Film Festival functions as an institution of public culture. Specifically, this dissertation investigates how different film publics come together within the space of the festival and how, on the occasion of the institution’s fiftieth anniversary, different social histories of cinema were being constructed in response to the iii present crises. I also take an in-depth look at a Greek filmmakers’ movement that boycotted the festival’s fiftieth-anniversary edition as a way of protesting the state and demanding a new national film policy. Through these investigations, I analyze how different forms of publicness, collectivity and citizenship are negotiated and enacted, both by the institution and by members of its publics and counterpublics. I argue that practices of cultural citizenship - forms of citizenship that arise where fields of cultural production meet the practices and discourses of the state - can constitute important forms of resistance, attempts at recuperating a critical public sphere and reclaiming a citizenship based on the experience of a critical collectivity. iv TABLE OF CONTENTS Acknowledgments vi Note on translation & transliteration viii Introduction 1 Chapter 1 - Publics 58 Chapter 2 - Histories 101 Chapter 3 - Counterpublics 143 Conclusion 191 Bibliography 203 v ACKNOWLEDGMENTS One of the paradoxes - and pleasures - of writing a dissertation is that what often feels like a solitary journey is actually quite the opposite. The past nine years have brought many friends, mentors and helpful souls, without whose generosity and kindness this dissertation could not have been completed. I come away from this process with many lessons learned, but above all else, with a deep sense of gratitude: To my supervisor Michael Herzfeld, and to the members of my dissertation committee: Lucien Castaing-Taylor, Mary Steedly and David Rodowick. To Karen Van Dyck, for her mentorship and friendship, then and now. To Vassiliki Yiakoumaki, Vangelis Calotychos, Vanessa Schwartz and Anne Higonnet. To the many people I met in the field who graciously accepted my inquiring presence and allowed me to become a part of their lives: Kostas Aivaliotis, Eleni Alexandrakis, Giannis Bakogiannopoulos, Giannis Chatzigogas, Elena Christopoulou, Michel Demopoulos, Dimitris Eipides, Notis Forsos, Marcos Holevas, Athina Kartalou, Dimitris Kerkinos, Valerie Kontakos, Marineta Kritikou, Lia Lazaridou, Thomas Linaras, Vardis Marinakis, Lina Milonaki, Anna Milossi, Despina Mouzaki, Afroditi Nikolaidou, Nasia Pantazopoulou, Lilly Papagianni, Nikos Perakis, Angeliki Petrou, Maria Polyviou, Lucia Rikaki, Tasia Sempsi, Dimitris Sofianopoulos, Thanos Stavropoulos, Nella Tampouri, Ifigenia Taxopoulou, Themis Veleni, Angeliki Vergou. To the organizations that provided crucial support at various stages of research and writing: Artemis Zenetou and the Fulbright Foundation in Greece, the Dan David Foundation, the Social Science Research Council, the Minda de Gunzburg Center for European Studies at Harvard vi University, and the Harvard Film Study Center. To friends and fellow travelers: Elena Mamoulaki, Tracey Rosen, Felicity Aulino, Jeremy LaBuff, Fotini Lazaridou-Hatzigoga, JP Sniadecki, Diana Allan, Ernst Karel, Stelios Kazadzis, Vassilis Amoiridis, Aimee Placas, Katerina Rozakou. To John Bruce, for the invaluable gift of time and quiet. To Steve Holmgren, J.D. To my family: to my mother Kihan Lee, and to Suzy, Johnny, George and the little ones. My foundation, my compass, my invisible net. To Paweł Wojtasik, for his endless patience, wisdom, silliness and love. All of this - the work, the years - is dedicated to my father, Kun S. Lee. vii NOTE ON TRANSLATION AND TRANSLITERATION Foreign quotations - whether from written or oral sources - are translated into English by the author, unless the reference itself is already taken from an English translation and cited accordingly. I also provide my own translation of foreign titles in the bibliography. In the transliteration of Greek words, I have generally followed the phonetic system used by the US Board on Geographic Names, with some slight modifications, primarily for visual purposes. In the transliteration of names and place-names, I defer to most common usage as well as to the way that individuals or organizations normally choose to render their names in Latin script. viii INTRODUCTION On a sunny October afternoon in 2009, I met a filmmaker friend, Nicoletta, for a quick coffee. She had come up from Athens to Thessaloniki for just a few days, for a public presentation of a documentary workshop that she had led earlier that semester with local high school students. Nicoletta was a perpetually active, lively figure who always seemed to be bustling from one project to another - leading film workshops at schools and festivals, teaching in the state film school in Thessaloniki, working for hire as a filmmaker while also trying to get a half dozen of her own film projects off the ground. As she told me about the latest obstacles to getting her new documentary in production - she had applied to the Greek Film Center and to ERT, the national television channel, for funding but had been turned down by both - she lamented the state of public funding for the arts in Greece more generally. On the one hand, she complained about institutions like the Film Center and ERT, which she described as both inefficient bureaucracies & exclusive clubs, in either case impossible to penetrate. On the other hand, she said that the amount of public funding available to go around was meager to being with, and the economic crisis, the full magnitude of which was only beginning to become apparent in 2009, would only make the situation worse. Half-jokingly, she threw up her hands in a show of mock-surrender and quipped that soon, she would have to leave Greece and seek work elsewhere, as a “cultural immigrant” (politismiki metanastis). 1 It was a light-hearted remark, shared between friends in a small moment over coffee, but I was immediately struck by her use of the term “cultural immigrant.” We had both laughed at her clever play on the more commonly heard, and more “serious,” categories of economic and political immigration, which have figured prominently in different periods of modern Greek history and have recently gained new currency.1 Indeed, part of the comic valence of her statement came from the sense of frivolity in the idea of cultural immigration, compared to the often very dire circumstances that lead people to become economic and political immigrants. However, despite its levity, her joke lingered in my mind for days after our meeting, as I started to unpack its deeper meaning. In using the term “cultural immigration,” Nicoletta was referencing her relationship as a filmmaker to the Greek state, as well as what she saw as the state’s largely unfulfilled responsibilities to the country’s cultural producers; underlying her comment was the assumption that, as a cultural producer, her relationship to the state is fundamental to her livelihood. Because the Greek state was not providing the conditions necessary for her cultural work, she would have to find another state