The Representation of Masculinity in Greek Cinema
Dating back to Ancient Greece, Masculinity has always been a vital aspect of society, influencing and shaping men’s roles in the patriarchy, affecting their thoughts and decisions. Greek heroes from ancient myths such as Odysseus, Achilles, and Heracles, these characters are built on principles such as self control and courage. Youth in Greece are exposed to these legends at an early age and are meant to shape their beliefs about masculinity . These mythological tales are more than mere fiction; they serve as a way to educate future generations on what it means to be an exemplary masculine figure. Through this hero’s negative traits such as vulnerability and weakness are suppressed while others such as strength and perseverance are reinforced and projected to the masses.
In Greece masculinity is an essential aspect of society; it spans its roots in almost every field. Deep social, cultural, and economic transformations have shaped the meaning of masculinity in Greece. With a long history of war and recurring political change, the notion of gender is constantly evolving. As Achilleas Kyriakou notes, “Greek masculinity has always been a site of negotiation between traditional rural values and modern urban pressures” (Kyriakou, 2013, p. 23). Greek cinema allows us to see how gender roles are shifting by reflecting social changes through different themes, storylines, and characters, as well as the local star system and the representation of youth. Another important aspect that I keep in mind when analyzing gender roles in Greek film is the demographic of people in the localized area. Migration of people from different countries influences local beliefs and values, which ultimately trickles down to the way that gender is portrayed in Greek cinema.
Moreover, the role of head of household, the husband, became even more important in the patriarchy since it needed to be reinforced after the Civil war that ended in 1949. According to Vervenioti “the economic and social impact of World War II (1939-45) and the Greek Civil War (1946-9) brought changes to this firm model of patriarchal family. Properties and dowries were lost, as well as the prospect of a traditional marriage settlement.”(Kyriakou, 2013). In order to understand the role of the husband,, I have to explore the social construct of what it meant to be portrayed as an honourable man during the 1940-50’s. According to (Kyriakou, A. (2013), p 10-11) “A man had to prove himself by being first a good son and later an ideal husband, father and provider”. Moreover a man was expected to keep the respect and admiration of the community, this was known as philotimo, which was crucial if he wanted to lead a virtuous life and gain high self esteem. (Kyriakou, A. (2013), p 10-11) states that “A man had to believe in his superiority as an independent male, a kind of self respect and pride synonymous with egoism, in the sense of being the head of a collective, a kin group, a village, a region or country”. Societal expectations were demanding as men were expected to uphold these high expectations. After the end of the Greek Civil War and World War 2, cinema was a way in which these masculine ideals could be revived, projected, and showcased to the broader Greek audience. Directors would implement masculine virtues that were much needed in society at the time such as stoicism and strength into characters in order to reinforce these virtues in their viewers.
Many masculine qualities from the 1940-50’s that I discussed are still valued and upheld in modern Greece since they are deeply embedded in the country’s core beliefs, which is how they are still influencing the country’s identity and reputation. Even though significant changes and time has passed since the 1950’s most of these masculine virtues from the 50’s are still necessary, as modern Greek men are expected to act with honor and courage, and to avoid showing weakness during times of distress as observed in the many of the discussed films. Analyzing Kyriakou, A’s book helped me analyze various scenes through an informed lens and craft a deeper understanding of the portal and symbols of masculinity.
Women also played an integral role in ensuring the continuity of masculinity was maintained. Moreover, men were still expected to take charge when it came to any duties and responsibilities outside of the household environment, as In Hadjikyriacou, A. Masculinity and Gender in Greek Cinema discussed that “Even as late as as the mid 1980’s social studies in Athens have shown that 55 per cent of women did not have any help with household duties, while only 15 per cent were helped by their husbands on a regular basis”. Reinforcing the belief that men and womens roles are distinct, yet complementary within the patriarchy, this separation of labor and moral responsibility preserved the traditional gender hierarchies in Greece. Furthermore, Hadjikyriacou says that “Filmmakers during the 1950s and 1960s rarely represented them as responsible for the negative aspects of modernity. On the contrary, they appear as guards of the patriarchal tradition who raise a shield against an invading Western immorality.” (Hadjikyriacou, 2013, p. 240). This was an attempt to ensure that Western culture did not influence men and that they would stay true to their cultural beliefs and nature of being assertive and dominant.
In order to explore and analyze gender in Greek cinema, I chose a collection of films that were provided by the lecturer and have not been made available for public viewing yet. In the films, the focus is on showing what it means to embody a specific gender for the period in which the film takes place. The Luthier by Yiannis Kostavaras is a documentary published in 2025 and shows how masculinity has been naturalized to men in a manner that ensures they always take responsibility. The film provides us with an informative look and insight into the life of a hardworking craftsman, Nikos, who is dedicated but struggling. Nikos specializes in making stringed instruments. As much as Nikos’ career takes a pivotal shift when he meets a young, up-and-coming musician named Orpheus, whom he mentors, he still tries to achieve his goals regardless of the challenges that he encounters. Nikos is portrayed as a distinguished loner who meticulously and diligently works on his craft with tremendous focus and attention to detail. One scene in the Luthier directed by Yiannis Kostavaras, the Luthier, between the 16th and 18th minutes in particular that visually and symbolically captures the essence of masculinity is where Nikos is featured in his studio at the end of the day working on a project that involves sanding a bouzouki (Kostavaras, 2025, 16”-18”). As Sean Nixon observes, “The workshop becomes a masculine sanctuary where skill and solitude merge into a performance of identity” (Nixon et al., 2013, p. 298). I believe that this scene and the mystique that surrounds it depict the hardship and lonely life of men who must work to support themselves day in and day out. Men usually have to engage in activities that are guaranteed to provide them with income regardless of whether they feel fulfilled or not. Although this scene lacks audible accompaniment, I believe that it metaphorically speaks volumes about the repressed emotions and lack of openness that often results from the way that men are raised and treated in society. Kyriakou mentions that “the Greek male protagonist’s relationship with his tools often says more about his emotional state than any dialogue could” (Kyriakou, 2013, p. 41).
Philotimo, is a Greek concept that represents honor, courage, and responsibility; I believe that this concept can be attributed to Niko’s persona in The Luthier. As it can be observed in the way that Nikos acts and dedicates himself to his work. He diligently works in solitude and focuses on the quality of his instruments rather than seeking validation and notoriety from others. Essentially without directly ever stating it he is the prime example of what it means to manifest philotimo which he embodies through his lifestyle and rigorous craftsmanship.
Moreover, an example of loneliness and isolation that men endure when undertaking their duties can be seen when in the film Athens Midnight Radio by Renos Haralambidis (2024) where the narrator talks about how he lost the love of his live while working as part of the Presidential guard but has since returned and is aiming to reconnect with her using a radio station. This can be seen when he regrets how fast life has moved. In his attempt to reconnect, he stumbles upon his 30-year-old phonebook, and admits that it is a pointless endeavour by asking himself, “What’s the point of flipping through a 30-year-old phonebook? Most of the numbers will no longer be valid” (Haralambidis, 2024, 4:28). This shows the elements of masculinity that are focused on duty, service, and suffering in silence and how they can lead to despair later in life when one realizes how much they have failed to accomplish socially.
Athens Midnight Radio by Renos Haralambidis (4:28)
Moreover, in The Luthier Nikos’ restrained reaction to Orpheus’ musical success reveals another layer of masculine performance. Kyriakou (2013, p. 41) points out that in Greek cinema, “the male protagonist’s relationship with his tools often says more about his emotional state than any dialogue could.” Similarly, Hadjikyriacou (2013, pp. 176–177) describes post-war Greek masculinity as shaped by ideals of stoicism, duty, and the expectation that men would demonstrate emotional resilience primarily through their commitment to labour and provision for the family. Instead of openly showing emotions, male protagonists usually portray inner turmoil through their engagement with work and craftsmanship, emphasizing action over verbal expression. This focus on physical labor as a way through which emotional expressions are conveyed are reflective of how intricately Nikos works on his bouzouki, which shows that the relationship between a man and his tools are a silent expression of inner emotion that society does not allow them to express.
In Golden Fingers (Kontogiannis, 2024), masculinity is passed down through generational trauma. Thanasis, the father, makes fun of his son Lalakis’ musical talent and insists he should become a gynaecologist to uphold the family’s masculine status. When the teacher suggests between the 3rd and 4th minute of the film that they should focus on nurturing Lalakis’ gift, Thanasis says, “Perhaps he needs a beating?” (Kontogiannis, 2024, 3:00” – 4:00”). This echoes Cartledge’s (2002) view of Greek masculinity as deeply tied to
Golden Fingers by Fivos Kontogiannis (3:23)
dominance, physicality, and the exclusion of emotional expression. It also illustrates what Hall (1997) describes as the media’s role in normalizing emotionally distant fathers as emblematic of masculine authority. However, Golden Fingers also undermine this model of authority. When Thanasis hears how his son’s music enchanted an entire classroom, he quietly buys him a clarinet. This silent gesture replaces verbal affirmation with action, which draws from Kyriakou’s observation that Greek cinema often avoids overt displays of emotion.
Similarly, The Goals of August (Koutsiabasakos, 2025) portrays masculinity within communal competition and nationalist pride. The male-only football tournament serves as a space where egos clash and male identity is reaffirmed through physical ability. In one scene, a heated argument on the field leads to a threat of gun violence, showcasing the link between pride, aggression, and masculine honor. This scene in The Goals of August is yet another that depicts how masculinity is not always positive, rather it reveals how it can take on other forms, and in this case toxicity. In the 103rd minute of the film, an opponent playing against Armatoliko is fouled and while he is down he claims that if the player is not given a red card “I’ll go get the gun from the car and I’ll shoot you in the head” (Koutsiabasakos, 2025, 1:43:49”). This shows that male hierarchies in Greek villages are often built on confrontation and symbolic violence, observed here in both sport and ritual.
The Goals of August by Dimitris Koutsiabasakos (1:43:49)
The film allows viewers to see different sides of toxic masculinity, although at the same time, the film portrays resilience and longevity as masculine virtues. A 100-year-old man jokes about his birthday party, highlighting masculine pride in physical survival. This can be seen when an old man who recently celebrated his 100th birthday is asked how he is doing. The lady asks him if he has already turned one hundred years old, to which he replies, “It’s been months already. I had a birthday party, we had cake.” (Koutsiabasakos, 2025, 23:08). This shows the resilience and strength the old man has in order to be able to live all those years and still be strong. This is a source of masculine pride that shows he can withstand any condition and season. This links to Papadimitriou & Tzioumakis’ (2012) view of post-war cinema as a place where masculinity is tested not just through action, but endurance and continuity of tradition. The Goals of August by Dimitris Koutsiabasakos (23:08)
In addition, Maldives by Bolda introduces a more modern critique of masculinity. Stelios, a reclusive teacher, experiences a crisis after losing his dog—his only companion. Stelios even sleeps with his dog, Maria, on the same bed, takes rides with her, and has conversations with it as if he is talking to another human being. This is evident in the 10th minute of the film when Stelios visits a store and asks Maria if she likes the toy he is trying to make her, and even asking Maria “Will you learn to fetch it for me?” (Bolda, 2024, 9:46”). The film captures his descent into emotional turmoil and his eventual openness to human connection because he lost someone who was a companion to him. Hall’s theory that masculinity is a social construct which is perpetuated through media becomes evident as Stelios challenges the stereotype of stoic male solitude (Hall. 1997, p. 23). His transformation mirrors Herzfeld’s (2014) concept of “cultural intimacy,” where vulnerability becomes a shared cultural narrative rather than a weakness.
Maldives by Daniel Bolda (9:46)
Furthermore, tension between emotional suppression and explosive violence is central to films like Stella and Angel because of various reasons. One of them is that in Stella, the threat of the protagonist is evident considering that he tells Stella, “Go away, Stella, I am holding a knife” (Hadjikyriacou, 2013, p. 246). This statement shows the link between men trying to show dominance and the insecurity that they portray. Instead of showing how vulnerable they are in various situations, men revert to violence whenever their masculinity is challenged by a woman. This is reflective of how much a woman’s comment is considered irrelevant whenever autonomy is taken into consideration. Instead of men portraying how vulnerable they are, they resort to violence because they believe they know how the world will see they are man enough. This is synonymous with Papanikolaou’s take on Greek masculinity in which he sees it as a reactionary and delusional act that is influenced by the need for wanting to stay in control, and not losing it (Papanikolaou, 2021).
Hadjikyriacou argues that Greek films reveal the fragility of patriarchal authority in the face of modernity. These films show that masculinity in Greek cinema is not a single unique construct but a dynamic one that is shaped by social change, cultural memory, and historical trauma. From the isolated craftsman to the explosive athlete, from the emotionally repressed father to the vulnerable teacher, Greek films offer a range of masculine identities that reflect both national ideals and personal struggles.
In this way, Greek cinema becomes an important cultural text that is reflective of some contemporary practices, and critiques the evolving nature of masculinity. It also makes it possible for viewers to consider how traditional roles are preserved, challenged, or transformed within a society negotiating its past and future. This is evident from Cartledge text that reminds us of how national identity and media representation are delicately linked. Through the lens of film, we see how Greek masculinity is both a legacy and artistic performance that is continuously shaped by history, politics, and the everyday poetics of manhood. Cartledge says that “The classical Greek world was in large measure constructed around oppositions: between Greek and barbarian, man and woman, free and slave.” (Cartledge, 2002, p. 23). This shows how Greek identity was created from them feeling superior against others, a theme that is common practice in most masculinity settings. Greek cinema provides an outlet that holds the power to reimagine and reform what it means to embody masculinity in Greece. Male role models and virtues are not just an aspect of their Cinema; rather they reflect and reveal the broader societal values that ultimately dictate and revolutionize the country’s identity during times when they are needed such as in a crisis, whether that be in post war Greece or in a financial crisis.
References
Bolda, D. (Director). (2024). Maldives [Film]. 9:46
Cartledge, P. (2002). The Greeks: A Portrait of Self and Others. Oxford University Press.
Hall, S. (1997). Representation & the Media. Media Education Foundation.
Hadjikyriacou, A. (2013). Masculinity and Gender in Greek Cinema: 1949–1967. A&C
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Haralambidis, R. (Director). (2024). Athens Midnight Radio [Film]. Boo Productions; Greek
Film Centre; Hellenic Broadcasting Corporation (ERT). 4:28.
Herzfeld, M. (1985). The Poetics of Manhood. Princeton University Press.
Herzfeld, M. (2014). Cultural Intimacy: Social Poetics in the Nation-State. Routledge.
Kontogiannis, F. (2024). Golden Fingers [Film]. Anarchy Films. 3:23.
Kostavaras, Y. (2025). The Luthier. 16:00 – 18:00.
Koutsiabasakos, D. (2025). The Goals of August [Film]. 23:08, 103:49.
Kyriakou, A. (2013). In Hadjikyriacou, A. Masculinity and Gender in Greek Cinema.
Nixon, S. (2013). In Hall, S., Evans, J., & Nixon, S. (Eds.), Representation. Sage.
Papadimitriou, L., & Tzioumakis, Y. (2012). Greek Cinema: Texts, Histories, Identities.
Papanikolaou, D. (2021). Greek Weird Wave: A Cinema of Biopolitics. Edinburgh University
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