Ifigenia Vamvakidou Assistant Professor, University of Western Macedonia, School of Education,Greece Florina - Critical Analysis of a Documentary: Pomaks in Greece and Bulgaria

Concerning higher education institutions, our interests focus on the orientation of history lessons within the framework of a cross-cultural education dictated by historical, social and political circumstances. Concerning higher education institutions, our interests focus on the orientation of history lessons within the framework of a cross-cultural education dictated by historical, social and political circumstances. cross-culturalrecording and teaching modern Greek history, that needs to be strengthened in the area of local, Balkan and European social history. cross-cultural recording and teaching modern Greek history, that needs to be strengthened in the area of local, Balkan and European social history. The basic axes of this study are the revised

The Pomaks were the third biggest demographic group in the Balkans, following the Albanians and the Bosnians who were adhered to Islam. Nevertheless, while in Anatolia (East) islamization was an equivalent to turkish nationalization, on the contrary in the Balkans changing religion didn’t always lead to changing nationality.

After the First World War, ( ), the first cinematographic types that were developed by industria- lized countries were the “local news” and the “journalistic cinema”. Up to that point, cinema had not been considered as “a cultural object”,but was not After the First World War, ( ), the first cinematographic types that were developed by industria- lized countries were the “local news” and the “journalistic cinema”. Up to that point, cinema had not been considered as “a cultural object”,but was not a member of the hierarchy, but a “hunter of pictures”, and apartfrom the producer’s company not acknowledged and apart from the producer’s company not acknowledged.. as a mean of recording.The filmmaker as a mean of recording. The filmmaker

In this context,the film doesn’t suggest, it states. Visual images are put in front of us. Metz explains that all speakers of the English language at a certain age have learnt the code of English – they can create sentences. In this context, the film doesn’t suggest, it states. Visual images are put in front of us. Metz explains that all speakers of the English language at a certain age have learnt the code of English – they can create sentences. In the case of historic documentaries, we try to analyze the images that have already been chosen and at the same time interpreted by the director, as well as the scientists and the physical narrators.

6 As Semantics claim, we can distinguish between three types of importance in the documentary: a)relative, which is reported in reality and describes objects, persons or situations of things, b)social, which gives us information on social status, c) sentimental, which arises from the speaker’s feelings about the subject of the discussion.

The first category is characterized by “objectivity”, produced by multiple and chronic conventions made by the linguistic community, a bind between all her members, while the second and third categories are characterized by “subjectivity”, because they concern social issues.

Nevertheless in some way it is structured like literary language. It presents to the receivers a number of possible meanings. You can learn to ‘read’ cinema. Cinema can shift in different directions. In language we can choose our own images, in cinema we are presented with chosen images. We learnto ‘read’ cinema before we have any Cinema can shift in different directions. In language we can choose our own images, in cinema we are presented with chosen images. We learn to ‘read’ cinema before we have any knowledge of the verbal language.

11 Both cinema and language are a way of communicating. They both exist on several levels, which rely on age, gender, cultural- social and academic- background.