[pt] No início dos anos 2010, críticos culturais apontaram o surgimento de uma nova corrente cinematográfica na produção independente europeia. A Estranha Onda Grega, como se popularizou, foi rapidamente associada à crise econômica deflagrada na Grécia em 2009, sendo seus filmes percebidos como retratos de um país em polvorosa. Em anos recentes, essa corrente de filmes passou a ser revista e questionada. A dissertação defende e argumenta que a Estranha Onda Grega não busca representar um país em crise (econômica, política ou moral), mas mergulhar na contemporaneidade - no sentido que Giorgio Agamben atribui a esse termo. Assim, entendemos que estes filmes focalizam, por meio da estranheza, a obscuridade do tempo presente. Propomos, ademais, que o mal-estar experimentado pelo espectador dessa cinematografia está relacionado a uma dinâmica disruptiva que atravessa os filmes no que tange à temporalidade, ao espaço, à estética, aos afetos entre personagens e à relação entre filme e espectador. A pesquisa parte de conceitos como a disciplinarização dos corpos e formação do discurso, em Michel Foucault, a emancipação espectatorial, em Jacques Rancière, a percepção, em Jonathan Crary, o tempo intemporal, em Manuel Castells, e o cinema de fluxo e seus afetos, para, em diálogo com eles, estabelecer um pequeno panorama da Estranha Onda Grega com a análise dos filmes Dente Canino (2009), de Yorgos Lanthimos; Interrupção (2015), de Yorgos Zois; Piedade (2018), de Babis Makridis; e Fruto da Memória (2020), de Christos Nikou. / [en] In the early 2010s, cultural critics pointed to the emergence of a new cinematic current in European independent film production. The Greek Weird Wave, as it came to be known, was soon associated with the economic crisis that broke out in Greece in 2009 and its films were perceived as portraits of a country in shambles. In recent years, however, this notion was revised and questioned. This dissertation argues that the Greek Weird Wave does not seek to represent a country in crises (economic, political, moral or otherwise), but to delve in contemporaneity – in the sense that Giorgio Agamben attributes to this term. Therefore, it is our understanding that these films focus, through weirdness, on the obscurity of present time. Furthermore, we propose that the discomfort experienced by the spectator whilst watching these films is related to the disruptive dynamics that constitute the diegetic configurations of time, space, aesthetics, affections between characters, and the relation between the films themselves and their spectators. This research is based on concepts such as the disciplinarization of bodies and the formation of discourse, according to Michel Foucault, spectatorial emancipation, according to Jacques Rancière, perception, according to Jonathan Crary, timeless time, according to Manuel Castells, and the cinema of flux and its affections. Based on these notions, we will establish a small overview of the Greek Weird Wave with the analyses of the following films: Dogtooth (2009), by Yorgos Lanthimos; Interruption (2015), by Yorgos Zois; Pity (2018), by Babis Makridis; and Apples (2020), by Christos Nikou.

Contrairement à ses homologues occidentaux (le detective novel britannique, le roman de détection français, le roman noir anglo-américain, le giallo italien), le récit policier grec est une terra incognita pour la recherche universitaire.Cette thèse ambitionne de combler cette lacune en s’intéressant à un genre qui, plus que tout autre, a eu mauvais genre en Grèce. Les deux questions qui constituent le fil d’Ariane de notre réflexion tournent autour de l’hellénité du genre (existe-t-il un roman policier grec doté de caractéristiques intrinsèques ?) et de son évolution en diachronie (y a-t-il continuum ou rupture entre l’ancienne et la nouvelle production policière hellénique ?). Notre thèse est construite en trois temps. Notre première partie s’intéresse aux raisons de la naissance tardive du genre en Grèce et à son histoire sur six décennies, de 1953 à 2013. Notre deuxième partie se penche sur la poétique du nouveau roman policier grec (1995-2013) en prenant pour point de comparaison l’ancienne production policière hellénique (1953-1967), celle de Maris et de ses épigones : Chairopoulos, Kakouri, Marakis, Markakis, Papagéorgiou. Au cours de cette deuxième partie, il est surtout question de l’identité générique du nouveau « polar grec » (roman de détection, roman noir, thriller, « polar méditerranéen » ?), des personnages qu’il met en scène et de la thématique de la ville. Enfin, notre troisième partie ambitionne de montrer que le nouveau roman policier hellénique mène une investigation sur l’histoire, la société et l’identité grecques. Plus qu’à l’anatomie d’un crime, le lecteur assiste en effet, dans la nouvelle production policière hellénique, à l’anatomie d’un pays. / In opposition to Western crime fiction (British and French detective novels, American hard-boiled crime fictions, Italian giallo), Greek crime fiction is totally unknown in the field of academic research (both in Greece and France).This thesis aims to fill this gap by focusing on a literary genre which, more often than not, has been badly seen by the Greek literary establishment. The two questions which drew our attention revolved around the Hellenic dimension of the genre (is there something as such as Greek crime fiction?) and around the evolution of Greek crime fiction over time (is there a continuity or a major shift between former and recent Greek crime fiction?).Our thesis is divided into three parts. The first part focuses on the belated emergence of the genre in Greece and on the history of Greek crime fiction from 1953 to 2013. The second part analyses the poetics of recent crime fiction production in Greece (1995-2013), in comparison to the novels or short stories of Greek writers of the fifties and sixties (authors such as Yannis Maris, Christos Chairopoulos, Athina Kakouri, Andronikos Markakis, Takis Papageorgiou). In our second part, we also try to identify the genre in which Greek crime fiction expresses itself (detective story? Hard-boiled story? Thriller? Mediterranean Noir?). Finally, we analyse the main characters who appear in the plot and the theme of the city. The third part aims at showing that contemporary authors of Greek crime fiction lead an investigation on the history of Greece (and its society) and on Hellenic identity. In a nutshell, recent Greek crime fiction is more focused on the anatomy of a country than on the anatomy of a crime.