By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of old Greek ladies from the nation-states of fable and historical past. It discusses how those woman figures are resurrected at the titanic monitor through diverse filmmakers in the course of assorted ancient moments, and are for this reason embedded inside a story which serves numerous reasons, counting on the director of the movie, its screenwriters, the studio, the rustic of its starting place, and the sociopolitical context on the time of its production.
Using a various array of hermeneutic techniques (such as gender idea, feminist feedback, psychoanalysis, viewer-response thought, and private voice criticism), the essays goal to solid mild on cinema's investments within the classical prior and decode the mechanisms wherein the ladies lower than exam are extracted from their unique context and are dropped at existence to function cars for the articulation of contemporary rules, matters, and cultural developments. the amount therefore goals to enquire not just how antiquity at the monitor depicts, and during this procedure distorts, compresses, contests, and revises, antiquity at the web page but in addition, extra crucially, why the medium follows such eclectic representational innovations vis-a-vis the classical international.
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This quantity examines cinematic representations of old Greek ladies from the nation-states of fable and historical past. It discusses how those girl figures are resurrected at the massive reveal through diversified filmmakers in the course of diversified ancient moments, and are accordingly embedded inside of a story which serves a number of reasons, looking on the director of the movie, its screenwriters, the studio, the rustic of its beginning, and the sociopolitical context on the time of its construction.
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Extra info for Ancient Greek Women in Film
20 21 García (2008: 21–3). Pomeroy (2002: 31–2, 43, ﬁg. 4). 22 23 Cavallini (2005: 73, ﬁg. 42). Nisbet (2006: 33–4). 24 Ancient Greek Women in Film shipwrecked Paris utters upon seeing Helen approach him through the surf, as she is arising out of the sea: ‘Aphrodite’; the scene recalls both Hesiod’s tale of Aphrodite being born from the foam of the sea (Theog. 191–7), and, probably more familiar to most modern spectators, Botticelli’s painting of Venus ﬂoating up on the sea on a clamshell. Paris’ unique arrival at Sparta in rags, shipwrecked on the coast (which of course justiﬁes the extended cinematic focus on his almost nude body) invites multiple allusions, ancient and modern.
77 MacKinnon (1986: 80–1) discusses the political climate when Cacoyannis was ﬁlming The Trojan Women. 78 Neale (2000: 85). 79 Russell (2007: 46). 80 McDonald (2001) analyses Cacoyannis’ cinematic focus on characters’ eyes in his Iphigenia as the vehicle to convey a range of emotions including suffering, pity, love, and death (98). McDonald asserts that the ancient Greeks expressed their concept of self 40 Ancient Greek Women in Film I will discuss these in the order 1, 3, 2; the second, as we shall see, is closely connected to the third.
Roisman (2008: 144–5), Blondell (this volume). 62 Winkler (2009) analyses Wise’s projection of a moral Helen via the conduct and actions of Menelaus and their marriage; see also Roisman (2008). 63 Roisman (2008: 141). 64 Winkler (2009: 229). Gazing at Helen 35 fulﬁlment of Helen’s desire since Homer—to be accepted by the Trojan women. And so Helen is, deemed blameless by both the internal and external audiences. For all her similarities to 1950s blonde American stars, the ﬁlm adds depth to Helen’s character by imaginatively echoing a theme central to Euripides’ play Helen: her dual identities.