Download PDF by Konstantinos P. Nikoloutsos: Ancient Greek Women in Film

By Konstantinos P. Nikoloutsos

ISBN-10: 0199678928

ISBN-13: 9780199678921

This quantity examines cinematic representations of historic Greek girls from the nation-states of fable and heritage. It discusses how those woman figures are resurrected at the great monitor through diverse filmmakers in the course of assorted historic moments, and are accordingly embedded inside a story which serves a variety of reasons, looking 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 ways (such as gender idea, feminist feedback, psychoanalysis, viewer-response conception, and private voice criticism), the essays objective to solid gentle 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 automobiles for the articulation of recent principles, issues, and cultural traits. the amount hence 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 thoughts vis-a-vis the classical global.

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3 Kahil (1988: 542–4, image numbers 260–77, pp. 337–41). 4 Andr. 629; cf. the scholiast on this passage = Ibycus 296 PMG. 20 Ancient Greek Women in Film female, are fashioned. Images of women in cinema and other media are shaped to gratify heterosexual male (sexual) desire. Examples of female figures constructed according to male projections and to fulfill male desires are rife from ancient Greece to modern western literature and art. Helen, as she is conceptualized in both ancient and modern media, epitomizes the ‘to-be-looked-at-ness [of] .

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.

As portrayed by the young, innocent-looking leading blonde actors, the story is transformed from one of archetypal sensuality and desire to a bourgeois tale of 66 Thus both films accord with the cinematic stress, characteristic of pepla, on the return to domestic heterosexuality at the film’s end (Günsberg, 2005: 100). 67 See Kaplan (1997: 86). 68 Winkler (2009: 212). 69 Winkler, in a personal communication, does not believe that having only one major battle relegates the film to ‘chick flick’ status.

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Ancient Greek Women in Film by Konstantinos P. Nikoloutsos

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