By Konstantinos P. Nikoloutsos
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.
Read Online or Download Ancient Greek Women in Film PDF
Best ancient & medieval literature books
Declamation used to be 'a toy version of oratory' during which scholars composed and brought deliberative and forensic perform speeches in personality. It was once no longer restrained to the universities: the pros gave public performances to giant and demanding audiences. Greco-Roman schooling used to be roughly ruled by means of rhetoric; from the fourth century BC all the way down to and past the tip of classical antiquity declamation used to be an paintings in the higher artwork, inhabiting nearly a special global, with its personal legislation, customs and mores.
During this examine, Stephanie Budin demonstrates that sacred prostitution, the sale of a person's physique for intercourse during which a few or the entire cash earned was once dedicated to a deity or a temple, didn't exist within the historic global. Reconsidering the facts from the traditional close to East, the Greco-Roman texts, and the Early Christian authors, Budin indicates that most of assets that experience normally been understood as relating sacred prostitution even have not anything to do with this establishment.
- Lyric Texts and Lyric Consciousness: The Birth of a Genre from Archaic Greece to Augustan Rome
- History of Roman Legal Science
- Virgil, Aeneid 6
- The Histories
- Sobre los misterios egipcios
- Roman Republican Theatre
Extra resources for Ancient Greek Women in Film
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.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos