By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historical Greek ladies from the geographical regions of delusion and heritage. It discusses how those girl figures are resurrected at the gigantic display by way of diversified filmmakers in the course of diverse historic moments, and are as a result 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 foundation, and the sociopolitical context on the time of its production.
Using a various array of hermeneutic methods (such as gender conception, feminist feedback, psychoanalysis, viewer-response concept, and private voice criticism), the essays objective to forged mild on cinema's investments within the classical prior and decode the mechanisms wherein the ladies less 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 tendencies. the amount therefore goals to enquire not just how antiquity at the reveal depicts, and during this strategy distorts, compresses, contests, and revises, antiquity at the web page but additionally, extra crucially, why the medium follows such eclectic representational recommendations vis-a-vis the classical world.
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Additional resources for Ancient Greek Women in Film
I wish to thank Martin Winkler and especially the volume editor Konstantinos P. Nikoloutsos for their valuable comments on this chapter. 2 More on Helen and Medusa below. Blondell (this volume) asserts that Helen ‘exercises supreme erotic power through her blinding impact on men’s eyes’, but she does not pursue this line of inquiry further. 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.
29 All interpreters note the stress on a moral Helen in Wise’s, Harrison’s, and Petersen’s productions; Winkler (2009: 212) notes the requirement in American cinema for redemption of wayward protagonists. 30 With rare exceptions, Podestà maintained her dark hair colour throughout her long ﬁlm career. 31 The ancient Greek word often presumed to describe Helen’s hair colour is xanthos which Liddell and Scott translates as ‘yellow, of various shades, freq. with a tinge of red, brown, auburn’— the three italicized words (in the original) all designating the colour range of xanthos.
On the movie’s IMDb site, a reviewer notes: ‘Rossana Podestà epitomizes some kind of Goddess, of Eve before the fall. com/title/tt0046233/> accessed 1 October 2012. 25 Pomeroy (2008: 62) identiﬁes Euripides’ Helen as the basis for the 1964 Italian ﬁlm, Leone de Tebe (The Lion of Thebes), called in France, Hélène, reine de Troie, directed by Giorgio Ferroni (Filmes). 26 27 Gray was also the screenwriter for Ulysses. Nisbet (2006: 32). 28 See Fraser (1988) and Sieglohr (2000). 29 Perhaps surprising audiences familiar with dark-haired Podestà’s beach scenes in Rosanna (dir.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos
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