By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of old Greek ladies from the geographical regions of fable and background. It discusses how those girl figures are resurrected at the large reveal via assorted filmmakers in the course of diversified old moments, and are accordingly embedded inside of a story which serves a number of 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 concept, feminist feedback, psychoanalysis, viewer-response idea, and private voice criticism), the essays target to solid gentle on cinema's investments within the classical prior and decode the mechanisms wherein the ladies below exam are extracted from their unique context and are delivered to existence to function automobiles for the articulation of contemporary principles, matters, and cultural developments. the quantity hence goals to enquire not just how antiquity at the reveal depicts, and during this technique 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 global.
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Extra info for Ancient Greek Women in Film
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.
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. Instead of shying away from depicting ‘the most beautiful woman in the [ancient] world’, Cacoyannis’ vision as dramatized by Irene Papas displays the mythic Helen in all her divinely inspired sensuality and regal power.
Nisbet adds that screenwriter Hugh Gray’s handling of some ancient features provides ‘treats for classicists’ (34). 17 Regarding social signiﬁcation, Ross (2002: Introduction) observes that since their inception in the 1890s movies have always exerted a major inﬂuence on social values and customs, both conforming to dominant social trends as well as advancing alternative ideas. 18 According with the cinematic spirit of the time, the ﬁlm’s opening minute-plus establishes the story’s historical background.