By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of old Greek girls from the nation-states of delusion and heritage. It discusses how those girl figures are resurrected at the large reveal by way of various filmmakers in the course of various ancient moments, and are consequently embedded inside of a story which serves quite a few 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 idea, and private voice criticism), the essays goal to solid gentle on cinema's investments within the classical previous and decode the mechanisms wherein the ladies less than exam are extracted from their unique context and are dropped at lifestyles to function autos for the articulation of recent principles, issues, and cultural tendencies. 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 in addition, extra crucially, why the medium follows such eclectic representational innovations vis-a-vis the classical global.
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Additional info for Ancient Greek Women in Film
As the essays that follow demonstrate, once they are transplanted into ﬁlm, the women of ancient Greek myth and history are no longer ancient or Greek, but become the property of an international community of directors, screenwriters, producers, viewers, and academics, all of whom seek to impose different meanings and interpretations upon them. Part I HELEN 1 Gazing at Helen: Helen as Polysemous Icon in Robert Wise’s Helen of Troy and Michael Cacoyannis’ The Trojan Women Bella Vivante Avoid looking at her, lest she seize you with desire.
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. In the ﬁlm Paris and Helen separately evoke the phantom of Helen and the split it connotes between her two selves. During her slave pretence, Wise’s Helen calls herself a shadow of the real Helen and voices wistfully that she does not ‘believe anyone knows queen Helen very well’. More pointedly as she and Paris embark for Troy, Helen tells him that the girl he thought he ‘knew is quite nameless and without reality’, thus implying that a radically different woman is departing with him for Troy.
Contrasting with her occasional regal bearing, Helen’s pretense to slave rather than royal status throughout her early interactions with Paris underscores this alternate image and portends her ultimate societal position: underneath the royal trappings she is an ordinary woman, imprisoned like other women by her circumstances, an image which serves to render Helen sympathetic to the audience. Interestingly, rather than the goddess Helen, as Paris lies dying, he sees Helen as ‘that little slave girl’, a ﬁnal reminder of the entrapping circumstances that exonerate her actions.