By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historic Greek girls from the nation-states of fable and historical past. It discusses how those lady figures are resurrected at the sizeable reveal by way of varied filmmakers in the course of assorted historic moments, and are consequently embedded inside of a story which serves quite a few reasons, counting 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 techniques (such as gender thought, feminist feedback, psychoanalysis, viewer-response idea, and private voice criticism), the essays objective to forged 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 dropped at lifestyles to function automobiles for the articulation of contemporary rules, matters, and cultural developments. the quantity hence 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 in addition, extra crucially, why the medium follows such eclectic representational options vis-a-vis the classical world.
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Additional resources for Ancient Greek Women in Film
34 35 Roisman (2008: 147). Gundle (2007: 159). Gundle (2007: 159). Quart and Auster (2002: 230), Gundle (2007: 109). Quart and Auster (2002: 229). Gazing at Helen 27 and Sophia Loren, who openly exude a Mediterranean sensuality while still maintaining an aura of respectability approved by the Catholic Church and Italian audiences. 38 Imported into these racially charged portrayals, the darker Mediterranean actresses serve to mediate between the ‘purity’ of the blonde stars and the unredeemable ‘depravity’ projected onto their darker hued sisters of African or Asian origin.
49 Nisbet (2006: 33); see also Winkler (2009: 219). 50 Winkler (2009: 219). 51 Pomeroy (2008: 50). 52 Roisman (2008: 134). 53 Nisbet (2006: 34). 54 Roisman (2008: 141), Winkler (2009: 219–20). 55 See, Gantz (1993: 303–10), Hirschberger (2000), Wilk (2000), Topper (2007). 32 Ancient Greek Women in Film art Medusa was portrayed as both very beautiful and horrendously fearsome. Athena wore Medusa’s severed head on her aegis (the mantle across her chest) and emblazoned on her shield as an apotropaic device, an image to ward off evil, known as a Gorgoneion.
William Wyler, 1959), and rather than a story of Christian spiritual redemption, Wise portrays the prototypical story of sex, adultery, and betrayal in the western tradition. While this subject may well balance out the intense religious moralism of the decade’s biblical epics, casting the legendary ethically dubious heroine as a blonde all-American girl ensures her placement among sympathetic American heroines, even those who may go astray, rather than among the Italian heroines whose more openly sensual portrayals suggest greater moral ambivalence to the puritanically minded American audiences of the 1950s.