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 woman figures are resurrected at the vast display through diversified filmmakers in the course of diversified 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 techniques (such as gender idea, feminist feedback, psychoanalysis, viewer-response concept, and private voice criticism), the essays target to forged mild on cinema's investments within the classical earlier and decode the mechanisms wherein the ladies lower than exam are extracted from their unique context and are delivered to lifestyles to function automobiles for the articulation of contemporary rules, issues, and cultural traits. the quantity hence goals to enquire not just how antiquity at the display depicts, and during this method distorts, compresses, contests, and revises, antiquity at the web page but additionally, extra crucially, why the medium follows such eclectic representational concepts vis-a-vis the classical world.
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Binding the different case studies together is the common goal to investigate the diverse ways in which the classical past is reanimated on the screen in order to suit the ideological, technological, aesthetic, and commercial needs of its cinematic narration. 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.
On snaky hair designs, see Day and Nikoloutsos (this volume). 60 Later in the film, the Gorgoneion appears on Agamemnon’s shield, war standard, and is painted on the prow of his ship; Cassandra and Andromache have similar ringleted, braided hairstyles. All these images lessen the impact of any Medusa-like qualities implied for Helen. 34 Ancient Greek Women in Film right shoulder for eighteen seconds, Helen has a similar dreamy look, as she wishes she could live with Paris on an island where they are untouched by the world’s problems; she repeats this wistful look later as the horse is being wheeled in.
Negra (2002: 375), Ross (2002: 4), and Russell (2007: 31, 45). 9 I list the major productions only; for brief overviews of films featuring Helen, see Pomeroy (2008: 61–2), Roisman (2008: 127–8). 10 See Solomon (2001a), Russell (2007), Pomeroy (2008), and Paul (2013) for a discussion of historical epic films from the beginning of cinema. Following almost a decade of no films drawing on classical antiquity, the late 1940s saw a resurgence of films featuring ancient Greek themes, including Eugene O’Neill’s Mourning Becomes Electra (dir.