By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historical Greek ladies from the nation-states of delusion and background. It discusses how those girl figures are resurrected at the enormous display via varied filmmakers in the course of various ancient moments, and are accordingly embedded inside of a story which serves a number of reasons, reckoning on the director of the movie, its screenwriters, the studio, the rustic of its beginning, and the sociopolitical context on the time of its production.
Using a various array of hermeneutic methods (such as gender thought, feminist feedback, psychoanalysis, viewer-response thought, and private voice criticism), the essays objective to solid 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 dropped at existence to function automobiles for the articulation of recent principles, matters, and cultural traits. the amount therefore goals to enquire not just how antiquity at the display 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 thoughts vis-a-vis the classical world.
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Additional info for Ancient Greek Women in Film
Images of women in cinema and other media are shaped to gratify heterosexual male (sexual) desire. Examples of female ﬁgures constructed according to male projections and to fulﬁll male desires are rife from ancient Greece to modern western literature and art. Helen, as she is conceptualized in both ancient and modern media, epitomizes the ‘to-be-looked-at-ness [of] . . woman displayed as the sexual object . . 5 Hecuba’s warning suggests a different approach to the male gaze, one that constructs it as vulnerable, weak and powerless when sighted on the immense power of the female.
10 Filmed in Cinemascope, the new 8 Scholars have noted cinema’s crucial role as a new medium for political commentary. , 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.
45 Gazing at Helen 31 two-second kiss before he rides out to his death. 48 From his ﬁrst scene, Paris is on display, young, athletic and buff, revealing a bare, oiled muscular torso for almost eight minutes following his shipwreck and elsewhere throughout the movie. Extending Homer’s poetic focus on pretty boy Paris (Il. 16–20), like the heroes of the later peplums, Wise puts Paris’ mostly nude, muscle-bound body on display for much of the ﬁlm, with little moral fallout with either the internal or external audiences.