By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of old Greek girls from the geographical regions of delusion and background. It discusses how those woman figures are resurrected at the vast monitor through diversified filmmakers in the course of assorted ancient moments, and are accordingly embedded inside a story which serves numerous reasons, reckoning 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 methods (such as gender conception, feminist feedback, psychoanalysis, viewer-response thought, and private voice criticism), the essays goal to forged gentle on cinema's investments within the classical previous and decode the mechanisms wherein the ladies lower than exam are extracted from their unique context and are delivered to existence to function automobiles for the articulation of recent rules, matters, and cultural tendencies. 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 additionally, extra crucially, why the medium follows such eclectic representational techniques vis-a-vis the classical world.
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Extra resources for Ancient Greek Women in Film
In contrast to an earlier scene where Helen interjects a note of reality into Paris’ fantasy wishes, in the two former instances Paris asserts his real obligations, thus delivering a ﬁnal symbolic blow to Helen’s stature. 61 However strong these opening Medusa evocations may be, they quickly just fade away. 62 Initially, Helen’s awareness of her position shows her struggling with the idea of having an affair with Paris. 64 Despite initial execrations by members of the royal family or by the Trojan peoples crowded within the city walls, the ﬁlm completely exonerates Helen from any culpability for the war, to the point where the Trojans hail her as they are wheeling in the horse.
62 Initially, Helen’s awareness of her position shows her struggling with the idea of having an affair with Paris. 64 Despite initial execrations by members of the royal family or by the Trojan peoples crowded within the city walls, the ﬁlm completely exonerates Helen from any culpability for the war, to the point where the Trojans hail her as they are wheeling in the horse. Helen shows her concern for those dying around her by willingly returning to Menelaus in order to put an end to the war, a gesture that backﬁres when the Greeks demand reparations and annual tribute, and Paris rushes in to drive Helen back to Troy, advancing the familiar exigencies of the plot by killing Patroclus en route.
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.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos