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 woman figures are resurrected at the mammoth reveal by means of assorted filmmakers in the course of varied old moments, and are hence embedded inside a story which serves quite a few 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 techniques (such as gender idea, feminist feedback, psychoanalysis, viewer-response idea, and private voice criticism), the essays objective to solid 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 delivered to lifestyles to function autos for the articulation of recent rules, matters, and cultural traits. the amount hence goals to enquire not just how antiquity at the display depicts, and during this strategy distorts, compresses, contests, and revises, antiquity at the web page but additionally, extra crucially, why the medium follows such eclectic representational thoughts vis-a-vis the classical global.
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Additional resources for Ancient Greek Women in Film
67 Even as Wise chose to portray an ancient tale of sex and adultery on the big screen, he did so in a way that would satisfy and appease contemporary American tastes and mores. In contrast to the biblically inspired epics framing the 1950s, completed by Ben Hur (dir. 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.
37 Pointedly contrasted to the manufactured look of blonde American stars is the ‘natural’, earthy appearance of the dark-haired, olive-skinned, and largebreasted Italian actresses, notably Silvana Mangano, Gina Lollobrigida, 31 33 36 37 32 Contra Roisman (2008: 147). Lyons (1999: 54–7). 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.
In Homer the masculine form describes Menelaus almost exclusively; the feminine forms are used for Demeter (as also in her Homeric Hymn) and various mortal women, but not Helen, or for the hair of Achilles. In the Archaic period Sappho (E. Diehl, Supp. Lyr. 5 PMG) both use xanthos once to describe Helen. Although the word is generally translated as ‘blonde’, it is rendered as ‘tawny’ when referring to lions, and ‘red-haired’ when describing Menelaus. In modern Greek it connotes light chestnut brown rather than Nordic blonde.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos