By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historical Greek ladies from the geographical regions of fantasy and historical past. It discusses how those woman figures are resurrected at the immense reveal by means of assorted filmmakers in the course of assorted historic moments, and are as a result embedded inside of a story which serves a variety of reasons, looking 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 concept, 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 below exam are extracted from their unique context and are dropped at lifestyles to function automobiles for the articulation of recent principles, matters, and cultural tendencies. the quantity therefore goals to enquire not just how antiquity at the display depicts, and during this procedure distorts, compresses, contests, and revises, antiquity at the web page but additionally, extra crucially, why the medium follows such eclectic representational ideas vis-a-vis the classical world.
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Extra info for Ancient Greek Women in Film
84 However, while the opening scene of Helen nude in the hut establishes the foundation of Helen’s iconic beauty and sensuality through the conventional, normative, and expected lens of the male gaze, Cacoyannis frames even this opening voyeuristic viewing and the rest of Helen’s scene through the lens of another gaze, that of Helen’s eyes. For two minutes before we catch our ﬁrst glimpse of Helen’s body, the camera displays six separate shots of her eyes. Each shot is distinctive, contributing to a lively dynamic quality: her eyes peering through the horizontal logs of her temporary jail at the Trojan women jeering at her; her eyes following the guard as he moves to the left, then looking back right; Helen moving behind the slats, the camera following her eyes as she moves left; her two eyes moving slightly right; only one eye watching; 83 They also share opening associations with a modest dwelling, but with greatly contrasting signiﬁcations: Wise’s Helen chooses to dwell for a time in her nurse’s modest abode, which reﬂects their comfortable relationship, while Cacoyannis’ Helen is imprisoned in her makeshift, temporary enclosure.
63 Roisman (2008: 141). 64 Winkler (2009: 229). Gazing at Helen 35 fulﬁlment of Helen’s desire since Homer—to be accepted by the Trojan women. And so Helen is, deemed blameless by both the internal and external audiences. For all her similarities to 1950s blonde American stars, the ﬁlm adds depth to Helen’s character by imaginatively echoing a theme central to Euripides’ play Helen: her dual identities. In the ﬁlm Paris and Helen separately evoke the phantom of Helen and the split it connotes between her two selves.
Günsberg (2005: 111). 42 See Pomeroy (2002: 31–2) for description of the clothing. The ﬁgure is the British Museum GR208; see Pomeroy (2002: cover and ﬁg. 1, p. 13) for the image. Gazing at Helen 29 beauty. 43 Paris, as well as Cassandra and Hecuba, reiterate this idea of Helen as divine beauty incarnate throughout the movie. Helen, however, either deﬂects Paris’ divine comparisons humorously or she answers simply ‘I’m only Helen’, deﬂating her status as a divine icon of beauty and rendering herself as a more sympathetic, ordinary woman.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos