By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historical Greek ladies from the nation-states of fantasy and heritage. It discusses how those girl figures are resurrected at the tremendous reveal by means of diverse filmmakers in the course of diverse old moments, and are accordingly embedded inside of a story which serves numerous reasons, counting on the director of the movie, its screenwriters, the studio, the rustic of its foundation, and the sociopolitical context on the time of its production.
Using a various array of hermeneutic techniques (such as gender conception, feminist feedback, psychoanalysis, viewer-response concept, and private voice criticism), the essays target to solid mild on cinema's investments within the classical earlier and decode the mechanisms wherein the ladies less than exam are extracted from their unique context and are delivered to existence to function automobiles for the articulation of contemporary rules, matters, and cultural traits. the amount hence goals to enquire not just how antiquity at the reveal depicts, and during this approach distorts, compresses, contests, and revises, antiquity at the web page but in addition, extra crucially, why the medium follows such eclectic representational recommendations vis-a-vis the classical world.
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Additional info for Ancient Greek Women in Film
See also Berger (1972). On feminist and gendered ﬁlm criticism on the gaze, often as coinciding with western hegemonic imperial gaze, see Kaplan (1997: 67–93), (2000), Bean and Negra (2002), MacKinnon (2002). 6 Since the ﬁlm was produced in 1955 and ofﬁcially released in 1956, both dates occur in references. 7 Scholarly interest in cinematic Helens has skyrocketed in the last decade, especially on Helen in Wolfgang Petersen’s Troy: Cyrino (2007b), Roisman (2008), Blondell (this volume, ﬁrst published in 2009).
13 Dyer (1997: 145–83), MacKinnon (2002), Günsberg (2005: 102, 130–1), Turner (2009). , Shahabudin (2009) and Pomeroy (this volume). See Günsberg (2005: 103) for the colour associations. 15 Günsberg (2005: 101–4), Pomeroy (2008: 33), Nikoloutsos (2013: 264–72). 16 ‘Helen of Troy particularly shines as a thoughtful, literate screenplay’ (Nisbet 2006: 33). Nisbet adds that screenwriter Hugh Gray’s handling of some ancient features provides ‘treats for classicists’ (34). 17 Regarding social signiﬁcation, Ross (2002: Introduction) observes that since their inception in the 1890s movies have always exerted a major inﬂuence on social values and customs, both conforming to dominant social trends as well as advancing alternative ideas.
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. With the attribution of this power over the male gaze to her, the ﬁgure of Helen may be seen as focalizing three different constructs of the gaze. First, throughout the western cultural tradition she has served as the iconic female to be gazed upon to stir men’s desire. Second, she evokes the danger men risk from gazing upon a sensual, sexually potent female.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos