By Konstantinos P. Nikoloutsos
This quantity examines cinematic representations of historical Greek girls from the geographical regions of delusion and historical past. It discusses how those lady figures are resurrected at the enormous monitor by means of assorted filmmakers in the course of various historic moments, and are hence embedded inside of 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 techniques (such as gender idea, feminist feedback, psychoanalysis, viewer-response concept, and private voice criticism), the essays objective to solid gentle 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 cars for the articulation of recent principles, matters, and cultural traits. the quantity therefore goals to enquire not just how antiquity at the reveal 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 ideas vis-a-vis the classical global.
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Additional resources for Ancient Greek Women in Film
160–3), in the ﬁlm Paris tells Helen that she is two Helens, both of them wise and good, while she is the one to insert caution here to Paris’ fantasy spins. Despite her later momentary ﬂights of fancy, this portrayal of Helen’s thoughtful traits adds grit to her character, so that even as she resigns herself to returning to Menelaus, both during the voluntary exchange and at the ﬁlm’s end, she does so not as an empty-headed object, but with dignity and personal determination. Helen may be forced into a life not of her own choosing, but she fulﬁls her role with grace and awareness.
In part the opening portrayal of Helen in her scene quintessentially epitomizes Mulvey’s image of the woman objectiﬁed to delight the male gaze. The audience ﬁrst views Helen’s body through the gaps of the horizontal logs of the hut where she is being held. With just her voice, the command of someone so iconic, Helen easily gets the guard to pass her a basin of water in which she dips ﬁrst her feet, spilling precious water out on the ground, a sign of her scorn for the thirsty Trojan women who howl shrilly at her actions.
78 In good thematic company, The Trojan Women was released on the heels of Costa Gavras’ Z, a 1969 French-language indictment of the Greek ruling junta (in which Irene Papas plays Hélène, the Deputy’s wife), and just after a 1970 tidal wave of major war-centred ﬁlms, including Catch-22, Little Big Man, M*A*S*H (Best Comedy, Golden Globe and Palme d’Or), Patton (Best Picture, Academy Awards), Soldier Blue, and Tora! Tora! Tora! Together these ﬁlms provided a gritty palliative to the year’s highest grossing ﬁlm and Golden Globe winner for best drama, Love Story.
Ancient Greek Women in Film by Konstantinos P. Nikoloutsos