By Konstantinos P. Nikoloutsos

This quantity examines cinematic representations of historic Greek girls from the nation-states of fantasy and historical past. It discusses how those woman figures are resurrected at the immense display through diverse filmmakers in the course of diversified ancient moments, and are accordingly embedded inside of a story which serves a number of reasons, reckoning 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 idea, feminist feedback, psychoanalysis, viewer-response conception, and private voice criticism), the essays target to forged 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 dropped at lifestyles to function cars for the articulation of recent rules, issues, and cultural developments. the amount hence 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 in addition, extra crucially, why the medium follows such eclectic representational ideas vis-a-vis the classical international.

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This dimension renders Helen a more complex model for female identity than her stereotyped blonde image at first suggests. A pertinent model for Helen’s blonde image and good character traits in Wise’s film might be Deborah Kerr, a leading blonde actress who as Karen Holmes in From Here to Eternity (dir. Fred Zinnemann, 1953) engages in extra-marital affairs. Holmes’ revelation of her husband’s repeated infidelities and alcoholism that resulted in her miscarriage and hysterectomy that precludes her having any children minimizes her adulteries and asserts her ‘good girl’ image in the view of the audience and of her lover Milton Warden (Burt Lancaster).

Rule, and . . 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.

Echoing Teucer’s words in Euripides’ play who distinguishes the good sense of the stage character before him as opposed to the destructive legendary Helen (Hel. 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.

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