ISBN-10: 0191669865

ISBN-13: 9780191669866

This quantity examines cinematic representations of historic Greek ladies from the geographical regions of fable and heritage. It discusses how those lady figures have been resurrected at the immense display by means of various filmmakers in the course of diversified old moments, and have been consequently embedded inside a story which served a number of reasons.

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Shortly after realizing the conflicts they have brought to Troy, with the camera focused on her face from behind Paris’ 59 This hairstyle might more simply represent the hairstyles on archaic Greek female statues often depicted with multiple braids hanging down their fronts and a broad, braided panel down the back. But the other Medusa hints might concurrently extend to colour the interpretation of Helen’s coiffure here. On snaky hair designs, see Day and Nikoloutsos (this volume). 60 Later in the film, the Gorgoneion appears on Agamemnon’s shield, war standard, and is painted on the prow of his ship; Cassandra and Andromache have similar ringleted, braided hairstyles.

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.

Her costume serves a dual purpose: it is sexy, a soft fabric thinly draping her perky lifted breasts and a wet cloth clinging around her legs; she is, nevertheless, modestly covered from breasts to mid-thigh, and her tunic’s soft pastel colour signals Helen’s good character. Clad in this outfit for her first seven minutes onscreen, this portrayal fixes this blonde pixie-like image of Helen’s mythical beauty in the minds of the audience as the basis for her subsequent portrayal in the film. Repeatedly the camera focuses on these images of Helen as idealized blonde beauty, while Paris, Cassandra, Priam, and Hecuba affirm the visual clues, each remarking on Helen’s outstanding beauty on several occasions in the film.

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Ancient Greek Women in Film (Classical Presences)


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