This quantity examines cinematic representations of historic Greek ladies from the nation-states of fable and heritage. It discusses how those lady figures have been resurrected at the large monitor via diversified filmmakers in the course of diverse historic moments, and have been for this reason embedded inside a story which served quite a few reasons.
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Extra resources for Ancient Greek Women in Film (Classical Presences)
Paris’ voice then exclaims, ‘Never, Helen’, both afﬁrm that they will ‘always be together’. As Helen’s face fades out, the words, The End in red above the WB logo are superimposed over the ship sailing off into the distance. Because this romantic fantasy image of Helen is drawn from a mythical icon, this portrayal valorizes women fantasizing their ideal love life; they may even indulge in extra-marital affairs during wartime, as no doubt some women did, but come war’s end, marital duty and propriety must prevail.
Furthermore, both ﬁlms accentuate these concepts of gazing upon Helen by dramatizing key aspects of ancient Greek Helen: foremost, in most ancient sources, as the icon of beauty and eroticism; as a goddess associated with the cycle of vegetation and adolescent girls’ transitions; as a 5 Mulvey (1975: 11). 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).
Emilio Fernández, 1953) and as Nausicaa in Ulysses, in Helen of Troy Podestà projects Helen as the (stereo-)typical 1950s image of female beauty that idealizes Nordic physical features: fair skin and blonde hair (Fig. 1). 1 Helen (Rossana Podestà) in Helen of Troy, dir. Robert Wise. Credit: [THE KOBAL COLLECTION]. 29 All interpreters note the stress on a moral Helen in Wise’s, Harrison’s, and Petersen’s productions; Winkler (2009: 212) notes the requirement in American cinema for redemption of wayward protagonists.
Ancient Greek Women in Film (Classical Presences)