This quantity examines cinematic representations of old Greek ladies from the nation-states of delusion and heritage. It discusses how those woman figures have been resurrected at the huge display by means of varied filmmakers in the course of varied historic moments, and have been consequently embedded inside a story which served a variety of reasons.
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Additional resources for Ancient Greek Women in Film (Classical Presences)
The ﬁlm presents Helen’s divine heritage as interwoven with her notable 41 Camera angles that are the reverse of this positioning are characteristic of the peplum ﬁlms, in which the muscle-bound hero is shot from below in order to enhance his stature. , Günsberg (2005: 111). 42 See Pomeroy (2002: 31–2) for description of the clothing. The ﬁgure is the British Museum GR208; see Pomeroy (2002: cover and ﬁg. 1, p. 13) for the image. Gazing at Helen 29 beauty. 43 Paris, as well as Cassandra and Hecuba, reiterate this idea of Helen as divine beauty incarnate throughout the movie.
This new Helen is always sweet, gracious, and smiling. The fact that the two highest-ranking Trojan royal women absolve her epitomizes the 61 All interpreters ﬁnd that Helen’s power in Troy has been completely elided and trivialized. , Roisman (2008: 144–5), Blondell (this volume). 62 Winkler (2009) analyses Wise’s projection of a moral Helen via the conduct and actions of Menelaus and their marriage; see also Roisman (2008). 63 Roisman (2008: 141). 64 Winkler (2009: 229). Gazing at Helen 35 fulﬁlment of Helen’s desire since Homer—to be accepted by the Trojan women.
23 Evoking the judgement’s outcome, the ﬁgures advance or interrogate women’s social and cultural roles. Sieglohr (2000: Introduction), Negra (2002: 377), and Gundle (2007: xvii–xxiii) discuss how female stars come to represent national identities. 18 Pomeroy (2008: 61); Winkler (2009: 12) notes that from its beginning cinema has reincarnated Homeric epic. Russell (2007: 16, 42–5) discusses the role of 1950s epic ﬁlmmakers as public historians and the marketing publicity of historical epics as making serious social, educative, and spiritual comments.