Ancient Greek Women in Film (Classical Presences)

This quantity examines cinematic representations of old Greek girls from the geographical regions of delusion and heritage. It discusses how those girl figures have been resurrected at the immense reveal by means of assorted filmmakers in the course of various historic moments, and have been for this reason embedded inside of a story which served numerous reasons.

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As portrayed by the young, innocent-looking leading blonde actors, the story is transformed from one of archetypal sensuality and desire to a bourgeois tale of 66 Thus both films accord with the cinematic stress, characteristic of pepla, on the return to domestic heterosexuality at the film’s end (Günsberg, 2005: 100). 67 See Kaplan (1997: 86). 68 Winkler (2009: 212). 69 Winkler, in a personal communication, does not believe that having only one major battle relegates the film to ‘chick flick’ status.

In Troy, Petersen completely displaces Helen’s sensuality onto Briseis (Winkler, 2009: 224) or onto Achilles and Briseis, alone or together (Blondell, this volume). 49 Nisbet (2006: 33); see also Winkler (2009: 219). 50 Winkler (2009: 219). 51 Pomeroy (2008: 50). 52 Roisman (2008: 134). 53 Nisbet (2006: 34). 54 Roisman (2008: 141), Winkler (2009: 219–20). 55 See, Gantz (1993: 303–10), Hirschberger (2000), Wilk (2000), Topper (2007). 32 Ancient Greek Women in Film art Medusa was portrayed as both very beautiful and horrendously fearsome.

On one level, this camera focus on Helen’s eyes contributes to the opening emphasis on her sensuality: her eyes dark and sensuously made up, teasing the audience and whetting their anticipation for finally seeing Helen herself.

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