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 gigantic monitor by means of diverse filmmakers in the course of various old moments, and have been for that 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)
For example, she wears the long, one-shoulder tunic when visiting her childhood nurse’s humble home, where mutual respect characterizes their interactions and where Helen readily performs ordinary domestic tasks. Moreover, her dress aligns her with the other characters regularly clad in one-shoulder bare outﬁts, mostly slaves, both female and male. Contrasting with her occasional regal bearing, Helen’s pretense to slave rather than royal status throughout her early interactions with Paris underscores this alternate image and portends her ultimate societal position: underneath the royal trappings she is an ordinary woman, imprisoned like other women by her circumstances, an image which serves to render Helen sympathetic to the audience.
Lyr. 5 PMG) both use xanthos once to describe Helen. Although the word is generally translated as ‘blonde’, it is rendered as ‘tawny’ when referring to lions, and ‘red-haired’ when describing Menelaus. In modern Greek it connotes light chestnut brown rather than Nordic blonde. Scholars have long recognized that ancient Greek colour terms referred less to hue than to the quality of light. 32 While the ancient literature suggests some privileging of the fair-haired, it tends to leave physical details to the imagination of the viewer (cf.
Internally, after Aeneas has calmed the Trojans’ outrage by getting them to turn their anger aimed ‘at one Spartan woman against all the Spartans’, Paris tells Helen that he has won a moral victory in that the Trojans will not pursue their anger against him or Helen. Externally, Jacques Sernas, as the very attractive Paris, wins over the audience by his heroic, all-American good looks and by his moral conduct. 55 In ancient mythology and 48 Günsberg (2005: 97–132); but see also MacKinnon (2002), Turner (2009).