Classical Myth and Culture in the Cinema
Martin M. Winkler Professor of Classics George Mason University
Oxford University Press, USA, May 29, 2001 - Social Science - 360 pages
Classical Myth and Culture in the Cinema is a collection of essays presenting a variety of approaches to films set in ancient Greece and Rome and to films that reflect archetypal features of classical literature. The diversity of content and theoretical stances found in this volume will make it required reading for scholars and students interested in interdisciplinary approaches to text and image.
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9 to 5 as Aristophanic Comedy 172
Ancient Poetics and Eisensteins Films 193
Peter Greenaways The Cook The Thief His Wife
The Social Ambience of Petronius Satyricon
Star Wars and the Roman Empire 272
Teaching Classical Myth and Confronting Contemporary
The Sounds of Cinematic Antiquity 319
A Visual Essay 102
Tragic Features in John Fords The Searchers 118
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action Aeschylus Albert American ancient antiquity appears approach Aristophanes audience become beginning believe Cacoyannis calls camera characters Chinatown cinema CLASSICAL MYTH close course critical CULTURE death detail directed discussion drama earlier effect Eisenstein Empire especially essay Ethan Euripides example eyes father Fellini figure film film's final force Ford genre Georgina gives Greek Greek tragedy hand hero human images important Iphigenia John killed kind Kujan later lines literature living look means Michael mind narrative nature Odysseus original parallels past play plot Poetics political popular present question reveals Roman Rome Satyricon says scene seems sense sexual shows society stage Star Wars story suggests takes tells Tereus theme tion tradition tragedy tragic truth turn University Press Verbal Wars western wife women York
Page 25 - One might generalize by saying: the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence.
Page 25 - Eisenstein — while asseverating the fundamentally intellectual nature of viewing: ". . .our cinema is not altogether without parents and without pedigree, without a past, without the traditions and rich cultural heritage of the past epochs.
Page 7 - ... crops in season, and there are meadow lands near the shores of the gray sea, well watered and soft; there could be grapes grown there endlessly, and there is smooth land for plowing, men could reap a full harvest always in season, since there is very rich subsoil. Also there is an easy harbor, with no need for a hawser nor anchor stones to be thrown ashore nor cables to make fast; one could just run ashore and wait for the time when the sailors' desire stirred them to go and the right winds were...
Page 22 - ... feels as if in exile - exiled not only from the stage but also from himself. With a vague sense of discomfort he feels inexplicable emptiness: his body loses its corporeality, it evaporates, it is deprived of reality, life, voice, and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence. . . . The projector will play with his shadow before the public, and he himself must be content to play before the...