Classical Myth and Culture in the CinemaMartin M. Winkler Professor of Classics George Mason University 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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Page 7
... parallel , that of " then " and " now . " Awareness of the importance of popular culture , both ancient and modern , for all of culture , society , and the arts helps us bridge the gap between antiquity and today . And not only that ...
... parallel , that of " then " and " now . " Awareness of the importance of popular culture , both ancient and modern , for all of culture , society , and the arts helps us bridge the gap between antiquity and today . And not only that ...
Page 9
... parallel in the fragmentary state in which most of antiquity itself has come down to us . In Eco's words : " In the case of the remains of classical antiquity we reconstruct them but , once we have re- built them , we don't dwell in ...
... parallel in the fragmentary state in which most of antiquity itself has come down to us . In Eco's words : " In the case of the remains of classical antiquity we reconstruct them but , once we have re- built them , we don't dwell in ...
Page 11
... to revolution pro- vide a popular parallel to the high - culture Marxism of 1960s intellectuals like Luchino Visconti and especially Pier Paolo Pasolini . demic specialists in classical studies and related areas within the.
... to revolution pro- vide a popular parallel to the high - culture Marxism of 1960s intellectuals like Luchino Visconti and especially Pier Paolo Pasolini . demic specialists in classical studies and related areas within the.
Page 15
... parallel in his 1941 translation of the Republic : A modern Plato would compare his Cave to an underground cinema , where the audience watch the play of shadows thrown by the film passing before a light at their backs . The film itself ...
... parallel in his 1941 translation of the Republic : A modern Plato would compare his Cave to an underground cinema , where the audience watch the play of shadows thrown by the film passing before a light at their backs . The film itself ...
Page 16
... parallels the physical environment of the cinema , is there also an ancient text that shows us what an ancient film , if I may put it in such an anachronistic term , might have looked like ? Indeed there is . The Roman poet Lucretius ...
... parallels the physical environment of the cinema , is there also an ancient text that shows us what an ancient film , if I may put it in such an anachronistic term , might have looked like ? Indeed there is . The Roman poet Lucretius ...
Contents
1 | |
3 | |
Zinnemann Fred 8 n 7 122 279 n 17 | 17 |
Narrative Strategy in the Odyssey | 2 |
Michael Cacoyannis and Irene Papas on Greek Tragedy 72 | |
Iphigenia | |
A Visual Essay 102 | |
Tragic Features in John Fords The Searchers 118 | |
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 | |
Index 339 | |
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Common terms and phrases
Achilles Aeneas Aeneid Agamemnon Albert American ancient antiquity Aristophanes Aristotle artistic audience Ben-Hur Cacoyannis Cacoyannis's Calchas camera characters Chinatown CINEMA CLASSICAL MYTH Clytemnestra Comedy comic contemporary critical Cyclopes Darth Vader death Debbie drama Eisenstein emotional epic essay Ethan Euripides example eyes Fellini Satyricon film film noir film's genre Georgina Gittes Greece Greek myth Greek tragedy Greenaway hero hero's Homer human husband images Iphigenia John Ford katabasis katabatic Keaton Keyser Soze killed Kujan later literary literature Lucas's Lysistrata Marcus Martin Michael modern Mulwray murder MYTH & CULTURE mythic mythology narrative Odysseus Oedipus Ovid parallels Petronius Phaeacians Philomela play plot Poetics political popular Procne quotation reveals Roman Empire Rome Rózsa Scar scene score sexual shot Soze stage Star Wars story Tereus theme tion tradition tragic Trojan truth Turnus University Press Verbal victim Vietnam viewer visual western wife women words York
Popular passages
Page 19 - 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 6 - Talibus orabat dictis, arasque tenebat, cum sic orsa loqui vates : ' Sate sanguine divom, 125 Tros Anchisiade, facilis descensus Averno ; noctes atque dies patet atri janua Ditis ; sed revocare gradum superasque evadere ad auras, hoc opus, hie labor est.
Page 19 - 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 16 - ... 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...