Classical Myth and Culture in the Cinema

Martin M. Winkler Professor of Classics George Mason University
Oxford University Press, USA, 2001 M05 29 - 360 páginas
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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The Katabasis Theme in Modern Cinema
Verbal Odysseus Narrative Strategy in the Odyssey and in The Usual Suspects
Michael Cacoyannis and Irene Papas on Greek Tragedy
Eye of the Camera Eye of the Victim Iphigenia by Euripides and Cacoyannis
Iphigenia A Visual Essay
Tragic Features in John Fords The Searchers
An American Tragedy Chinatown
Tricksters and Typists 9 to 5 as Aristophanic Comedy
Film Sense in the Aeneid
Peter Greenaways The Cook The Thief His Wife and Her Lover A Cockney Procne
The Social Ambience of Petronius Satyricon and Fellini Satyricon
Star Wars and the Roman Empire
Teaching Classical Myth and Confronting Contemporary Myths
The Sounds of Cinematic Antiquity
Derechos de autor

Ancient Poetics and Eisensteins Films

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Página 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.
Página 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.
Página 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.
Página 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...

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