By Martin M. Winkler
Apollo used to be the traditional god of sunshine and the divine buyer of the humanities. he's as a result a becoming metaphor for cinematography, that is the trendy paintings of writing with relocating gentle. This e-book translates motion pictures as visible texts and gives the 1st systematic theoretical and useful demonstration of the affinities among Greco-Roman literature and the cinema. It examines significant issues from classical delusion and background akin to movie portrayals of gods, exemplified via Apollo and the Muses; Oedipus, antiquity's so much influential mythic-tragic hero; the query of heroism and patriotism in struggle; and the illustration of girls like Helen of Troy and Cleopatra as items of male wish and delusion. masking a variety of eu and American administrators, genres, and classical authors, this examine presents an cutting edge standpoint at the disciplines of classics and cinema and demonstrates our so much influential medium's limitless diversity whilst it adapts historic texts.
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Extra resources for Cinema and Classical Texts: Apollo's New Light
In Renoir’s case we know which of these versions he preferred, in Lang’s case it is immediately obvious which version represents his true intentions, and in Walsh’s case it is easy to decide which screen format is preferable. But in the case of Hawks and the two versions of The Big Sleep the question of authorship and of what constitutes the best “text” of this work becomes more difficult (and fascinating) to answer. Textual scholars and classical philologists have dealt with such problems for centuries.
I announced the film as “Salome Dancing before Herod”. Everyone was delighted. Especially the parson. He said in his nice little speech afterwards that he thought it was a particularly happy idea to introduce a little touch of Bible history into an otherwise wholly secular entertainment. I examine a specific case and refer to related examples in Winkler a. Hepworth ; quoted from The Penguin Film Review –, vol. : –, at –. Hepworth was himself a filmmaker and writer on cinema; as early as in he published Animated Photography: The ABC of the Cinematograph (cf.
Further Winkler b. Introduction: The god of light and the cinema eye The present book interprets several if by no means all possible approaches to ancient subjects that filmmakers can adopt. More than any other means of creative and commercial expression, film as a narrative medium encompasses all the ranges of high and low culture. My own preferences – if not, I hope, prejudices (except very occasionally) – will quickly become apparent, although I have taken pains not to let them color my arguments.