Cinema and Classical Texts: Apollo's New Light by Martin M. Winkler

Cinema and Classical Texts: Apollo's New Light by Martin M. Winkler

By Martin M. Winkler

Apollo was once the traditional god of sunshine and the divine purchaser of the humanities. he's for that reason a becoming metaphor for cinematography, that's the trendy artwork of writing with relocating mild. This publication translates movies as visible texts and offers the 1st systematic theoretical and useful demonstration of the affinities among Greco-Roman literature and the cinema. It examines significant subject matters from classical delusion and background similar to movie portrayals of gods, exemplified by way of Apollo and the Muses; Oedipus, antiquity's so much influential mythic-tragic hero; the query of heroism and patriotism in conflict; and the illustration of ladies like Helen of Troy and Cleopatra as items of male hope and myth. overlaying quite a lot 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 variety whilst it adapts historical texts.

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Through Sigmund Freud, his modern champion, as it were, Oedipus is also crucial for the nature of cinema, as we will see in the same chapter. Chapter  starts with Horace’s famous if controversial line that it is “sweet and fitting to die for your country” and discusses heroism and patriotism. This, the most serious topic in the book, is of special significance in the present age of imperial warfare. To emphasize the importance and the unbroken tradition of the theme of individual heroism and glibly invoked patriotism I examine in this chapter a considerable amount of modern literature in conjunction with ancient literature and film; in this way I hope to make evident how important the cinema is for our culture and how closely it is connected to the classical tradition.

On the contrary, concern for authenticity in the recreation of the past is a sign that creative artists such as directors, screenwriters, set decorators, or costume designers take their task seriously. But correctness in the representation of the past is neither a necessary nor a sufficient condition to assure the quality of the result. In the area of mythology the tradition of imagining alternatives to wellattested and even canonical versions of myth goes back to antiquity itself. Our surviving texts reveal that different or mutually exclusive variants of certain parts or individual moments in a myth existed in antiquity, and we have visual evidence of myths or versions of a myth that are unattested in any text – a kind of visual equivalent to textual hapax legomena, words occurring only once in our surviving literature.

Certain states of soul . . which it alone can reveal” (). The kind of films Bresson refers to are films of an artistic and creative nature, not commercial films. ” Quoted from Kenneth Tynan, “Louise Brooks,” in Tynan : –; quotation at . Quoted from McBride : . Geoffrey O’Brien : . He mentions (–) the work of Robert Bresson, Carl Theodor Dreyer, Kenji Mizoguchi, and Roberto Rossellini as examples. Other directors’ names could be added. On the subject cf. the study by future screenwriter and director Paul Schrader (Schrader ).

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