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 customer of the humanities. he's hence a becoming metaphor for cinematography, that's the fashionable artwork of writing with relocating mild. This e-book 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 fable and background reminiscent of movie portrayals of gods, exemplified by way of Apollo and the Muses; Oedipus, antiquity's such a lot influential mythic-tragic hero; the query of heroism and patriotism in battle; and the illustration of ladies like Helen of Troy and Cleopatra as items of male hope and myth. protecting quite a lot of ecu and American administrators, genres, and classical authors, this examine presents an leading edge viewpoint at the disciplines of classics and cinema and demonstrates our such a lot influential medium's limitless variety while it adapts historic texts.

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The structure has been changed, in some cases radically. We start the movie on a wholly different note . . Part of this process of going through three cuts is of course wrestling with the idea of making it clearer to the public. It was always a difficult film to understand and difficult to do. This is a breakthrough for me, to give me complete freedom to break the constraints of theatrical, commercial filmmaking, to go and make a film at any length that was required by the material itself, without studio interference, without critics, without even having to satisfy an audience except ourselves.

Ford : – (section entitled “Singing, Painting, and Speaking” in chapter “Song and Artifact”). See further Finkelberg : – (chapter “Song and Artefact”). As late as the eleventh century AD, Byzantine philosopher Michael Psellus refers to Simonides: “according to Simonides, the word is the image of the thing”; quoted from David A. Campbell : . – Also valuable, A certain tendency in classical philology  Chloe, which dates to the late second century AD, demonstrates that one and the same story can be told equally well in images as in words.

Appreciation of the verbal texture of language is one of the most important objects of the teaching and study of literature” (Segal ; rpt. in revised form in Segal : –; here quoted from this reprint at –). – The inflections in Greek and Latin morphology are analogous to the visual compositions in a film’s individual shot; the morphological changes of nouns, adjectives, or words in a sentence or clause parallel the movements of camera, actors, or objects within a shot. ) modern editors introduce into classical texts.

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