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This quantity examines cinematic representations of historical Greek girls from the nation-states of delusion and heritage. It discusses how those girl figures have been resurrected at the vast reveal via various filmmakers in the course of diverse old moments, and have been for this reason embedded inside of a story which served numerous reasons.

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As portrayed by the young, innocent-looking leading blonde actors, the story is transformed from one of archetypal sensuality and desire to a bourgeois tale of 66 Thus both films accord with the cinematic stress, characteristic of pepla, on the return to domestic heterosexuality at the film’s end (Günsberg, 2005: 100). 67 See Kaplan (1997: 86). 68 Winkler (2009: 212). 69 Winkler, in a personal communication, does not believe that having only one major battle relegates the film to ‘chick flick’ status.

80 McDonald (2001) analyses Cacoyannis’ cinematic focus on characters’ eyes in his Iphigenia as the vehicle to convey a range of emotions including suffering, pity, love, and death (98). McDonald asserts that the ancient Greeks expressed their concept of self 40 Ancient Greek Women in Film I will discuss these in the order 1, 3, 2; the second, as we shall see, is closely connected to the third. Instead of shying away from depicting ‘the most beautiful woman in the [ancient] world’, Cacoyannis’ vision as dramatized by Irene Papas displays the mythic Helen in all her divinely inspired sensuality and regal power.

14 While these are conventional, that is, patriarchal, social and cinematic features, Helen of Troy’s dramatization of a good female heroine rather than the masculinist heroics of its male lead radically differentiates its plot and dramatic focus from the later peplum films. 17 In its pre-release 11 Russell (2007: 10–11) notes the unique connection established between historical event and cinematic spectacle by filming historical epics in the new Cinemascope technologies. 12 Günsberg (2005: 101); Pomeroy (2008: 61).

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