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This quantity examines cinematic representations of historic Greek girls from the geographical regions of fable and historical past. It discusses how those woman figures have been resurrected at the monstrous reveal through diversified filmmakers in the course of various old moments, and have been as a result embedded inside a story which served quite a few reasons.

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Once in full view, the camera pauses on Helen who looks curiously down at Paris who, still enchanted, is looking up at her. The positioning of Helen and Paris in this scene reverses traditional gender 38 See Kaplan (1997: 67, 74, 80–8). Gundle does not address how preference for sexy, sensual Italian actresses fits into the racism of female portrayals in American films. 39 Gundle (2007: 156). 40 For film synopsis, see Paglia (1997: 187–93, with her characteristic caustic comments), and Winkler (2009: 225–9).

In Homer the masculine form describes Menelaus almost exclusively; the feminine forms are used for Demeter (as also in her Homeric Hymn) and various mortal women, but not Helen, or for the hair of Achilles. In the Archaic period Sappho (E. Diehl, Supp. Lyr. 5 PMG) both use xanthos once to describe Helen. Although the word is generally translated as ‘blonde’, it is rendered as ‘tawny’ when referring to lions, and ‘red-haired’ when describing Menelaus. In modern Greek it connotes light chestnut brown rather than Nordic blonde.

Roisman (2008: 144–5), Blondell (this volume). 62 Winkler (2009) analyses Wise’s projection of a moral Helen via the conduct and actions of Menelaus and their marriage; see also Roisman (2008). 63 Roisman (2008: 141). 64 Winkler (2009: 229). Gazing at Helen 35 fulfilment of Helen’s desire since Homer—to be accepted by the Trojan women. And so Helen is, deemed blameless by both the internal and external audiences. For all her similarities to 1950s blonde American stars, the film adds depth to Helen’s character by imaginatively echoing a theme central to Euripides’ play Helen: her dual identities.

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