Titlebook: Screening Love and Sex in the Ancient World; Monica S. Cyrino Book 2013 Monica Cyrino 2013 cinema.film.television

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Sappho and Pocahontas in Terrence Malick’s , (2005)livers lines from Sappho in her own voice and as her own sentiment.. The normative reflex of epic is to relegate a woman in Pocahontas’s position either to the role of victim, however sympathetic, or possession. Malick uses Sappho to develop a model of female amatory consciousness that is necessary for Pocahontas’s evolution into the protagonist.

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Glenn Close Channels Theda Bara in , (1985) they rent her old apartment, discover her lipstick graffiti behind the old wallpaper, and learn about her from her former song and dance partner. Since Nick is an ardent lover of silent film, he arranges to watch her only existing scene.

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Introduction Screening Love and Sex in the Ancient Worldomance, provocative sexualities, and erotic excess have been a mainstay of screen depictions of ancient Greece and Rome since the beginning of cinema in the early twentieth century. Vibrant scenes of baths, orgies, and brothels were first borrowed from nineteenth-century paintings, photographic ., a

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G. W. Pabst’s Hesiodic Myth of Sex in , (1929)men and women who fall under her erotic sway.. She is described as “Pandora” by the prosecutor at her husband’s murder trial and is condemned by the court, made an outlaw of the legal system in all its patriarchic glory. In critical work on Pabst’s film, many scholars have drawn a connection between

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