Scholarlink

<p>The modern Greek film director Theo Angelopoulos selectively borrowed plotlines, characters and motifs from Greek myth, epic and tragedy and creatively adapted them in his new cinematic works. This article examines Angelopoulos’ final two films, <i>The Weeping Meadow</i> (<i>Το λιβάδι που δακρύζει</i>, 2004) and <i>The Dust of Time</i> (<i>Η Σκόνη του Χρόνου</i>, 2008), through a classical lens to unpick their synthesis of both overt and indirect (‘masked’) receptions. Drawing on developments in Classical Reception, Adaptation Studies and Media Studies, it unmasks the complex nature of the films’ tangled encounters with the classical past and the challenge they pose to the canonical status of ancient Greece both within the modern Greek state and beyond. Angelopoulos’ oeuvre challenges the viewer and demands that we reevaluate our relationship with the classical past and our own ideological baggage, thus serving as an important corrective to the unthinking acceptance of old certainties and established hierarchies.</p>

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Classical Encounters on Screen: Ancient Greece in Theo Angelopoulos’ Final Two Films

  • 期刊论文

  • 出版模式：

    开放获取

  • 发表日期：

    2025年4月29日

查看全文
  • Anastasia Bakogianni

摘要

The modern Greek film director Theo Angelopoulos selectively borrowed plotlines, characters and motifs from Greek myth, epic and tragedy and creatively adapted them in his new cinematic works. This article examines Angelopoulos’ final two films, The Weeping Meadow (Το λιβάδι που δακρύζει, 2004) and The Dust of Time (Η Σκόνη του Χρόνου, 2008), through a classical lens to unpick their synthesis of both overt and indirect (‘masked’) receptions. Drawing on developments in Classical Reception, Adaptation Studies and Media Studies, it unmasks the complex nature of the films’ tangled encounters with the classical past and the challenge they pose to the canonical status of ancient Greece both within the modern Greek state and beyond. Angelopoulos’ oeuvre challenges the viewer and demands that we reevaluate our relationship with the classical past and our own ideological baggage, thus serving as an important corrective to the unthinking acceptance of old certainties and established hierarchies.