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This dynamic number of essays by means of overseas movie students and classicists addresses the provocative illustration of sexuality within the historical international on monitor. A severe reader on methods used to envision sexuality in classical settings, members use case reports from motion pictures and tv sequence spanning from the Twenties to the current.
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Additional resources for Screening Love and Sex in the Ancient World
Furthermore, she—not Eugenia—has outfitted the stranger in her son Edgar’s suit. This substitution should be more proper than if her unmarried daughter had done so, but the erotic undertones of Nausicaa’s commerce with Odysseus in the epic model, combined with Lady Alabaster’s unsettling affect, amplify the perversity of the switch. When Lady Alabaster eventually maneuvers William into asking the demure Eugenia to dance, this interaction too goes awry. Their polite conversation about William’s “surprise,” an exotic butterfly specimen, abruptly sends Eugenia running from the ballroom, an ominous reversal of Nausicaa’s improper courage.
24 Lorenzo F. Garcia Jr. 34. British Museum, inv. no. F 147, attributed to the Owl-Pillar Group. Another representation conflating Pandora and her “box” is Paul Klee’s Die Büchse der Pandora Stilleben (1920), depicting a kantharosshaped chalice with flanged rim, holding a few flowers, and emitting a noxious vapor from a vaginal opening at the base of the cup; Panofsky (1962) 112–13, fig. 59. 35. Hanson (1990) 317. 36. Hanson (1990) 324–30. 37. The translation is from Lonie (1981). 38. On this reading, see Zeitlin (1996) 64–66.
The following quotes are all from Wedekind (1980). 46. Wedekind (1980) 246; discussion at Littau (1995) 903–6. 47. Doane on the DVD commentary track (2006). 48. Elsaesser (1983) 10, 13; see also Doane (1991) 153. 49. Boa (1987) 67. ” 50. Boa (1987) 104. 51. Elsaesser (1983) 10–11; emphasis added. 52. Quoted at Laschever (1982). 53. Brooks (1982) 102; emphasis added. 54. Brooks (1982) 102. 55. Brooks (1982) 97–98. 56. Brooks (1982) 94. Chapter 2 4 Kiss Me Deadly (1955) Pando ra and Pro metheu s i n Robert A ldr ich’s Cinem at i c Subversion of Spill ane Paula James I n this chapter I explore aspects of baneful women, fallible men, and the mutual manipulation involved in gift giving with the Prometheus paradigm in mind.
Screening Love and Sex in the Ancient World by Monica S. Cyrino