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Classical Antiquity and the Cinematic Imagination 1st Edition by Martin M Winkler ISBN 1009396714 9781009396714

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Author(s): Martin M. Winkler
ISBN(s): 9781009396714, 1009396714
Edition: 1st
File Details: PDF, 11.92 MB
Year: 2024
Language: english
SKU: EB-56858086 Category: Tag:

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ISBN 10: 1009396714 
ISBN 13: 9781009396714
Author: Martin M Winkler

This book aims to enhance our appreciation of the modernity of the classical cultures and, conversely, of cinema’s debt to ancient Greece and Rome. It explores filmic perspectives on the ancient verbal and visual arts and applies what is often referred to as pre-cinema and what Sergei Eisenstein called cinematism: that paintings, statues, and literature anticipate modern visual technologies. The motion of bodies depicted in static arts and the vividness of epic ecphrases point to modern features of storytelling, while Plato’s Cave Allegory and Zeno’s Arrow Paradox have been related to film exhibition and projection since the early days of cinema. The book additionally demonstrates the extensive influence of antiquity on an age dominated by moving-image media, as with stagings of Odysseus’ arrow shot through twelve axes or depictions of the Golden Fleece. Chapters interpret numerous European and American silent and sound films and some television productions and digital videos.

Classical Antiquity and the Cinematic Imagination 1st Table of contents:

I Prolegomena
Chapter 1 Fade-In

  1. Antiquity, the Cinema, and New Ways of Seeing

  2. Film Directors on Antiquity

  3. On Reading and Viewing

II Progymnasmata: Ways of Seeing
Chapter 2 Douris’ Jason: Reckless Interpretations and the Ongoing Moment

  1. The Literary Background of Douris’ Image

  2. Gerhard, Welcker, Robert: Clashes of Academic Titans

  3. From Lycophron to Simon and Giangrande

  4. Douris’ Visual Narrative and the Aristotelian Now

  5. The Now as kairos: Lessing’s “Fruitful Moment”

  6. Enter Photography: Cartier-Bresson’s “Decisive Moment”

  7. Ways of Seeing the Ongoing Moment

Chapter 3 Classical Cinematism

  1. Aristotle and the camera obscura

  2. Francastel and the Birth of Pre-Cinema

  3. Word and Image: A Pre-Cinema Survey

  4. Heron, the camera obscura, and Damascius

  5. Homo cinematographicus: The Cinema as Aristotelian Thought Machine

III Complex Cinematism
Chapter 4 Motion Images in Ecphrases

  1. Homer the Painter, Homer the Filmmaker

  2. Lessing on Text and Image

  3. After Lessing: Eisenstein’s Homer

  4. Catullus and Virgil

Chapter 5 Shadows and Caves: The Cinema as Platonic Idea and Reality

  1. In Plato’s Cave

  2. Shadow Play: Mistaking the False for the True

  3. Bergson and the Philosophy of the Cinematographic Mind

  4. Plato’s Cave on Screen: La Jetée, The Conformist, and Related Films

  5. The Cinema Returns to and from Plato’s Cave

  6. Light and Shadows

  7. The Platonic, Cinematically

  8. “The Like Real World”

  9. Varda and Ophuls on Memory and History

Chapter 6 Static Flight: Zeno’s Arrow and Cinematographic Motion

  1. The Filmstrip and the Arrow’s Flight

  2. Zeno and Motion on Film: Pro and Con

  3. High-Speed Photography, Bullet Time, and Beyond

  4. Zeno’s Onscreen Comedy Cameo

Chapter 7 Lucretius: Dream Images and Beyond the Infinite

  1. Cinematic Illusions: Lucretius on Dreams

  2. Sinsteden and Plateau on Lucretius

  3. The Aftermath

  4. Lucretius and Screen Media: Varieties and Vicissitudes

  5. 2001: A Space Odyssey as Lucretian Film

Chapter 8 The Cinematic Nature of the Opening Scene in Heliodorus’ An Ethiopian Story

  1. Heliodorus’ Opening and Cinematic Technique

  2. Heliodorus’ Opening as Screenplay

  3. Comments

  4. Cinematic Parallels: Welles’s Touch of Evil and Hitchcock’s Psycho

  5. Classical Rhetoric and Cinematic Style

  6. Complex Flashbacks

  7. Lying Flashbacks

Chapter 9 The Face of Tragedy: Mask and Close-Up

  1. Tragedy on Stage and Screen

  2. Masks and Faces in Tragedy

  3. The Emotional Power of Mask and Close-Up

  4. The Close-Up: Revelation of the Invisible

  5. Garbo’s Face: A Beautiful Zero

IV The Cinema Imagines Difficult Texts
Chapter 10 Apollonius and the Golden Fleece; or, The Case of the Missing Ecphrasis

  1. The Golden Fleece in Apollonius’ Argonautica

  2. Neo-Mythologism: Hercules, The Giants of Thessaly, Jason and the Argonauts (1963)

  3. CGI: Jason and the Argonauts (2000) and Percy Jackson: Sea of Monsters

  4. Film Technology and the Supernatural

  5. Medea

  6. The Golden Thing

Chapter 11 Arrow and Axes in the Odyssey; or, The Case of the Insoluble Enigma

  1. The Textual Problem

  2. From the Verbal to the Visual

  3. No Clear Picture

  4. Odissea (1911)

  5. Ulysses (1954)

  6. Odissea (1968)

  7. The Odyssey (1997)

  8. Animation and CGI

  9. Homeric Surprises

Chapter 12 Peckinpah’s Aristotle; or, How Well Does The Wild Bunch Fit The Poetics?

  1. Peckinpah and the Greeks

  2. Peckinpah Scholars on Catharsis

  3. Aristotelian Catharsis

  4. Styles of Violence: Euripides and Peckinpah

  5. Peckinpah’s Tragic Protagonist

  6. Summation: Visual Poetry

V Epilegomena
Chapter 13 Fade-Out

  1. Cleopatra’s Zoetrope

  2. The Cinema’s Paths to the Greeks

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Tags: Martin M Winkler, Classical Antiquity, Cinematic Imagination