000			02161 a2200325 4500
001			1138975486
005			20250317100401.0
008			250312042016GB eng
020			_a9781138975484
037			_bTaylor & Francis _cGBP 45.99 _fBB
040			_a01
041			_aeng
072	7		_aDSA _2thema
072	7		_aJBCT _2thema
072	7		_aNH _2thema
072	7		_aDSA _2bic
072	7		_aJFD _2bic
072	7		_aH _2bic
072	7		_aPER004000 _2bisac
072	7		_aLIT012000 _2bisac
072	7		_aPER004040 _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a791.436 _2bisac
100	1		_aKenneth MacKinnon
245	1	0	_aGreek Tragedy into Film
250			_a1
260			_aOxford _bRoutledge _c20160121
300			_a224 p
520			_bIf Greek tragedy is sometimes regarded as a form long dead and buried, both theatre producers and film directors seem slow to accept its interment. Originally published in 1986, this book reflects the renewed interest in questions of staging the Greek plays, to give a comprehensive account and critical analysis of all the important versions of Greek tragedy made on film. From the 1927 footage of the re-enactment of Aeschylus’ Prometheus in Chains at the Delphi Festival organised by Angelos Sikelianos to Pasolini’s Notes for an African Oresteia , the study encompasses the version of Oedipus by Tyrone Guthrie, Tzavellas’s Antigone (with Irene Papas), Michael Cacoyannis’s series which included Electra , The Trojan Women , and Iphigeneia , Pasolini’s Oedipus and Medea (with Maria Callas), Miklos Jancso’s Elektreia , Dassim’s Phaedra and others. Many interesting questions are raised by the transference of a highly stylised form such as Greek tragedy to what is often claimed to be the ‘realistic’ medium of film. What becomes clear is that the heroic myths retain with ease the power to move the audiences in very different milieux through often strikingly different means. The book may be read as an adjunct to viewing of the films, but enough synopsis is given to make its arguments accessible to those familiar only with the classical texts, or with neither version.
999			_c1294 _d1294