Voices of Resistance: Michael Cacoyannis' the Trojan Women (1971)

Bakogianni, Anastasia

doi:10.1111/j.2041-5370.2009.tb00746.x

Cited by 4 publications

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“…In the twentieth and twenty-first centuries, Euripides' Hecuba, as she is portrayed in Troades, came to embody the 5 voices of resistance and protest against violence, war, and oppression in the performative arts. For a discussion of Michael Cacoyannis' cinematic reception of this Euripidean play which promotes this anti-war reading of the play see Bakogianni 2009 and 2015. Euripides' Hecuba, on the other hand, in which the former queen actually manages to avenge the death of her son Polydorus has divided modern audiences.…”

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confidence: 99%

Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?

Bakogianni

2019

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In his Poetics Aristotle dismisses Iphigenia's characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia's change of heart in portrayed on stage and screen affects the audience's response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis' anti-war interpretation of Iphigenia's choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis' Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor.

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Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?

Bakogianni

2019

CODEX

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“…It can also be seen in the film's dedication (appearing after the credits) to '[a]ll who fearlessly oppose the oppression of man by man'. For additional scholarship on this film, see McDonald (1983: 193-259) and Bakogianni (2009). 49 Taylor (2007: vi).…”

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confidence: 99%