Neo-Mythologism: Apollo and the Muses on the Screen Author(s): Martin M. Winkler Source: International Journal of the Classical Tradition, Vol. 11, No. 3 (Winter, 2005), pp. 383- 423 Published by: Springer Stable URL: http://www.jstor.org/stable/30221990 Accessed: 16-08-2015 20:33 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Springer is collaborating with JSTOR to digitize, preserve and extend access to International Journal of the Classical Tradition. http://www.jstor.org This content downloaded from 83.137.211.198 on Sun, 16 Aug 2015 20:33:12 UTC All use subject to JSTOR Terms and Conditions Neo-Mythologism:Apollo and the Muses on the Screen MARTINM. WINKLER In antiquity,the idea of myth was fluid enough to accommodatea wide variety of divergent,even contradictory,versions of the same story.This traditioncontinues in modem times:myths, whether ancientor later,preserve their Proteannature. Striking examples for this flexibilityof mythicaltales are the adaptationsof ancient myths to the screen. Classicalantiquity has always played a major part in the history of film (and television),but screenwritersand directorsas a rule take great liber- ties with their source materials.In films based on Greekand Romanliterature, especially epic and tragedy,and in films with invented or modern settings, figures familiarto us fromclassical sources recurwith surprisingvariability.