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Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information OVID ON SCREEN This book presents the first systematic appreciation of Ovid’sextensive influence on, and affinity with, modern visual culture. Some topics are directly related to Ovid; others exhibit features, characters, or themes analogous to those in his works. The book demonstrates the wide-ranging ramifications that Ovidian archetypes, especially from the Metamorphoses, have provoked in a modern artistic medium that did not exist in Ovid’s time. It ranges from the earliest days of film history (Georges Méliès’s discovery of screen metamorphosis) and theory (Gabriele D’Annunzio’s fascination with the metamorphosis of Daphne; Sergei Eisenstein’s concept of film sense)throughsilentfilms, classic sound films, commercial cinema, art-house and independent films to modernism and the CGI era. Films by well-known directors, including Ingmar Bergman, Walerian Borowczyk, Jean Cocteau, Alfred Hitchcock, Stanley Kubrick, Fritz Lang, Max Ophu¨ls, Alain Resnais, and various others, are analyzed in detail. . is University Professor and Professor of Classics at George Mason University. His publications include The Persona in Three Satires of Juvenal (), Der lateinische Eulenspiegel des Ioannes Nemius (), Cinema and Classical Texts: Apollo’s New Light (Cambridge, ), The Roman Salute: Cinema, History, Ideology (), Arminius The Liberator: Myth and Ideology (), and Classical Literature on Screen: Affinities of Imagination (Cambridge, ). He has edited the Penguin Classics anthology Juvenal in English ()andthe essay collections Classics and Cinema (), Classical Myth and Culture in the Cinema (), Gladiator:FilmandHistory(), Troy: From Homer’s Iliad to Hollywood Epic (), Spartacus:FilmandHistory (),TheFalloftheRomanEmpire:FilmandHistory(), and Return to Troy: New Essays on the Hollywood Epic (). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information OVID ON SCREEN A Montage of Attractions MARTIN M. WINKLER © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information University Printing House, Cambridge , United Kingdom One Liberty Plaza, th Floor, New York, , USA Williamstown Road, Port Melbourne, , Australia –, rd Floor, Plot , Splendor Forum, Jasola District Centre, New Delhi – , India Anson Road, #–/, Singapore Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/ : ./ © Martin M. Winkler This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom by TJ International Ltd, Padstow Cornwall A catalogue record for this publication is available from the British Library. Library of Congress Cataloging-in-Publication Data : Winkler, Martin M., author. : Ovid on screen : a montage of attractions / Martin M. Winkler. : Cambridge ; New York, NY : Cambridge University Press, .| Includes bibliographical references and index. : (print) | (ebook) | (hardcover) | (paperback) | (epub) : : Civilization, Ancient, in motion pictures. | Archetype (Psychology) in motion pictures. | Motion pictures–History and criticism. | Ovid, B.C.- A.D. or A.D. Metamorphoses–Influence. | Ovid, B.C.- A.D. or A.D.–Influence. : .. (print) | .. (ebook) | ./–dc LC record available at https://lccn.loc.gov/ LC ebook record available at https://lccn.loc.gov/ ---- Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information F A P. O N M R , , © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information Contents Illustrations page x Acknowledgments xiii Adages xvii Fade-In: Prooemium xix . Cinemetamorphosis A Working Definition Ovidianism and Cinemetamorphosis Montages of Attractions Preview of Coming Attractions Ovidianism on the Cutting-Room Floor . Ovid’s Film Sense and Beyond Lessons from Eisenstein Film Sense in the Metamorphoses : Athena and Arachne Film Sense in the Metamorphoses : Niobe and Her Children Epic, Painting, Film Hitchcockian Film Sense in Amores . Narcissus during the Time of the Image Visual Poetry: The Nature of Texts The First Picture Shows: Ovidian Cinema in The Last World .D’Annunzio’s Ovid and the Cinematic Impulse Icarus’ Heroic Flight “Daphne’s Delicate Arm” Flashback to Pre-cinema; or: Ovid, Virgil, and the Thaumatrope Early Cinema and Visual Education: A Quasi-Dannunzian Perspective D’Annunzio and the Rise of the Film Star vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information viii Contents . The Labyrinth: Narrative Complexity, Deadly Mazes, and Ovid’s Modernity Ovid and Labyrinthine Narratives Ovidian Technique in the Cinema An Ovidian Labyrinth: Last Year at Marienbad Deadly Labyrinths: The Shining and Malpertuis The Girl and the Monk Who Knew about Ariadne’s Thread Honorable Mention: Other Labyrinths and Minotaurs .Effects and Essences Méliès and the Discovery of Metamorphosis The Pygmalion Effect Joan Crawford’s Galatea Hephaestus and Daedalus Effects Essences of Animation Visible Essences in Metamorphoses Visible Essences before CGI: Metropolis Visible Essences through CGI: Black Swan Metamorphosis and the Cinematic Uncanny Effect Transitions: Body and Statue The Medusa Effect Eisenstein’s Variation on the Daedalus Effect . The Beast in Man: Not Ovid’s, but How Ovidian! Fade-In: On the Fascination of Horror “Like a Rapacious and Bloodthirsty Wolf”: The Wolf Man The Simian Beast Coming Out of Hiding into Hyde The Mind Possessed: Hour of the Wolf and Persona , , . Varieties of Modernism: Orpheus and Eurydice Pre-Modern and Modern Vignettes Post-Modernism : Role Reversal in Vom Suchen und Finden der Liebe Post-Modernism : Paul Auster, Orphic Author-Filmmaker . Love and Death Ovid and Ophu¨ls; or: “By the Time You Read This Letter, I May Be Dead” Philemon and Baucis: From Marital Devotion to Melancholia, Mourning, Memory, and Quirky Obsession © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information Contents ix . Lessons in Seduction Fade-In: Metamorphoses of Ovid Insert : Ovid in Poland Borowczyk’s The Art of Love . Borowczyk’s Critics and the Nature of Erotic Cinema . Ovid in Borowczyk’s Rome . Borowczyk’s Leda and Pasiphaë . Borowczyk’s Nadir: Ovid as Seducer . Erotic Complexity: From Ovid to Borowczyk Eyes Wide Shut and Brains Tight Shut: How to Fail at Seduction Insert : Teachers of Love La ronde: Master of the Game of Love Fade-Out: Other Arts of Love . Immortality: Philosophy, Cinema, Ovid The Intelligent Machinery of the Cinema Ovidian Pythagoreanism in Four Times The Wandering Image: Free of Time and Space Ovid in The Age of the Medici . Ovidian Returns Orpheus’ Return as Cocteau Icarus’ Return: The Nature of Cinema Cinema as Benign Medusa Effect The Marvelous Returns Ovid’s Dialogic Returns Sphragis: End Credits Bibliography Passages of Ovid’s Works General Index The plate section can be found between pp. and . © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48540-1 — Ovid on Screen Martin M. Winkler Frontmatter More Information Illustrations Images are either screenshots or from the Jerry Murbach Collection or the author’s collection. High-resolution reproductions of all illustrations may be found online under the Resources tab at www.cambridge.org/ . Illustrations on Plates, following page I. Black Orpheus. The film’s title card, with Orpheus and Eurydice on a Roman copy of a Greek relief sculpture. II. Rear Window. Epiphany: point-of-view close-up on Lisa’s face. III. Rear Window. The kiss. IV. Studio shot of Hedy Lamarr in Narcissus mode. V. Metropolis. Publicity shot of Rotwang’s robot. VI.–. Metropolis. The process of the robot’s metamorphosis into the false Maria. VII. Brigitte Helm on the set of Metropolis.
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  • Dissolution and Crisis in Fin-De-Siècle Vienna

    Dissolution and Crisis in Fin-De-Siècle Vienna

    The Naked Truth: Dissolution and Crisis in Fin-de-Siècle Vienna Instructor: Dr. S. Kye Terrasi Time: T/Th 1:00-2:20 Place: Online Office: Zoom Meetings Office Hours: Email for appointment E-mail: [email protected] Course Description German 351 / CHID 498 / Lit 298: This course is taught in English. All readings and discussions will be conducted in English. This course is an interdisciplinary exploration of the literature and the visual culture of fin-de- siècle Vienna and the Austro-Hungarian Empire, and the aftermath of its disintegration into World War I. With an emphasis on the relationship between different disciplines (literature, art, critical theory, history and psychology) the course will be organized around major themes from the period, such as sexuality, gender, decay, and the crisis of identity and language. The analysis of works such as Egon Schiele's self portraits reveals mankind's crisis of identity when confronted by an era characterized by the absence of any ordering principles. Arthur Schnitzler's play Reigen and his novella Night Games unmask a battle of the sexes and the changing dynamic between men and women. Gustav Klimt's Secessionist paintings express a fresh hope for a renewal in art and society and his portrayal of the feminine form undercut previous views regarding gender and sexuality. Hugo von Hofmannsthal's Chandos Brief lays bare the notion that the inherited language of past traditions is no longer capable of expressing modern man's experience. Wes Anderson's modern film The Grand Budapest Hotel seeks to capture the decay of the Empire as it holds up a mirror which brilliantly reflects 'the world of yesterday' that Stefan Zweig so faithfully describes as he looks back to the Vienna of his youth.