Abstract
This chapter turns from tragic inflections of historical time to the role of Greek tragedy in narrative configurations of time. Three film versions of Euripides' Medea (Jules Dassin's Dream of Passion, Pier Paolo Pasolini's Medea, Lars von Trier's Medea) offer distinct takes on narrative closure and artistic autonomy: teleological, apocalyptic, and redemptive. Such narratives cannot be fully separated from one another, nor can they fully account for the different times along and between which Medea or other tragic characters move on the screen. However, they can be used as a starting point for examining narratives of struggle and for exploring the possibilities such narratives open for thinking about Greek tragedy not only in relation to the past but also in relation to the present and the future.
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