Contemporary Medusa
Here are the various present day interpretations of the Gorgon Medusa. Some have been influenced by the historical findings of the monster and others as a modernized character as if she lived in present day:
Clash of the Titans:
In this film, Medusa has a bow and arrow, a beautiful face, and the body of a serpent. Her “beautiful face” is transformed into a vicious, python-like appearance when she is turning a victim to stone. She slivers silently, and rattles her tail as she is going in for a kill. An old principle of hers remains, she harms no woman. When Io is faced at the gate of her cave, she is told that she must not pass. This shows the feminist standings of Medusa and how she wishes to assert revenge on every male because of the wrongdoings of Poseidon. In this movie, however, Medusa is used like an object of desire, so it is hard to label her as an antagonist because people are bursting into her home to kill her.
Percy Jackson & the Olympians- The Lightning Thief:
This movie depicts Medusa in a different light than older films or books. She is given features that could be perceived as “pretty,” such as a nice facial structure, blue but deadly eyes, and -despite being made entirely of snakes- pretty hair. In this modern interpretation of Medusa, she is not limiting her victims to females, for she also turns females to stone. This movie also shows how her victims are put to use; she owns her own garden sculpture collection. She exhibits traits of sarcasm, which is also a part of her modernization, because an ancient mythological monster would usually be more focused on killing her victims than on providing witty humor. Her head is also used to combat other mythological creatures, yet there is a twist on how she is defeated. Instead of Perseus using a marble ball or a shiny shield to see her reflection, he uses his iPhone; this further emphasizes how the old Greek myths have evolved with their modernization.
Narnia: The Lion, The Witch, and The Wardrobe- The White Witch:
While most modern day adaptations such as The Lightning Thief and Clash of the Titans feature Medusa herself, there some present day adaptations that do not. One of these is The White Witch in the second installment of Narnia. Though she does not have snakes in place of her hair, or does not hail from Greek mythology, one can draw some parallels between the two.
One of the most horrific things about the queen is that she puts on a kind and harmless facade, such as when she helps Edmund, one of the protagonists, and offers him Turkish delight. In reality, this is just a ploy to make sure him and his siblings do not overthrow her, as stated by a prophecy. This idea of her cold heart hidden by a warm exterior, can be linked back to the Greek origins of Medusa: although Medusa was known to be a monster, she was originally described as a physically beautiful woman. Additionally, this 'modern day' Medusa is physically similar to the Gorgon: both have/had golden hair, and the witch's hair consists of snake like braids, similar to those of Medusa. Finally, the white witch also has the ability to turn whoever opposes her, into stone. Just like Medusa, she collects the stone statues of her enemies.
The White Witch's characteristics, or lack thereof, can be attributed to the different interpretations of Medusa. Her physical characteristics are similar to those which characterized Medusa during the Victorian age: pale skin, light hair, and large. However, the portrayal of The White Witch contradicts the way feminists have perceived Medusa. While feminism views Medusa as a victim of a misogynistic society, Narnia, not only paralleled the queen to the monstrous qualities of Medusa, but also made her this embodiment of evil who remains indifferent to spilled blood of her enemies. Although she may not be Medusa , the White Witch shares many similarities with her to suggest that she was inspired by the Gorgon.
One of the most horrific things about the queen is that she puts on a kind and harmless facade, such as when she helps Edmund, one of the protagonists, and offers him Turkish delight. In reality, this is just a ploy to make sure him and his siblings do not overthrow her, as stated by a prophecy. This idea of her cold heart hidden by a warm exterior, can be linked back to the Greek origins of Medusa: although Medusa was known to be a monster, she was originally described as a physically beautiful woman. Additionally, this 'modern day' Medusa is physically similar to the Gorgon: both have/had golden hair, and the witch's hair consists of snake like braids, similar to those of Medusa. Finally, the white witch also has the ability to turn whoever opposes her, into stone. Just like Medusa, she collects the stone statues of her enemies.
The White Witch's characteristics, or lack thereof, can be attributed to the different interpretations of Medusa. Her physical characteristics are similar to those which characterized Medusa during the Victorian age: pale skin, light hair, and large. However, the portrayal of The White Witch contradicts the way feminists have perceived Medusa. While feminism views Medusa as a victim of a misogynistic society, Narnia, not only paralleled the queen to the monstrous qualities of Medusa, but also made her this embodiment of evil who remains indifferent to spilled blood of her enemies. Although she may not be Medusa , the White Witch shares many similarities with her to suggest that she was inspired by the Gorgon.
The Muse and her Artist:
The Muse and Her Artist is a recent painting depicting Medusa in a novel manner. The work was created by Helen Klebesadel in 1989. You may note how the title of the work seems to place the lead of the artist/muse relationship with the muse instead of the artist- in this work, the artist isn't listening to their muse for treasured inspiration, but rather, the muse is in complete control of the artist- a subversion of the stereotypical relationship.
The figure of the muse is a Medusa figure, the wild, root-like hair and the mouth seemingly closed by creeping roots suggesting a lack of movement and freedom, her stark eyes gazing deep and intimidating. By contrast, the 'face' of the artist is one that is still and unmoving- petrified by the power of Medusa, of the muse. The ribbon of the mask that is the artist is wrapped around the muse's wrist, implying control and limitation, while the background figure of the snake reference the muse's nature as a Medusa figure, the snake forming an almost hypnotic pattern that also forms a sort of ouroboros- the muse, Medusa will not end, it will continue, self-renewing. The muse is obviously in control here, and it is most likely not a benevolent one, judging by the almost literal tight leash she has on the artist. As is noted in an article by Gillian M.E. Alban, "The two faces interact as muse and artist, terroriser and victim." (Alban 174)
Interestingly enough, however, the piece also accentuates Medusa's motherly nature. The muse holds the artist in a motherly pose, holding the mask to her breast, protecting it, nurturing and protecting the artist even as she victimizes and controls them. Or, in another way of viewing it, she could very simply holding them close and smothering them in their embrace- their art, their muse controlling and consuming them. Whatever interpretation you choose, it would seem that the motherly characteristics of Medusa have survived the test of time.
The figure of the muse is a Medusa figure, the wild, root-like hair and the mouth seemingly closed by creeping roots suggesting a lack of movement and freedom, her stark eyes gazing deep and intimidating. By contrast, the 'face' of the artist is one that is still and unmoving- petrified by the power of Medusa, of the muse. The ribbon of the mask that is the artist is wrapped around the muse's wrist, implying control and limitation, while the background figure of the snake reference the muse's nature as a Medusa figure, the snake forming an almost hypnotic pattern that also forms a sort of ouroboros- the muse, Medusa will not end, it will continue, self-renewing. The muse is obviously in control here, and it is most likely not a benevolent one, judging by the almost literal tight leash she has on the artist. As is noted in an article by Gillian M.E. Alban, "The two faces interact as muse and artist, terroriser and victim." (Alban 174)
Interestingly enough, however, the piece also accentuates Medusa's motherly nature. The muse holds the artist in a motherly pose, holding the mask to her breast, protecting it, nurturing and protecting the artist even as she victimizes and controls them. Or, in another way of viewing it, she could very simply holding them close and smothering them in their embrace- their art, their muse controlling and consuming them. Whatever interpretation you choose, it would seem that the motherly characteristics of Medusa have survived the test of time.