None of the categories suggested by Jorgens (p. 19) adequately covers the films in this chapter, or at least three of the four films discussed here. Pier Paolo Pasolini's Oedipus Rex and Medea, and Jules Dassin's A Dream of Passion are not ‘theatrical’ films, although the last does include scenes from a modern production of Medea in an ancient theatre. They are not ‘realistic’ films of tragedy. Neither are they ‘filmic’ in Jorgens' sense, since they are not free-wheeling modern adaptations with a traceable relation to heroic myth. Each of these three films is about Greek tragedy in a broad sense.