By Almut-Barbara Renger
This quantity reinvigorates the sphere of Classical Reception through investigating present-day tradition, society, and politics, relatively gender, gender roles, and filmic structures of masculinity and femininity which form and are formed via interacting financial, political, and ideological practices.
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Facts in relation to the 'real world' of antiquity - inscriptions, historiography and criminal speeches - has ruled reports of old Greek and Roman slavery, even though offering few direct money owed by way of slaves in their subjective studies. but the resourceful fictions produced via the traditional psyche in its literature and paintings supply many representations and discussions of what it felt prefer to be a slave.
All 3 believed that the trendy global might be remade in line with this version, although none succeeded in his pastime. every now and then Schiller looked as if it would realize the failure of the version; in his mature writing Hegel dropped the version; and Marx, as he grew older, essentially converted the version. however, focusing upong their makes an attempt and screw ups permits a proof of definite features of 1 of the basic matters of present Marx reports: Marx's humanism and the connection among his prior and later proposal.
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Additional resources for Ancient Worlds in Film and Television: Gender and Politics
Those About to Die: The Way of the Gladiator (New York: ibooks, 2001). Marsden, Michael T. and Jack Nachbar, “The Modern Popular Western: Radio, Television, Film and Print,” in Western Literary Association, A Literary History of the American West (Forth Worth TX: Texas Christian University Press, 1987) 1263–1282. Merk, Frederick. , Dissent in Three American Wars (Cambridge: Harvard University Press, 1970) 33–63. Merk. Manifest Destiny and Mission in American History: A Reinterpretation (New York: Alfred A.
Comolli argues that the actor’s body doubles the historical body, and thereby competes with the body fiction. Thus, the characters appearing in historical films always leave room for ambiguity among the audience. 5 Extending Comolli’s hypothesis, the actor’s body can be said to represent an empty mask for the film character at best only at the beginning of the fiction. On the one hand, the actor brings along his own body image and quasi-physical presence, which he realizes through his acting (and which thus leads back to a casting decision).
Levine’s American release of Hercules (Le fatiche di Ercole – 1958) for the drive-in and matinee demographics. Gladiator followed in the wake of Hercules: The Legendary Journeys ( 1995–1999) and Xena: Warrior Princess (1995–2001), the two most popular syndicated television shows in the world in the late 1990s, which in turn helped to inspire the production of the Hallmark/NBC The Odyssey (1997) and the Disney animated feature Hercules (1997). As the genre expanded and gathered popular momentum, the general population was in that sense being prepared for a high-profile mega-hit, which they found in Ben-Hur and Gladiator.