Big Screen RomeJohn Wiley & Sons, 2009 M02 9 - 288 pages Big Screen Rome is the first systematic survey of the most important and popular films from the past half century that reconstruct the image of Roman antiquity.
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Page 2
... Wyke, 6). The very vastness of the Roman world guarantees its appeal to a wide array of viewers, since Rome exists wherever there are Romans: Italy, Egypt, Greece, Africa, Syria, Palestine, Judaea, Germany, Spain, and Britain. The ever ...
... Wyke, 6). The very vastness of the Roman world guarantees its appeal to a wide array of viewers, since Rome exists wherever there are Romans: Italy, Egypt, Greece, Africa, Syria, Palestine, Judaea, Germany, Spain, and Britain. The ever ...
Page 16
... (Wyke, 113– 14). This particular representation of Nero and his regime was to have a powerful and pervasive influence on later writers, artists, and filmmakers. Background to the Film Mervyn LeRoy's film Quo Vadis is based on a ...
... (Wyke, 113– 14). This particular representation of Nero and his regime was to have a powerful and pervasive influence on later writers, artists, and filmmakers. Background to the Film Mervyn LeRoy's film Quo Vadis is based on a ...
Page 17
... (Wyke, 115). The novel assigns unqualified blame for the Great Fire to Nero, who then punishes the innocent Christians to cover up his fault. At the end of the novel, after Lygia is saved from death in the arena, Nero is overthrown in ...
... (Wyke, 115). The novel assigns unqualified blame for the Great Fire to Nero, who then punishes the innocent Christians to cover up his fault. At the end of the novel, after Lygia is saved from death in the arena, Nero is overthrown in ...
Page 18
... (Wyke, 117–18). “These allegorical strategies at work in the novel Quo Vadis? were then implemented more forcefully in the cinematic reconstructions of Nero as a representation of present as well as past histories of persecution and ...
... (Wyke, 117–18). “These allegorical strategies at work in the novel Quo Vadis? were then implemented more forcefully in the cinematic reconstructions of Nero as a representation of present as well as past histories of persecution and ...
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Contents
1 | |
7 | |
Chapter 2 The Robe 1953 | 34 |
Chapter 3 BenHur 1959 | 59 |
Chapter 4 Spartacus 1960 | 89 |
Chapter 5 Cleopatra 1963 | 121 |
Chapter 6 A Funny Thing Happened on the Way to the Forum 1966 | 159 |
Chapter 7 Monty Pythons Life of Brian 1979 | 176 |
Chapter 8 History of the World Part I 1981 The Roman Empire Sequence | 194 |
Chapter 9 Gladiator 2000 | 207 |
Bibliography | 257 |
Index | 262 |
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Common terms and phrases
actor Alexandria American ancient Roman Antoninus Antony Antony’s arena Arrius audience Augustus Batiatus battle Ben-Hur Brian Brooks Caesar Caesarion Caligula character chariot race Christian cinematic Cleese Cleopatra Colosseum comedy comic Commodus contemporary Crassus crowd death Demetrius depiction Diana director Draba earlier epic films early Egypt Egyptian Elley emperor epic films Esther father fight film’s Fitzgerald Forum freedom Funny Thing Happened Gallio genre Gladiator gladiatorial Gracchus hero historical Hollywood imperial Jesus Juba Judaea Judah later legions Lucilla Lucius Lygia man’s Marcellus Marcus Aurelius Maximus Messala military modern movie musical narrative Nero Nero’s novel Octavian Oscar palace Petronius Pilate played plot political Pompey Poppaea popular Praetorian Praetorian Guard Proximo Pseudolus Pythons Quo Vadis rebel reign Robe role Roman Empire Rome Rome’s scene Senate sequence sexual slave soldiers Solomon Spartacus spectacle star story Taylor television tells theme Tiberius Tigellinus traditional Varinia victory viewers visual Wyke