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Classics and Cinema (Classics)

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  1. Introduction
  2.  
  3. Since the cinema’s birth in 1895, Classical Antiquity has played a major part in the history of storytelling in moving images. Films either present their mythical, literary, and historical material in ancient settings, or they transpose classical themes and historical or narrative archetypes to contemporary or even future times. For most of the 20th century, classical scholars and teachers neglected the presence of Greece and Rome on the screen, although there were some honorable exceptions. (For very early examples see Teaching Antiquity with Film.) Since the 1990s, however, classical scholarship has increasingly focused on this area of reception, which is now outpacing all others. Two statements published in the Classical Review, one of the profession’s foremost book review journals, illustrate the change that occurred in less than a decade. In 1999, a reviewer began with the following statement: “The combination of classics and film studies is not a common field of interdisciplinary research” (Classical Review, new ser., 49 1999:244–246). In 2005, a reviewer observed: “Successfully—and fruitfully—the study of classics and cinema has asserted itself as a leader in the field of reception studies” (Classical Review, new ser., 55 2005:688–690, at 688). Nevertheless, the study of classics and cinema and related media (television, computer videos) is still evolving. At the same time, it is a broad and demanding field that requires a double expertise from its practitioners: a sound knowledge of all aspects of the ancient cultures on the one hand, and close familiarity with film history, technology, theory, aesthetics, and economics on the other. These are preconditions for all serious interpretive work on cinema and Antiquity. It may be true that nobody can serve two masters, but classical film philologists ought to be ready to serve nine mistresses in order to do justice to the artistic areas over which they preside: Clio (history), Calliope (epic), Melpomene (tragedy), Thalia (comedy), Terpsichore (song and dance), Urania (astrology), Erato, Euterpe, and Polyhymnia (all poetry). These are joined by their youngest sibling: “the tenth Muse,” as poet, painter, and filmmaker Jean Cocteau has called the cinema. Naturally, these ladies expect to be loved by philological cinephiles!
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  5. General Overviews
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  7. The works listed in this section present useful orientations to Antiquity on the screen in their different ways, tracing the history and themes of films made in Europe, especially Italy—the birthplace of ancient epic cinema—and the United States. Most include whole chapters on, or at least shorter discussions of, biblical and other ancient films (Babylon, Egypt, Persia, Near Orient). Solomon 2001, de España 2009, and Aziza 2009 are good starting points in their respective languages. So is Wieber 2002, if considerably more briefly. Elley 1984 is now a classic. Richards 2008 is limited to American and British films. Elliott 2014 addresses developments since Gladiator (2000).
  8.  
  9. Aziza, Claude. 2009. Le péplum, un mauvais genre. Paris: Klincksieck.
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  11. The peplum—a sword-and-sandal genre (the term here used to include historical epics and more)—gets a brief but affectionate presentation and defense in question-and-answer format.
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  13. de España, Rafael. 2009. La pantalla épica: Los héroes de la Antigüedad vistos por el cine. Madrid: T&B Editores.
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  15. Affectionate, detailed narrative history of epic cinema in over 400 pages. The best starting point in Spanish. Some elegant black-and-white illustrations.
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  17. Elley, Derek. 1984. The epic film: Myth and history. London: Routledge & Kegan Paul.
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  19. Intelligent survey, including the Bible and early Middle Ages. Extensive black-and-white illustrations from films about Classical, biblical, and medieval times. Although a bit outdated, still useful as supplementary course text. Out of print.
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  21. Elliott, Andrew B. R., ed. 2014. The return of the epic film: Genre, aesthetics and history in the 21st century. Edinburgh: Edinburgh Univ. Press.
  22. DOI: 10.3366/edinburgh/9780748684021.001.0001Save Citation »Export Citation »E-mail Citation »
  23. Essays on different aspects of epic films, mainly ancient and medieval. Topics include Rome and America as empires, the importance of color and CGI, and the Harry Potter films.
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  25. Richards, Jeffrey. 2008. Hollywood’s ancient worlds. London: Continuum.
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  27. Well-judged presentation by major film scholar. Valuable first chapter places films in their 19th-century cultural contexts. Highly suitable as main text for undergraduate courses.
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  29. Solomon, Jon. 2001. The ancient world in the cinema. 2d ed. New Haven, CT: Yale Univ. Press.
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  31. Many black-and-white illustrations of films set in Classical, biblical, Egyptian, and Near-Eastern Antiquity. Useful as main or supplementary text for courses. The original edition (1978) was the first book ever written on the subject and started it all.
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  33. Wieber, Anja. 2002. Auf Sandalen durch die Jahrtausende: Eine Einführung in den Themenkreis “Antike und Film.” In Bewegte Antike: Antike Themen im modernen Film. Edited by Ulrich Eigler, 4–40. Stuttgart: Metzler.
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  35. Introductory overview.
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  37. Bibliographies
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  39. Verreth 2014, Juraske 2006, and Juraske 2007 are detailed bibliographies, but all scholarly works included in the present online bibliography contain references, often extensive ones. Verreth 2014 also has a long filmography. Duplá Ansuategui 2011 is more recent but not comprehensive. Valverde García 2013 is on the Euripidean films of Michael Cacoyannis. All books listed under Reference Works contain filmographic information as well.
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  41. Duplá Ansuategui, Antonio. 2011. Materiales para una bibliografia sobre el cine “de romanos” en el siglo XXI. In El cine “de romanos” en el siglo XXI. Edited by Antonio Duplá Ansuategui, 111–121. Vitoria-Gasteiz, Spain: Universidad del País Vasco/Euskal Herriko Unibertsitatea, Argitalpen Zerbitzua.
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  43. Introductory bibliography, not only on films with Roman subjects.
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  45. Juraske, Alexander. 2006. Bibliographie “Antike und Film.” Anzeiger für die Altertumswissenschaft 59:129–178.
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  47. Followed by supplement Juraske 2007.
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  49. Juraske, Alexander. 2007. Nachtrag zur Bibliographie “Antike und Film.” Anzeiger für die Altertumswissenschaft 60:129–146.
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  51. Contains addenda to Juraske 2006.
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  53. Valverde García, Alejandro. 2013. Actualización bibliográfica sobre la filmografía de Michael Cacoyannis. Estudios Neogriegos 15:191–206.
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  55. Overview and bibliography, especially on Electra, The Trojan Women, and Iphigenia.
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  57. Verreth, Herbert. 2014. De oudheid in film: Filmografie.
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  59. Nearly monograph-length filmography, extremely detailed, with bibliography. Covers more than Greece and Rome on film.
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  61. Reference Works
  62.  
  63. The essential research tools described here together provide the necessary information about nearly all surviving or traceable films. Most of them include filmographies and plot summaries. Note that specific details about casts, credits, or plot elements may vary. When in doubt, verify cast or crew names and film titles by consulting at least two or three sources; check story elements through autopsy of film in question. In addition, the Internet Movie Database is a useful starting point, generally reliable except in the categories “Trivia” and “Goofs.”
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  65. On European and American Films
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  67. Dumont 2009 is fundamental. Smith 2004 is not limited to films about Greece and Rome. Barnier and Fontanel 2010 deals with historical figures who have become regulars in the cinema. Cyrino 2013 deals with aspects of love and sexuality, and Nikoloutsos 2013 deals with portrayals of women. Michelakis and Wyke 2013 is on a variety of early films on Antiquity, including Egyptian and biblical aspects.
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  69. Barnier, Martin, and Rémi Fontanel, eds. 2010. Les biopics du pouvoir politique de l’Antiquité au XIXe siècle: Hommes et femmes de pouvoir à l’écran. Lyon, France: Aléas cinéma.
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  71. On film biographies of the powerful, including Alexander, Brutus, Cleopatra, Julius Caesar, Mark Antony, and Octavian.
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  73. Cyrino, Monica S., ed. 2013. Screening love and sex in the ancient world. New York: Palgrave Macmillan.
  74. DOI: 10.1057/9781137299604Save Citation »Export Citation »E-mail Citation »
  75. Essay collection on classical aspects in European and American films with modern settings and in film and television productions set in Greece and Rome.
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  77. Dumont, Hervé. 2009. L’antiquité au cinéma: Vérités, légendes et manipulations. Paris: Nouveau Monde.
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  79. Indispensable and exceptional tome (coffee-table size), with detailed information on all aspects of Antiquity on screen, including TV documentaries. Excellent illustrations. Updated edition accessible online as a flipbook.
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  81. Michelakis, Pantelis, and Maria Wyke, eds. 2013. The ancient world in silent cinema. Cambridge, UK: Cambridge Univ. Press.
  82. DOI: 10.1017/CBO9781139060073Save Citation »Export Citation »E-mail Citation »
  83. Case studies of various classical themes, characters, and plots in the cinema’s first phase, including Homer, the Passion, two versions of Ben-Hur, Cabiria, and more obscure films. Highly recommended but, by necessity, not exhaustive in the treatment of its subject.
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  85. Nikoloutsos, Konstantinos P., ed. 2013. Ancient Greek women in film. Oxford: Oxford Univ. Press.
  86. DOI: 10.1093/acprof:oso/9780199678921.001.0001Save Citation »Export Citation »E-mail Citation »
  87. Essays on the portrayals of historical (Gorgo, Olympias, Cleopatra) and various mythic women, among them Helen of Troy, Medea, and Penelope.
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  89. Smith, Gary A. 2004. Epic films: Cast, credits, and commentaries on over 350 historical spectacle movies. 2d ed. Jefferson, NC: McFarland.
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  91. Expanded and updated from Epic films: Cast, credits, and commentaries on over 250 historical spectacle movies (1991), which it does not entirely supersede. Information provided in the earlier edition may appear abbreviated in the later. Both editions have valuable and partly different black-and-white illustrations.
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  93. Specifically on Italian Films
  94.  
  95. Between them, Aubert 2009 and Casadio 2007, both very reliable, cover the entire history of Italian films about Antiquity until the mid-1990s. Lucanio 1994 provides basic information and some analysis about the US releases of Italian epics, not all of them set in Antiquity. Cammarota 1987 is useful for mythological and neo-mythological films. Lapeña Marchena 2009 also includes history films.
  96.  
  97. Aubert, Natacha. 2009. Un cinéma d’après l’antique: Du culte de l’Antiquité au nationalisme italien. Paris: L’Harmattan.
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  99. On silent films and their cultural climate. A primary resource with detailed information and background studies.
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  101. Cammarota, Domenico. 1987. Il cinema peplum: La prima guida critica ai film di Conan, Ercole, Goliath, Maciste, Sansone, Spartaco, Thaur, Ursus. Rome: Fanucci.
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  103. Thematically arranged survey, mainly by hero. Brief filmographic and bibliographic information; black-and-white illustrations.
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  105. Casadio, Gianfranco. 2007. I mitici eroi: Il cinema “peplum” nel cinema italiano dall’avvento del sonoro a oggi (1930–1993). Ravenna, Italy: Longo.
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  107. Annotated filmographies with plot summaries. Not only on mythical heroes, despite slightly misleading main title. Arranged by theme and, within this, chronology. Indispensable.
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  109. Lapeña Marchena, Oscar. 2009. Guida al cinema “peplum”: Ercole, Ursus, Sansone e Maciste alla conquista di Atlantide. Rome: Profondo Rosso.
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  111. Detailed narrative of characteristics and chronology of epic heroes, with special emphasis on their cinematic Nachleben. Appendix collects valuable reminiscences by filmmakers (too brief for aficionados).
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  113. Lucanio, Patrick. 1994. With fire and sword: Italian spectacles on American screens, 1958–1968. Metuchen, NJ: Scarecrow.
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  115. Annotated filmography, not exclusively on Antiquity and with some gaps in its data. Lengthy introductory essay; appendix on international English-language films.
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  117. Propaedeutics
  118.  
  119. There exists a vast array of scholarly and didactic literature on all aspects of the cinema. Newcomers to classics and cinema may find works listed here especially useful but should consider them only as starting points for further exploration. Textbooks on film appreciation, for instance, tend to vary widely in their emphases and individual appeal.
  120.  
  121. Introductions to Cinema Studies
  122.  
  123. Michael Wood’s Film: A Very Short Introduction (Wood 2012) is exactly what its title announces. Thompson and Bordwell 2010 and Mast and Kawin 2011 are examples of useful overviews of film history, if not detailed enough for specialists. Monaco 2009 is a comprehensive first orientation to all aspects of cinema and can readily be supplemented by Braudy and Cohen 2009. Bordwell, et al. 2006 provides background on the studio system that produced the gigantic Hollywood epics. Mulvey 1989, on cinematic spectatorship, especially of male viewers, may fruitfully be juxtaposed to Sobchak 1990 on epic cinema. Bordwell 1997 deals with visual ways of storytelling, important for analogies to ancient narratives in word and image. Wood 2002 interprets a particular director’s work in a way that can be a model for classicists.
  124.  
  125. Bordwell, David. 1997. Narration in the fiction film. London: Taylor & Francis.
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  127. Advanced theory of filmic narrative, just one example of the wide-ranging studies by this major, if controversial, scholar.
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  129. Bordwell, David, Janet Staiger, and Kristin Thompson. 2006. The classical Hollywood cinema: Film style and mode of production to 1960. London: Routledge.
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  131. On Hollywood in the studio era, the Golden Age of American filmmaking concerning Antiquity. Originally published in 1985.
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  133. Braudy, Leo, and Marshall Cohen, eds. 2009. Film theory and criticism. 7th ed. New York: Oxford Univ. Press.
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  135. Collection of classic and modern essays. Contents are updated with each edition.
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  137. Mast, Gerald, and Bruce Kawin. 2011. A short history of the movies. 11th ed. Boston: Longman.
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  139. College textbook, not short at nearly 800 pages. Mast, the original author, was one of the most highly literate of American film scholars. His background was in English literature.
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  141. Monaco, James. 2009. How to read a film: Movies, media, and beyond: Art, technology, language, history, theory. 4th ed. New York: Oxford Univ. Press.
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  143. Thorough overview, with an annotated list of books on film and new media and with recommendations for online resources. The verb in the title points to the affinities between textual and visual interpretations.
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  145. Mulvey, Laura. 1989. Visual pleasure and narrative cinema. In Visual and other pleasures. Edited by Laura Mulvey, 14–26. Bloomington: Indiana Univ. Press.
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  147. Classic essay on spectatorship from feminist and psychoanalytical perspectives. Originally from 1975, much reprinted. Especially applicable to epic films.
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  149. Sobchak, Vivian. 1990. “Surge and splendor”: A phenomenology of the Hollywood historical epic. Representations 29:24–49.
  150. DOI: 10.1525/rep.1990.29.1.99p0328pSave Citation »Export Citation »E-mail Citation »
  151. Sophisticated analysis of spectacular features and clichés in epic cinema.
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  153. Thompson, Kristin, and David Bordwell. 2010. Film history: An introduction. 3d ed. New York: McGraw-Hill.
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  155. College textbook (800 pages) by two leading film scholars.
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  157. Wood, Robin. 2002. Hitchcock’s films revisited. Rev. ed. New York: Columbia Univ. Press.
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  159. Classic study of a classic director, from which much can be learned about sophisticated film analysis. Wood had been a student of F. R. Leavis at Cambridge. It shows—to advantage.
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  161. Wood, Michael. 2012. Film: A very short introduction. Oxford: Oxford Univ. Press.
  162. DOI: 10.1093/actrade/9780192803535.001.0001Save Citation »Export Citation »E-mail Citation »
  163. This introduction may be too short for many, but it can provide good starting points for in-class discussions, particularly with its final section (“Deaths of the Cinema”). Contains concise but useful bibliographical references.
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  165. On Historical and Epic Cinema
  166.  
  167. History is not historical cinema, historical films are not history, and teachers and scholars must be aware of the differences (and similarities). The claim “Correct in every detail!” is often loudly advanced (e.g., by studio publicists) or silently assumed (e.g., by students and general viewers), but it cannot be fulfilled even by specialists, much less by screenwriters or directors. Bertelli 1995 and Ramosino, et al. 2004 are more earnest than Fraser 1996 about historical mistakes. Pasinetti 1953 and Coleman 2004 reflect on the problems that historical advisers regularly encounter. Campanile 2007, Solomon 2007, and Winkler 2009 argue against Dryasdusts, Gradgrinds, and Beckmessers. Hirsch 1978 and Fraser 1996 provide good introductions to epic and historical cinema, as do several of the books listed under General Overviews and Books Notable for Their Illustrations. Hall and Neale 2010 covers the entire history of the Hollywood epic from 1894 to 2009. Rosenstone 1998 is fundamental for our understanding of how the moving images about history in the furthest-reaching mass medium (at least until very recently) affect our sense of the past. Paul 2013 offers detailed analyses.
  168.  
  169. Bertelli, Sergio. 1995. I corsari del tempo: Gli errori e gli orrori dei film storici. Florence: Ponte alle Grazie.
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  171. On historical “errors and horrors” in period films, not only ancient ones. Informative, sometimes amusing. Ironically, but unsurprisingly, not error-free. Originally published in 1989.
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  173. Campanile, Domitilla. 2007. Film storici e critici troppo critici. Studi Classici e Orientali 53:323–362.
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  175. Spirited defense, with detailed bibliography, of historical films against their all-too-critical critics, concluding that “historical films owe nothing to historians” and that historians dealing with films owe the cinema an understanding of how it works. Dated 2007 but published 2011.
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  177. Coleman, Kathleen M. 2004. The pedant goes to Hollywood: The role of the academic consultant. In Gladiator: Film and history. Edited by Martin M. Winkler, 45–52. Oxford: Blackwell.
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  179. Various trials and tribulations lead to a Harvard classicist’s wry and rueful retrospective on her experiences with Gladiator.
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  181. Fraser, George Macdonald. 1996. The Hollywood history of the world. Rev. ed. London: Harvill.
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  183. Likable romp through the topic by a famous historical novelist and screenwriter. Originally published in 1988. Illustrations (color, black-and-white) from the Kobal Collection.
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  185. Hall, Sheldon, and Steve Neale. 2010. Epics, spectacles, and blockbusters: A Hollywood history. Detroit: Wayne State Univ. Press.
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  187. Written by two British film scholars, this is a historical survey of Hollywood’s most spectacular genre (and the one most popular worldwide). Co-author Neale in particular has published extensively on the theory of genre cinema.
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  189. Hirsch, Foster. 1978. The Hollywood epic. New York: Barnes.
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  191. Brief introduction to the genre, now outdated but still useful. Some discussion and black-and-white illustrations of ancient epics.
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  193. Pasinetti, P. M. 1953. Julius Caesar: The role of the technical adviser. Film Quarterly 8:131–138.
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  195. Professor of Italian and Comparative Literature at UCLA describes his involvement with Joseph L. Mankiewicz’s film Julius Caesar (1953). A thoughtful article that deserves to be better known.
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  197. Paul, Joanna. 2013. Film and the classical epic tradition. Oxford: Oxford Univ. Press.
  198. DOI: 10.1093/acprof:oso/9780199542925.001.0001Save Citation »Export Citation »E-mail Citation »
  199. On films based on Homer, the Argonaut myth, Roman history (The Fall of the Roman Empire and its unofficial remake, Gladiator), and Ben-Hur are supplemented by chapters on literary and cinematic epics, spectatorship, and epic parodies.
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  201. Ramosino, Luisa Cotta, Laura Cotta Ramosino, and Cristiano Dognini. 2004. Tutto quello che sapiamo su Roma l’abbiamo imparato a Hollywood. Milan: Mondadori.
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  203. Do we really owe all our knowledge of Rome to Hollywood? Well, at least a lot of it, according to this book.
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  205. Rosenstone, Robert A. 1998. Visions of the past: The challenge of film to our idea of history. Cambridge, MA: Harvard Univ. Press.
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  207. The title puts it succinctly: In the cinema (and now video) age, history can no longer be explained or written about in long-established ways. A pioneering study with implications for ancient historians, teachers, and scholars alike. Originally published in 1995.
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  209. Solomon, Jon. 2007. The vacillations of the Trojan myth: Popularization and classicization, variation and codification. International Journal of the Classical Tradition 14:482–534.
  210. DOI: 10.1007/s12138-008-0016-zSave Citation »Export Citation »E-mail Citation »
  211. A classicist traces changes in the myth of the Trojan War from Antiquity until Troy (2004). Important for demonstrating that the concept of myth has always been fluid.
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  213. Winkler, Martin M. 2009. Fact, fiction, and the feeling of history. In The Fall of the Roman Empire: Film and history. Edited by Martin M. Winkler, 174–224. Oxford: Wiley-Blackwell.
  214. DOI: 10.1002/9781444311075.ch9Save Citation »Export Citation »E-mail Citation »
  215. Author shows that ancient and modern historians, like creative artists in word and image, are aware that creating “the feeling of history” (a phrase coined by director Anthony Mann) is crucial for all their works. Mann’s 1964 film The Fall of the Roman Empire is a case in point. Extensive references.
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  217. Essay Collections, Monographs, and Selected Articles
  218.  
  219. Works listed here range from essays on a variety of subjects or on thematically related films to detailed studies of individual films. Books, especially the edited essay collections, address a wide variety of Greek and Roman topics, indicating the breadth of the field.
  220.  
  221. Greece and Rome: Films with Ancient and Modern Settings
  222.  
  223. Works listed here include studies of films set in Antiquity and of films with classical archetypes or topoi in modern settings. On the latter see also Studies of Films with Modern Settings. Winkler 2001; Day 2008; Raucci 2008; Castillo, et al. 2008; Lochman, et al. 2008, Duplá Ansuategui 2011, Santana Henríquez 2012, Knippschild and García Morcillo 2013, and Quiroga Puertas 2014 demonstrate different approaches to their topics by a variety of international scholars. Invitto 2006 considers myth alongside philosophy and psychoanalysis. Pomeroy 2008 includes television. Camerotto, et al. 2008 presents Italian perspectives. Winkler 2012 is the author’s Summa theologica cinematographica to date. Blanshard and Shahabudin 2011 looks at ten of the best-known films. James 2013 demonstrates the virtually endless screen adaptability of specific classical themes, here taken from myth and comedy. The Spanish journal Ámbitos dedicates nearly an entire issue to El mundo clásico en el cine. Antela-Bernárdez and Sierra Martín 2013 is a concise volume on major topics.
  224.  
  225. Antela-Bernárdez, Borja, and César Sierra Martín, eds. 2013. La Historia Antigua a través del cine: Arqueología, historia antigua y tradición clásica. Barcelona: Editorial UOC.
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  227. Nine chapters on various topics, mainly Greek, including women (Antigone, Hypatia, Alexander’s women). Also covers politics (dictatorship vs. democracy, fascism).
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  229. Blanshard, Alastair J. L., and Kim Shahabudin, eds. 2011. Classics on screen: Ancient Greece and Rome on film. London: Bristol Classical.
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  231. Ten chapters on one film each attempt to trace the development of genre and related cinematic conventions from Cleopatra (1934) to Gladiator (2000).
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  233. Camerotto, Alberto, Clelia De Vecchi, and Cristina Favaro, eds. 2008. La nuova musa degli eroi: Dal mythos alla fiction. Treviso, Italy: Liceo classico Antonio Canova.
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  235. Eight essays, six of which deal with cinema, including films depicting Homer, Hercules, and Medea. One essay is on Sebastiane (1976). Especially noteworthy is the contribution by filmmaker Alessandro Bozzato on “the director’s eye.”
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  237. Castillo, Pepa, Silke Knippschild, Marta García Morcillo, and Carmen Herreros, eds. 2008. Imagines: La Antigüedad en las artes escénicas y Visuales. Logroño, Spain: Universidad de La Rioja.
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  239. Nearly 800 pages of conference proceedings in various languages. Not limited to the cinema. First in a series. For purchase.
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  241. Day, Kirsten, ed. 2008. Celluloid classics: New perspectives on Classical Antiquity in modern cinema. Arethusa 41.1.
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  243. Special journal issue. Essays on a variety of films in ancient and modern dress.
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  245. Duplá Ansuategui, Antonio, ed. 2011. El cine “de romanos” en el siglo XXI. Vitoria-Gasteiz, Spain: Universidad del País Vasco/Euskal Herriko Unibertsitatea, Argitalpen Zerbitzua.
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  247. Brief essay collection. Despite the title, subjects include films with Greek themes.
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  249. El mundo clásico en el cine. 2012. Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades. Asociación de Estudios de Ciencias Sociales y Humanidades 27 (January–June 2012).
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  251. Six essays on various topics including Helen of Troy; Romulus and Remus, Mucius Scaevola, gods, and portrayals of classicists on screen.
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  253. Garcia Morcillo, Marta, Pauline Hanesworth, and Oscar Lapeña Marchena, eds. 2015. Imagining ancient cities in film: From Babylon to Cinecittà. London: Routledge.
  254. Save Citation »Export Citation »E-mail Citation »
  255. On portrayals of Greek, Roman, Near Eastern, and fictional (Atlantis) cities on the screen.
  256. Find this resource:
  257. Invitto, Giovanni, ed. 2006. Fenomenologia del mito: La narrazione tra cinema, filosofia, psicoanalisi. San Cesario di Lecce, Italy: Manni.
  258. Save Citation »Export Citation »E-mail Citation »
  259. Fifteen essays, not exclusively about Antiquity, on aspects indicated by the book’s title. Especially noteworthy are contributions on two Italian art-house films: Nostos—Il ritorno (1989), Franco Piavoli’s poetic retelling of the Odyssey, and the short Aracne (1999) by Eva Cocca.
  260. Find this resource:
  261. James, Paula. 2013. Ovid’s myth of Pygmalion on screen: In pursuit of the perfect woman. 2d ed. London: Bloomsbury.
  262. Save Citation »Export Citation »E-mail Citation »
  263. Expanded edition of 2011 book is an eye-opener about the variety of the Pygmalion theme in modern settings. Indispensable.
  264. Find this resource:
  265. Knippschild, Silke, and Marta García Morcillo, eds. 2013. Seduction and power: Antiquity in the visual and performing arts. London: Bloomsbury.
  266. Save Citation »Export Citation »E-mail Citation »
  267. Second volume in Imagines series. Twenty-one essays, a third of which deal with, or touch upon, the cinema. Noteworthy is the contribution by Eric Shanower on Age of Bronze, his graphic novel of the Trojan War.
  268. Find this resource:
  269. Lochman, Tomas, Thomas Späth, and Adrian Stähli, eds. 2008. Antike im Kino: Auf dem Weg zu einer Kulturgeschichte des Antikenfilms. Basel, Switzerland: Skulpturhalle Basel.
  270. Save Citation »Export Citation »E-mail Citation »
  271. Large-format companion to museum exhibition contains conference proceedings. Numerous illustrations in color and black-and-white. Texts in German (mostly) and French. Difficult to obtain.
  272. Find this resource:
  273. Pomeroy, Arthur J. 2008. “Then it was destroyed by the volcano”: The ancient world in film and on television. London: Duckworth.
  274. Save Citation »Export Citation »E-mail Citation »
  275. Despite the subtitle, not a survey but specific studies. The main title is actress Joan Collins’s explanation of the fall of the Roman Empire.
  276. Find this resource:
  277. Quiroga Puertas, Albero J., ed. 2014. Texto, traducción, ¡acción! El legado clásico en el cine. Almería, Editorial Círculo Rojo.
  278. Save Citation »Export Citation »E-mail Citation »
  279. Short essay collection, mainly on films with Greek topics. Contains epilogue on importance of classics and cinema in academic humanities.
  280. Find this resource:
  281. Raucci, Stacie, ed. 2008. Recreating the classics: Hollywood and ancient empires. Special issue of Classical and Modern Literature 28.1.
  282. Save Citation »Export Citation »E-mail Citation »
  283. Mainly on Roman subjects. Published in 2010.
  284. Find this resource:
  285. Santana Henríquez, Germán, ed. 2012. Literatura y cine. Madrid: Ediciones Clásicas.
  286. Save Citation »Export Citation »E-mail Citation »
  287. Nine essays, without illustrations, on classical literature and myth in the cinema and on television (I, Claudius).
  288. Find this resource:
  289. Winkler, Martin M., ed. 2001. Classical myth and culture in the cinema. New York: Oxford Univ. Press.
  290. Save Citation »Export Citation »E-mail Citation »
  291. Revised and expanded edition of Classics and cinema (1991), which had been the first book of scholarly essays on the subject. Includes interviews with director Michael Cacoyannis and actress Irene Papas.
  292. Find this resource:
  293. Winkler, Martin M. 2012. Cinema and classical texts: Apollo’s new light. Cambridge, UK: Cambridge Univ. Press.
  294. Save Citation »Export Citation »E-mail Citation »
  295. Theoretical reflections on classical film philology are followed by several case studies. Includes discussions of films with postclassical settings. Detailed bibliography. Originally published in 2009.
  296. Find this resource:
  297. Greece
  298.  
  299. The following works are mainly on films set in ancient Greece but occasionally also address Classical Greek themes in modern settings. On the latter see also Studies of Films with Modern Settings. Berti and Morcillo 2008 is the first essay collection solely dedicated to Greek themes on film. Alonso, et al. 2013 is a “sequel” to their book on Rome (see Alonso, et al. 2008, cited under Rome). Cavallini 2005, Cavallini 2010, and Myrsiades 2009 include non-cinematic material. Winkler 2007 is an introductory survey of myth on film. Michelakis 2013 now largely supersedes MacKinnon 1986. Rodrigues 2011 is a welcome reminder of the pervasiveness of Plutarch on our screens. Sawas 2011 looks at Greek films based on Longus’s novel Daphnis and Chloe. Winkler 2000–2001 examines a specific case of an ancient author’s cinematic sense of storytelling. Winkler 2014 shows the broad adaptability of a specific play to the screen. Green and Goodman 2013 is a tribute to a beloved master of animation.
  300.  
  301. Alonso, Juan J., Enrique A. Mastache, and Jorge Alonso Menéndez. 2013. La antigua Grecia en el cine. Madrid: T&B Editores.
  302. Save Citation »Export Citation »E-mail Citation »
  303. Detailed study of various major (chiefly mythic-epic) themes.
  304. Find this resource:
  305. Berti, Irene, and Marta García Morcillo, eds. 2008. Hellas on screen: Cinematic receptions of ancient history, literature and myth. Stuttgart: Steiner.
  306. Save Citation »Export Citation »E-mail Citation »
  307. Various topics. Editors’ introduction and three essays deal with films about Alexander the Great.
  308. Find this resource:
  309. Cavallini, Eleonora, ed. 2005. I Greci al cinema: Dal peplum ‘d’autore’ alla grafica computerizzata. Bologna, Italy: D. U. press.
  310. Save Citation »Export Citation »E-mail Citation »
  311. Tantalizingly slim volume.
  312. Find this resource:
  313. Cavallini, Eleonora, ed. 2010. Omero mediatico: Aspetti della ricezione omerica nella civiltà contemporanea. 2d ed. Bologna, Italy: D. U. press.
  314. Save Citation »Export Citation »E-mail Citation »
  315. Contents are partly different from 1st ed. of 2007. In Italian and English.
  316. Find this resource:
  317. Green, Steven, and Penny Goodman, eds. 2013. Animating Antiquity: Harryhausen and the classical tradition. Vol. 1, New Voices in Classical Reception Studies.
  318. Save Citation »Export Citation »E-mail Citation »
  319. Six articles on Ray Harryhausen, master of stop-motion animation in such films as Jason and the Argonauts (1963) and Clash of the Titans (1981). Electronically published monograph, available online.
  320. Find this resource:
  321. MacKinnon, Kenneth. 1986. Greek tragedy into film. London: Croom Helm.
  322. Save Citation »Export Citation »E-mail Citation »
  323. Brief survey, useful mainly for its theoretical approach, which is adapted from film versions of Shakespeare (via Jack J. Jorgens, Shakespeare on Film [1977]).
  324. Find this resource:
  325. Michelakis, Pantelis. 2013. Greek tragedy on screen. Oxford: Oxford Univ. Press.
  326. DOI: 10.1093/acprof:oso/9780199239078.001.0001Save Citation »Export Citation »E-mail Citation »
  327. First systematic and theoretically informed appreciation of drama on screen. Includes extensive references and some rare illustrations alongside more familiar ones.
  328. Find this resource:
  329. Myrsiades, Kostas, ed. 2009. Reading Homer: Film and text. Madison, NJ: Fairleigh Dickinson Univ. Press.
  330. Save Citation »Export Citation »E-mail Citation »
  331. Essays on the Homeric epics, on Troy (2004), and on two thematically related films with American settings.
  332. Find this resource:
  333. Rodrigues, Nuno Simôes. 2011. Least that’s what Plutarch says: Plutarco no cinema. In Plutarco e as artes: Pintura, cinema e artes decorativas. Edited by Luísa de Nazaré Ferreira, Paulo Simôes Rodrigues, and Nuno Simôes Rodrigues, 139–272. Sâo Paulo, Brazil: Annablume Classica/Coimbra: Centro de Estudos Clássicos e Humanísticos.
  334. Save Citation »Export Citation »E-mail Citation »
  335. Detailed survey, with filmography, about films adapted from or inspired by Plutarch’s Parallel lives and some other writings. First part of title is from a song in Seven Brides for Seven Brothers (1954), a musical-comedy adaptation of the rape of the Sabine Women (from Plutarch’s Romulus) via Stephen Vincent Benét.
  336. Find this resource:
  337. Sawas, Stépahne. 2011. Les avatars de Daphnis et Chloé dans l’histoire du cinéma grec. In Présence du roman grec et latin. Edited by Rémy Poignault, 713–724. Clermont-Ferrand, France: Centre de recherche André Piganiol.
  338. Save Citation »Export Citation »E-mail Citation »
  339. On Greek films of Longus’s novel.
  340. Find this resource:
  341. Winkler, Martin M. 2000–2001. The cinematic nature of the opening scene of Heliodoros’ Aithiopika. Ancient Narrative 1:161–184.
  342. Save Citation »Export Citation »E-mail Citation »
  343. Argues for the modern visual quality of a 4th-century AD Greek novel.
  344. Find this resource:
  345. Winkler, Martin M. 2007. Greek myth on the screen. In The Cambridge companion to Greek mythology. Edited by Roger D. Woodard, 453–479. Cambridge, UK: Cambridge Univ. Press.
  346. DOI: 10.1017/CCOL9780521845205Save Citation »Export Citation »E-mail Citation »
  347. Introductory survey.
  348. Find this resource:
  349. Winkler, Martin M. 2014. Aristophanes in the cinema; or, the metamorphoses of Lysistrata. In Ancient comedy and reception: Essays in honor of Jeffrey Henderson. Edited by S. Douglas Olson, 894–944. Berlin: de Gruyter.
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  351. Nearly complete survey of varieties of the Lysistrata theme from silent cinema until 2011.
  352. Find this resource:
  353. On Individual Films and Themes
  354.  
  355. The entries listed in this section are all suitable as main or supplemental course texts. Winkler 2007 and Cartledge and Greenland 2010 are edited essay collections that apply a variety of critical approaches. Lane Fox 2004 is a historical consultant’s behind-the-scenes account. Borchardt 2006 is a producer’s account of a unique film version of the Iliad. Rushing 2008 gazes at Herculean bodies. Vasunia 2010 is a timely reminder of the films about Antiquity that do not come from Europe or Hollywood. Boschi 2012 examines films about Jason and the Argonauts. Spina 2012 (on Midas), Valverde García 2013 (on Hippocrates), and Valverde García 2014 (on Prometheus) turn to unduly neglected topics. Nikoloutsos 2013 rekindles interest in an underrated epic film, as does Nogueira Coelho 2013 in an epic-comedy film.
  356.  
  357. Borchardt, Antje. 2006. Mythos, nicht Märchen: Über den Versuch, Homers “Ilias” literarisch zu verfilmen. In Lebendige Antike, 11. Ludwigshafen am Rhein, Germany: Hennecke.
  358. Save Citation »Export Citation »E-mail Citation »
  359. Text of producer’s lecture on Singe den Zorn (2004), a feature-length art-house adaptation, in German verse translation, of selections from the Iliad, filmed on the site of the excavations at Hisarlık, Turkey. Several intercut talking-head comments by various experts lessen the film’s emotional power. DVD is available from production company Retsina-Film online. The latter provides additional information.
  360. Find this resource:
  361. Boschi, Alberto. 2012. I predatori del vello perduto: Sei versioni cinematografiche del mito degli Argonauti. Dionysus ex Machina 3:357–390.
  362. Save Citation »Export Citation »E-mail Citation »
  363. Detailed article (whose title alludes to Spielberg) on Italian, German, and American Argonaut films. Journal is accessible online.
  364. Find this resource:
  365. Cartledge, Paul, and Fiona Rose Greenland, eds. 2010. Responses to Oliver Stone’s Alexander: Film, history, and cultural studies. Madison: Univ. of Wisconsin Press.
  366. Save Citation »Export Citation »E-mail Citation »
  367. Essays on the 2004 film. Includes director’s response to responses. No illustrations.
  368. Find this resource:
  369. Lane Fox, Robin. 2004. The making of Alexander. Oxford: R&L.
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  371. Oxford University historian and biographer of Alexander the Great here describes his experiences in what was marketed as “The official guide to the epic film Alexander.” Foreword by the director.
  372. Find this resource:
  373. Nikoloutsos, Konstantinos. 2013. Reviving the past: Cinematic history and popular memory in The 300 Spartans (1962). The Classical World 106:261–283.
  374. DOI: 10.1353/clw.2013.0030Save Citation »Export Citation »E-mail Citation »
  375. On an underrated epic film, of special interest after 300.
  376. Find this resource:
  377. Nogueira Coelho, Maria Cecília de Miranda. 2013. A Vida Privada de Helena de Tróia nos loucos anos 20 em Hollywood. Classica [Brazil] 26.2: 191–223.
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  379. Article on Alexander Korda’s The Private Life of Helen of Troy (1927), now largely lost, contains detailed references.
  380. Find this resource:
  381. Rushing, Robert A. 2008. Gentlemen prefer Hercules: Desire, identification, beefcake. Camera Obscura 23.3: 158–191.
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  383. Covers Hercules, sex, and the genre gaze.
  384. Find this resource:
  385. Spina, Luigi. 2012. Re Mida, una leggenda davvero aurea. Dionysus ex Machina 3:420–433.
  386. Save Citation »Export Citation »E-mail Citation »
  387. On a little-known subject worth resurrecting in teaching and research. Journal is accessible online.
  388. Find this resource:
  389. Valverde García, Alejandro. 2013. Hipócrates y la Democracia (1972) de Dimis Dadiras: La curación de estado por la fe y la razón. Estudios Clásicos 143:93–106.
  390. Save Citation »Export Citation »E-mail Citation »
  391. Greek director Dadiras, who made his film under military dictatorship, examines politics and corruption, faith and reason, and draws parallels between past and present.
  392. Find this resource:
  393. Valverde García, Alejandro. 2014. El nacimiento de la tragedia griega en la pantalla: Prometeo encadenado (1927) de Gadsiadis. Thamyris 5:127–148.
  394. Save Citation »Export Citation »E-mail Citation »
  395. Welcome study of Dimitris Gadsiadis’s film version of Angelos Sikelianos and Eva Palmer’s historic stage production, at Delphi, of Aeschylus’s Prometheus Bound.
  396. Find this resource:
  397. Vasunia, Phiroze. 2010. Alexander Sikandar. In Classics and national cultures. Edited by Susan A. Stephens and Phiroze Vasunia, 302–324. Oxford: Oxford Univ. Press.
  398. DOI: 10.1093/acprof:oso/9780199212989.001.0001Save Citation »Export Citation »E-mail Citation »
  399. Valuable cinematic and cultural analysis of Sikandar, a 1941 epic Indian film about Alexander the Great (and itself a loose remake of the 1923 silent Indian film Sikandar).
  400. Find this resource:
  401. Winkler, Martin M., ed. 2007. Troy: From Homer’s Iliad to Hollywood epic. Oxford: Blackwell.
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  403. Various essays on the 2004 film, with listing of films and television productions depicting the Trojan War (excluding documentaries). Includes contribution by the late Manfred Korfmann, excavator at Hisarlik.
  404. Find this resource:
  405. Rome
  406.  
  407. Junkelmann 2004 is comprehensive on American films. Wyke 1997 addresses Italian and American historical epics with emphasis on their political and social backgrounds. Alonso, et al. 2008 and Joshel, et al. 2005 address different themes from various perspectives. Cyrino 2005 deals with the most famous English-language films. Lindner 2007 focuses on power, Wrigley 2008 and Theodorakopoulos 2010 on the city of Rome, Lillo Redonet 2010 on heroes. Juraske 2011 examines a crucial phase of history. Mench 2001 is a pioneering study deserving renewed attention. All works listed are suitable as supplements in advanced courses, depending on the individual instructor’s emphasis.
  408.  
  409. Alonso, Juan J., Enrique A. Mastache, and Jorge Alonso. 2008. La antigua Roma en el cine. Madrid: T&B Editores.
  410. Save Citation »Export Citation »E-mail Citation »
  411. On a variety of well-known and lesser-known American and Italian films about Rome. Numerous illustrations.
  412. Find this resource:
  413. Cyrino, Monica Silveira. 2005. Big screen Rome. Oxford: Blackwell.
  414. Save Citation »Export Citation »E-mail Citation »
  415. On the best-known historical epics and comedies. Designed for course use.
  416. Find this resource:
  417. Joshel, Sandra R., Margaret Malamud, and Donald T. McGuire Jr., eds. 2005. Imperial projections: Ancient Rome in modern popular culture. Baltimore: Johns Hopkins Univ. Press.
  418. Save Citation »Export Citation »E-mail Citation »
  419. Chiefly on cinema (and television: I, Claudius). Detailed introduction by two of the editors and Maria Wyke. Originally published in 2001.
  420. Find this resource:
  421. Junkelmann, Marcus. 2004. Hollywoods Traum von Rom: “Gladiator” und die Tradition des Monumentalfilms. Mainz, Germany: von Zabern.
  422. Save Citation »Export Citation »E-mail Citation »
  423. A specialist in Roman military and gladiatorial history contrasts facts and fictions in American epics about Rome. Excellent color and black-and-white illustrations.
  424. Find this resource:
  425. Juraske, Alexander. 2011. Das Ende der römischen Republik im Historienfilm. PhD diss., Univ. of Vienna.
  426. Save Citation »Export Citation »E-mail Citation »
  427. On the genre of historical cinema and films about Spartacus, Caesar, Cleopatra, and Augustus. Extensive references. Unpublished but available online.
  428. Find this resource:
  429. Lillo Redonet, Fernando. 2010. Héroes de Grecia y Roma en la pantalla. Madrid: Evohé.
  430. Save Citation »Export Citation »E-mail Citation »
  431. On hero films.
  432. Find this resource:
  433. Lindner, Martin. 2007. Rom und seine Kaiser im Historienfilm. Frankfurt: Verlag Antike.
  434. Save Citation »Export Citation »E-mail Citation »
  435. On images of Roman emperors and some other rulers in historical films. No illustrations.
  436. Find this resource:
  437. Mench, Fred. 2001. Film sense in the Aeneid. In Classical myth and culture in the cinema. Edited by Martin M. Winkler, 219–232. New York: Oxford Univ. Press.
  438. Save Citation »Export Citation »E-mail Citation »
  439. Article by a classicist that was generally overlooked when originally published in 1969. The Film Sense is the title of an essay collection by Sergei Eisenstein, one of cinema’s greatest directors and theoreticians.
  440. Find this resource:
  441. Theodorakopoulos, Elena. 2010. Ancient Rome at the cinema: Story and spectacle in Hollywood and Rome. Exeter, UK: Bristol Phoenix.
  442. Save Citation »Export Citation »E-mail Citation »
  443. Despite its broad title, mainly a study of four American epic films, Fellini Satyricon, and Titus.
  444. Find this resource:
  445. Wrigley, Richard, ed. 2008. Cinematic Rome. Leicester, UK: Troubadour.
  446. Save Citation »Export Citation »E-mail Citation »
  447. On the city of Rome, mainly during postclassical eras, in Italian cinema. Contains essays on Quo Vadis (1951—American but filmed in Rome) and Fellini (Satyricon, Roma).
  448. Find this resource:
  449. Wyke, Maria. 1997. Projecting the past: Ancient Rome, cinema and history. New York: Routledge.
  450. Save Citation »Export Citation »E-mail Citation »
  451. On American and Italian films about Spartacus, Cleopatra, Nero, and Pompeii. The Cleopatra chapter appears, in revised form, in author’s The Roman mistress: Ancient and modern representations (Oxford: Oxford Univ. Press, 2002).
  452. Find this resource:
  453. On Individual Films and Themes
  454.  
  455. The following are detailed case studies. The edited essay collections reflect a variety of critical approaches; all are suitable as main or supplemental course texts. De Berti, et al. 2009; Paul 2009; Skwara and Skwara 2009; and Glücklich 2010 compare works of Roman literature with their film adaptations. Lapeña Marchena 2007 examines the afterlife of one historical figure on the screen. Scodel and Bettenworth 2009 traces adaptations of the same 19th-century novel through film history; Skwara 2013 supplements their book. Feig Vishnia 2008 deals with the only Roman epic made in Fascist Italy. Hark 1993 applies Mulvey 1989 (cited under Introductions to Cinema Studies) to a famous ancient epic film. Winkler 2003 and Briggs 2008 examine cinematic roots of Gladiator, with different perspectives. Landau 2000 is an example of the “making of” promotional tie-in. Winkler 2007 can now be read alongside Douglas 2012 and Trumbo 2012. Neale 2010 exemplifies a film scholar’s approach to one decisive scene in an epic film. Winkler 2009 shows the importance of the last grand-scale epic about Roman history made in the 1960s. Cyrino 2008 and Cyrino 2015 collect essays on the longest international TV production of the early 21st century. Lapeña Marchena 2010 deals with a neglected eastern European film.
  456.  
  457. Briggs, Ward. 2008. Layered allusions in Gladiator. Arion, 3d ser., 15.3: 9–38.
  458. Save Citation »Export Citation »E-mail Citation »
  459. The concept of “intertextuality,” as scholars are fond of calling it, is here applied to film. Gladiator (2000) echoes, to put it mildly, Anthony Mann’s The Fall of the Roman Empire (1964) and some earlier American films about gladiators, but the author shows the much wider influence of Mann’s work (film noir, Western) and of other films on this film.
  460. Find this resource:
  461. Cyrino, Monica S., ed. 2008. Rome, season one: History makes television. Oxford: Blackwell.
  462. DOI: 10.1002/9781444301540Save Citation »Export Citation »E-mail Citation »
  463. On the 2005 season of this HBO-BBC production. Includes valuable overview by Jon Solomon of portrayals of ancient Rome on the small screen.
  464. Find this resource:
  465. Cyrino, Monica S., ed. 2015. Rome, season two: Trial and triumph. Edinburgh: Edinburgh Univ. Press.
  466. Save Citation »Export Citation »E-mail Citation »
  467. “Sequel” to Cyrino 2008.
  468. Find this resource:
  469. De Berti, Raffaele, Elisabetta Gagetti, and Frabrizio Slavazzi, eds. 2009. Fellini-Satyricon: L’immaginario dell’antico. Milan: Cisalpino.
  470. Save Citation »Export Citation »E-mail Citation »
  471. Nearly 600 pages on the famous Fellini film.
  472. Find this resource:
  473. Douglas, Kirk 2012. I am Spartacus! Making a film, breaking the blacklist. New York: Open Road Integrated Media.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Producer-star reminisces about the complicated production of Spartacus (1960).
  476. Find this resource:
  477. Feig Vishnia, Rachel. 2008. Ancient Rome in Italian cinema under Mussolini: The case of Scipione l’Africano. The Italianist 28:246–267.
  478. DOI: 10.1179/026143408X363550Save Citation »Export Citation »E-mail Citation »
  479. Examination of a politically important and notorious propaganda film from 1937 about Scipio Africanus and Hannibal.
  480. Find this resource:
  481. Glücklich, Hans-Joachim. 2010. “Leider nicht von mir”—oder doch? Plautus als Inspirator der Filmkomödie “Toll trieben es die alten Römer.” Der Altsprachliche Unterricht 53.1: 50–58.
  482. Save Citation »Export Citation »E-mail Citation »
  483. On Plautine elements in A Funny Thing Happened on the Way to the Forum (1966).
  484. Find this resource:
  485. Hark, Ina Rae. 1993. Animals or Romans: Looking at masculinity in Spartacus. In Screening the male: Exploring masculinities in Hollywood cinema. Edited by Steven Cohan and Ina Rae Hark, 151–172. London: Routledge.
  486. DOI: 10.4324/9780203142219Save Citation »Export Citation »E-mail Citation »
  487. Feminist theory applied to Kubrick’s film.
  488. Find this resource:
  489. Landau, Diana, ed. 2000. Gladiator: The making of the Ridley Scott epic. New York: Newmarket.
  490. Save Citation »Export Citation »E-mail Citation »
  491. Intended to cash in on the successful film, but containing good behind-the-scenes material (texts, images). Introduction by the director.
  492. Find this resource:
  493. Lapeña Marchena, Oscar. 2007. El mito de Espartaco: De Capua a Hollywood. Amsterdam: Hakkert.
  494. Save Citation »Export Citation »E-mail Citation »
  495. Spartacus’ history and its screen legend. Monograph revised from author’s dissertation.
  496. Find this resource:
  497. Lapeña Marchena, Oscar. 2010. Nuevas perspectivas en la recepción cinematográfica de la Historia Antigua: El ejemplo de Dacii/Les guerriers (Sergiu Nicolaescu, Rumania/Francia 1966). Studia historica—Historia antigua 28:155–178.
  498. Save Citation »Export Citation »E-mail Citation »
  499. On Romanian-French epic film about Domitian’s campaigns in Dacia.
  500. Find this resource:
  501. Neale, Steve. 2010. The art of the palpable: Composition and staging in the widescreen films of Anthony Mann. In Widescreen worldwide. Edited by John Belton, Sheldon Hall, and Steve Neale, 91–106. New Barnet, UK: Libby.
  502. Save Citation »Export Citation »E-mail Citation »
  503. Visual analysis of the opening of Spartacus (1960), filmed by the original director.
  504. Find this resource:
  505. Paul, Joanna. 2009. Fellini-Satyricon: Petronius and film. In Petronius: A handbook. Edited by Jonathan R. W. Prag and Ian Repath, 198–217. Oxford: Wiley-Blackwell.
  506. DOI: 10.1002/9781444306064Save Citation »Export Citation »E-mail Citation »
  507. On Fellini’s free adaptation of Petronius.
  508. Find this resource:
  509. Scodel, Ruth, and Anja Bettenworth. 2009. Whither Quo Vadis? Oxford: Wiley-Blackwell.
  510. Save Citation »Export Citation »E-mail Citation »
  511. On five films of Henryk Sienkiewicz’s 1895 novel.
  512. Find this resource:
  513. Skwara, Ewa. 2013. Quo Vadis on Film (1912, 1925, 1951, 1985, 2001): The many faces of Antiquity. Classica [Brazil], 26.2: 163–174.
  514. Save Citation »Export Citation »E-mail Citation »
  515. Primarily on the last three versions.
  516. Find this resource:
  517. Skwara, Ewa, and Joanna Skwara. 2009. Zabawne zdarzenie w drodze na forum. Poznań, Poland: Adam Mickiewicz Univ. Press.
  518. Save Citation »Export Citation »E-mail Citation »
  519. Short but detailed monograph on A Funny Thing Happened on the Way to the Forum and its classical background.
  520. Find this resource:
  521. Trumbo, Mitzi. 2012. Trumbo family: Kirk Douglas overstates blacklist role. Salon.
  522. Save Citation »Export Citation »E-mail Citation »
  523. Daughter of blacklisted screenwriter Dalton Trumbo corrects Douglas 2012.
  524. Find this resource:
  525. Winkler, Martin M. 2003. Quomodo stemma Gladiatoris pelliculae more philologico sit constituendum. American Journal of Philology 124:137–141.
  526. DOI: 10.1353/ajp.2003.0026Save Citation »Export Citation »E-mail Citation »
  527. Presents Gladiator as classical scholars used to introduce their editions of ancient texts (i.e., in Latin). Author means to be simultaneously enlightening and amusing.
  528. Find this resource:
  529. Winkler, Martin M., ed. 2007. Spartacus: Film and history. Oxford: Blackwell.
  530. DOI: 10.1002/9780470776605Save Citation »Export Citation »E-mail Citation »
  531. Essays and related materials on the 1960 film. Includes chief historical sources in translation.
  532. Find this resource:
  533. Winkler, Martin M., ed. 2012. The Fall of the Roman Empire: Film and history. Oxford: Wiley-Blackwell.
  534. DOI: 10.1002/9781444311075Save Citation »Export Citation »E-mail Citation »
  535. Essays on the 1964 film. Includes translations of chief ancient sources on Marcus Aurelius. Book follows in the footsteps (sandals?) of the same editor’s essay collections on Gladiator (2004) and Spartacus (2007). Originally published in 2009.
  536. Find this resource:
  537. Studies of Films with Modern Settings
  538.  
  539. This is a particularly wide-ranging area within classics and cinema, which can yield astonishing results. Since the cinema regularly adopts and adapts major classical archetypes, for instance of plot construction, and updates ancient texts (tragedies, myths) to later settings, films that at first sight have nothing to do with Antiquity often repay a closer look. Works included here provide instructive examples; this list is meant only as an amuse-gueule. Other instances may be found under Essay Collections, Monographs, and Selected Articles, especially in edited collections. Tovar Paz 2006 is limited to mythical themes. Winkler 1985 surveys heroic archetypes in a postclassical genre; Winkler 2004 demonstrates parallels in one film of that genre to one ancient epic. Burton 2001, Siegel 2005, and Danese 2012a deal with modernized versions of themes from specific tragedies. Danese 2012b is a companion piece to Danese 2012a. Danek 2002, Heckel 2005–2006, and Siegel 2007 are best read together. Winkler 2002 examines psychological affinities of film style and technology with classical drama. Wenskus 2009 travels to outer space.
  540.  
  541. Burton, Paul. 2001. Avian plague: Sophocles’ Oedipus Tyrannus and Alfred Hitchcock’s The Birds. Mouseion 3.1: 313–341.
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  543. Article demonstrates how wide-ranging the archetypal influence of the most famous of all classical tragedies can be in the cinema.
  544. Find this resource:
  545. Danek, Georg. 2002. Die Odyssee der Coen-Brüder: Zitatebenen in O Brother, Where Art Thou? In Pontes II: Antike im Film. Edited by Martin Korenjak and Karlheinz Töchterle, 84–94. Innsbruck, Austria: StudienVerlag.
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  547. Eye-opening study of a film, which seamlessly combines Homeric and cinematic references and quotations. A highlight in a generally disappointing essay collection.
  548. Find this resource:
  549. Danese, Roberto Mario. 2012a. Edipo al Funerale delle rose: L’Edipo re di Sofocle nel cinema di Toshio Matsumoto. In Edipo classico e contemporaneo. Edited by Francesco Citti and Alessandro Ianucci, 309–341. Hildesheim, Germany: Olms.
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  551. On Oedipal overtones in the Japanese film Funeral Parade of Roses (1969), a cult classic whose protagonist Eddie (get it?) is a transvestite.
  552. Find this resource:
  553. Danese, Roberto Mario. 2012b. L’estetica dell’ androgino e il buio della profezia: Rifrazione filmiche del mito classico in Tiresia di Bertrand Bonello. Dionysus ex Machina 3:323–356.
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  555. On a 2003 French film, set in modern Paris, about a transsexual prostitute. Director and co-writer Bonello incorporates aspects of Plato’s Symposium into the Tiresias myth. Journal is accessible online.
  556. Find this resource:
  557. Heckel, Hartwig. 2005–2006. Zurück in die Zukunft via Ithaca, Mississippi: Technik und Funktion der Homer-Rezeption in O Brother, Where Art Thou? International Journal of the Classical Tradition 11:571–589.
  558. DOI: 10.1007/s12138-005-0019-ySave Citation »Export Citation »E-mail Citation »
  559. Study of the Coen brothers’ clever update of the Odyssey that deals mainly with the film’s Homeric features.
  560. Find this resource:
  561. Siegel, Janice. 2005. Tennessee Williams’ Suddenly Last Summer and Euripides’ Bacchae. International Journal of the Classical Tradition 11:538–570.
  562. DOI: 10.1007/s12138-005-0018-zSave Citation »Export Citation »E-mail Citation »
  563. On aspects of Greek tragedy in a film version of a classic modern drama.
  564. Find this resource:
  565. Siegel, Janice. 2007. The Coens’ O Brother Where Art Thou? and Homer’s Odyssey. Mouseion 7:213–245.
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  567. Contains references to several additional articles about and reviews of the film.
  568. Find this resource:
  569. Tovar Paz, Francisco Javier. 2006. Un río de fuego y agua: Lecciones sobre mitología y cine. Cáceres, Spain: Universidad de Extremadura.
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  571. Slim but worthwhile volume. No illustrations, no index.
  572. Find this resource:
  573. Wenskus, Otta. 2009. Umwege in die Vergangenheit: Star Trek und die griechisch-römische Antike. Innsbruck, Austria: StudienVerlag.
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  575. Exhaustive detective work on classical themes in cult sci-fi TV series. Not only for Trekkies.
  576. Find this resource:
  577. Winkler, Martin M. 1985. Classical mythology and the Western film. Comparative Literature Studies 22:516–540.
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  579. On parallels of ancient hero myths in the American Western.
  580. Find this resource:
  581. Winkler, Martin M. 2002. The face of tragedy: From theatrical mask to cinematic close-up. Mouseion 3.2: 43–70.
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  583. Compares the emotional impact of close-ups in films to that of masks on the ancient stage.
  584. Find this resource:
  585. Winkler, Martin M. 2004. Homer’s Iliad and John Ford’s The Searchers. In The Searchers: Essays and reflections on John Ford’s classic Western. Edited by Arthur M. Eckstein and Peter Lehman, 145–170. Detroit: Wayne State Univ. Press.
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  587. On archetypal parallels between the two works named. Companion to the author’s “Tragic Features in John Ford’s The Searchers” in Winkler 2001 (cited under Greece and Rome: Films with Ancient and Modern Settings).
  588. Find this resource:
  589. Teaching Antiquity with Film
  590.  
  591. Visual literacy is now basic to education on all levels, so classicists can no longer excuse themselves from dealing with films. Ullman 1915 and Hadzsits 1920, written from the heart, are early instances, now fascinating to read, of classical scholars and teachers turning to cinema or related media. Lillo Redonet 1994 and Lillo Redonet 2001 are the longest works on the subject. McDonald 2011 unintentionally echoes Hadzsits 1920. Clauss 1996 and Rose 2001 provide suggestions for courses on mythology; Tovar Paz 2006 also deals with teaching myth. Wieber 2005 and Wieber 2007 collect brief outlines of teaching units on the high-school level. Karam and Kirby-Hirst 2011 examines videogames alongside some films.
  592.  
  593. Clauss, James J. 1996. A course on classical mythology in film. Classical Journal 91:287–295.
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  595. Article describes an introductory-level course.
  596. Find this resource:
  597. Hadzsits, George Depue. 1920. Media of salvation. Classical Weekly 14.9: 70–71.
  598. DOI: 10.2307/4388080Save Citation »Export Citation »E-mail Citation »
  599. Sees historical films as one of three important “ways and means of saving the Classics or, at least, of greatly strengthening their positions” in schools and with the general public. Note religious term in title.
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  601. Karam, B., and M. Kirby-Hirst. 2011. ‘Reality worlds’ collide: Film and videogames as pedagogical tools for the classics. Akroterion 56:129–148.
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  603. Title explains content. Brief list of films and videogames.
  604. Find this resource:
  605. Lillo Redonet, Fernando. 1994. El cine de romanos y su aplicación didáctica. Madrid: Ediciones Clásicas.
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  607. Teaching guide to Roman themes.
  608. Find this resource:
  609. Lillo Redonet, Fernando. 2001. El cine de tema Griego y su aplicación didáctica. 2d ed. Madrid: Ediciones Clásicas.
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  611. Teaching guide to Greek themes.
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  613. McDonald, Marianne. 2011. A new hope: Film as a teaching tool for the classics. In A companion to classical receptions. Edited by Lorna Hardwick and Christopher Stray, 327–341. Oxford: Wiley-Blackwell.
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  615. Originally published in 2008. Title explains content. Main title is taken from the original Star Wars film, later subtitled Episode IV: A New Hope.
  616. Find this resource:
  617. Rose, Peter W. 2001. Teaching classical myth and confronting contemporary myths. In Classical myth and culture in the cinema. Edited by Martin M. Winkler, 302–329. New York: Oxford Univ. Press.
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  619. A Marxist classicist tackles ideological undertones in films based on Greek myth and in films taking recourse to mythical archetypes (e.g., Star Wars).
  620. Find this resource:
  621. Tovar Paz, F. J. 2006. Possibilità didattiche e di ricerca del mito nel cinema. In Fenomenologia del mito: La narrazione tra cinema, filosofia, psicoanalisi. Edited by Giovanni Invitto, 56–67. San Cesario di Lecce, Italy: Manni.
  622. Save Citation »Export Citation »E-mail Citation »
  623. Brief reflections on teaching and researching ancient myth in films.
  624. Find this resource:
  625. Ullman, B. L. 1915. Editor’s letter. Classical Weekly 8.26 (8 May): 201–202.
  626. DOI: 10.2307/4387102Save Citation »Export Citation »E-mail Citation »
  627. Short essay argues in favor of “the ‘Movies’” as “a valuable aid of the Classics” in the classroom.
  628. Find this resource:
  629. Wieber, Anja, ed. 2005. Drehbuch Antike. Special issue of Der Altsprachliche Unterricht 48.1.
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  631. Thematic issue of a didactic journal. High-school teachers briefly present and describe a variety of course units involving film and video. Focus is on films with ancient settings.
  632. Find this resource:
  633. Wieber, Anja, ed. 2007. Antike im Film. Special issue of Der Altsprachliche Unterricht 50.6.
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  635. Second theme issue of this didactic journal profits from longer (if fewer) contributions. Focus is on films with non-classical settings. Teachers’ enthusiasm is noticeable.
  636. Find this resource:
  637. Theoretical Reflections
  638.  
  639. Prefaces or introductions by the authors and editors of the books listed throughout this bibliography tend to include reflections on their subjects as a matter of course, occasionally in the form of an apologia. Nevertheless, classics and cinema still lacks an overarching theory, although the first chapter in Winkler 2009 comes closest. Paul 2011, Paul 2010, and Solomon 2010 represent current perspectives, to which Wyke 1998 and Wyke 2003 pointed the way. Nisbet 2007 evinces a dissenting approach.
  640.  
  641. Nisbet, Gideon. 2007. Towards a philology of body oil: Martin Winkler and Troy. Arion, 3d ser., 15:157–162.
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  643. Quirkily titled review of Winkler, ed., Troy: From Homer’s Iliad to Hollywood epic (2007); advances contrasting perspective on classics and cinema.
  644. Find this resource:
  645. Paul, Joanna. 2011. Working with film: Theories and methodologies. In A companion to classical receptions. Edited by Lorna Hardwick and Christopher Stray, 303–314. Oxford: Blackwell.
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  647. Concise survey of how scholars and teachers may use films. Originally published in 2008.
  648. Find this resource:
  649. Paul, Joanna. 2010. Cinematic receptions of antiquity: The current state of play. Classical Receptions Journal 2.1: 136–155.
  650. DOI: 10.1093/crj/clq005Save Citation »Export Citation »E-mail Citation »
  651. Long review essay examines “one of the most vigorous and voluminous areas in classical reception scholarship over the past decade and a half.” Contains extensive bibliographical references.
  652. Find this resource:
  653. Solomon, Jon. 2010. Film philology: Towards effective theories and methodologies. International Journal of the Classical Tradition 17:435–449.
  654. DOI: 10.1007/s12138-010-0205-4Save Citation »Export Citation »E-mail Citation »
  655. Review article of Winkler, Cinema and classical texts: Apollo’s new light (2009), develops a somewhat different approach and introduces some new terminology, such as “Ancients” for films set in Antiquity (in analogy to “Westerns”). Numerous references.
  656. Find this resource:
  657. Winkler, Martin M. 2012. Cinema and classical texts: Apollo’s new light. Cambridge, UK: Cambridge Univ. Press.
  658. DOI: 10.1017/CBO9780511575723Save Citation »Export Citation »E-mail Citation »
  659. First chapter (“A Certain Tendency in Classical Philology,” 20–69) develops a theory of classical film philology as an aspect of traditional philologia perennis (Rudolf Pfeiffer’s term). Author’s chapter title alludes to critic and director François Truffaut’s most famous article. Originally published in 2009.
  660. Find this resource:
  661. Wyke, Maria. 1998. Classics and contempt: Redeeming cinema for the classical tradition. Arion, 3d ser., 6:124–136.
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  663. Review article of Winkler, ed., Classics and cinema (1991); makes a good case for classicists’ incorporating film into their teaching and scholarship.
  664. Find this resource:
  665. Wyke, Maria. 2003. Are you not entertained? Classicists and cinema. International Journal of the Classical Tradition 9:430–445.
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  667. Review of Solomon, The ancient world in the cinema (2001), and Winkler, ed., Classical myth and culture in the cinema (2001); provides an expert author with the “opportunity to explore along the way various thoughts on the past, the present and the future of cinema in classical studies and of classical scholarship on cinema.”
  668. Find this resource:
  669. Books Notable for Their Illustrations
  670.  
  671. The adage “Seeing is believing” applies to all films, to many books on spectacular films, and in particular to books on classics and cinema. Those listed here stand out and may be attractive supplements for courses, except for Chapman 2002, which may be too daring for certain academic environments. All include color images. Cary 1974, Searles 1990, and Dumont 2009 are coffee-table-sized pleasures. Like these, Junkelmann 2004 and Lochman, et al. 2008 have rare images. Maeder 1987 deals with costuming for films set in various historical eras.
  672.  
  673. Cary, John. 1974. Spectacular! The story of epic films. Edited by John Kobal. Secaucus, NJ: Castle.
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  675. Oversized (if too slim for aficionados) picture book with images from the Kobal Collection. Especially good on early epics (Griffith, De Mille). Includes brief chapter on the making of Helen of Troy (1955). Out of print.
  676. Find this resource:
  677. Chapman, David. 2002. Retro studs: Muscle movie posters from around the world. Portland, OR: Collectors Press.
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  679. Eye-popping collection of images, often blatantly erotic. A guilty pleasure, diminished only by the book’s small format. Out of print.
  680. Find this resource:
  681. Dumont, Hervé. 2009. L’antiquité au cinéma: Vérités, légendes et manipulations. Paris: Nouveau Monde.
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  683. Excellent illustrations in high-quality reproduction. Updated edition accessible online as a flipbook.
  684. Find this resource:
  685. Junkelmann, Marcus. 2004. Hollywood’s Traum von Rom: “Gladiator” und die Tradition des Monumentalfilms. Mainz, Germany: Von Zabern.
  686. Save Citation »Export Citation »E-mail Citation »
  687. Many high-quality illustrations.
  688. Find this resource:
  689. Lochman, Tomas, Thomas Späth, and Adrian Stähli, eds. 2008. Antike im Kino: Auf dem Weg zu einer Kulturgeschichte des Antikenfilms. Basel, Switzerland: Skulpturhalle Basel.
  690. Save Citation »Export Citation »E-mail Citation »
  691. Many rare images; excellent reproduction quality. Difficult to obtain.
  692. Find this resource:
  693. Maeder, Edward, ed. 1987. Hollywood and history: Costume design in film. Los Angeles: Los Angeles County Museum of Art.
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  695. Exhibition catalogue and several essays. Includes fascinating design sketches (in color) for several films set in Antiquity and a black-and-white photo essay on Cleopatra.
  696. Find this resource:
  697. Searles, Baird. 1990. Epic! History on the big screen. New York: Abrams.
  698. Save Citation »Export Citation »E-mail Citation »
  699. Oversized pictorial guide covers Antiquity and later epochs. Text eclipsed by first-rate illustrations. Out of print.
  700. Find this resource:
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