By Almut-Barbara Renger
This quantity reinvigorates the sector of Classical Reception by way of investigating present-day tradition, society, and politics, relatively gender, gender roles, and filmic structures of masculinity and femininity which form and are formed through interacting fiscal, political, and ideological practices.
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Additional info for Ancient Worlds in Film and Television: Gender and Politics
119. 37 This January, 1958 version of the script is housed at the Herrick (Academy of Motion Picture Arts and Sciences) Library. 30 jon solomon an old man named Simonides, who plots against Rome. He is your slave – and your friend. If you cast in your lot with the Jews and the Arabs you will be destroyed. Ben Hur The Romans have a sense of honor, my lord. Is it not better to die honorably with my own nation than to live in harmony in luxury in Rome while you make slaves of my countrymen? Pilate Gratus left Judea in turmoil.
The Ridley Scott Encyclopedia (Lanham MD: Scarecrow Press, 2009). Rizzo, Sergio. “Why Less is Still Moore: Celebrity and the Reactive Politics of Fahrenheit 9/11,” Film Quarterly 59 (2005–2006) 32–39. Rose, Peter W. “The Politics of Gladiator,” in Winkler, Gladiator: Film and History, 150–173. Rowe, John Carlos. S. Imperialism: From the Revolution to World War II (Oxford: Oxford University Press, 2000). Saldin, Robert P. War, the American State, and Politics Since 1898 (New York: Cambridge University Press, 2010).
We proceed from the construction of heroes in the theater and literature to the representation of muscular male bodies in the twentieth century. The bulging upper arms of the muscular heroes starring in the Spartacus films by Vidali (1913), Freda (1953), Kubrick (1960), Corbucci (1963), Dornhelm (2004), and DeKnight (2010) point toward the polysemy of popular culture. , 1951); Arthur Koestler, The Gladiators (trans. Edith Simon; London: J. Cape, 1939); Lewis Grassic Gibbon, Spartacus (London: Jarrold, 1933).