Almut-Barbara Renger's Ancient Worlds in Film and Television: Gender and Politics PDF

By Almut-Barbara Renger

ISBN-10: 9004183205

ISBN-13: 9789004183209

This quantity reinvigorates the sector of Classical Reception through investigating present-day tradition, society, and politics, really gender, gender roles, and filmic buildings of masculinity and femininity which form and are formed via interacting fiscal, political, and ideological practices.

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Sample text

The cinematic Judah’s hatred of Messala almost completely overshadows his hatred for Roman rule. Indeed, for the most part the 1959 Judah is portrayed as a politically neutral witness to the passion of Christ. Nonetheless, some evidence of the rebellious aspect of Judah’s character remained even in the shooting-script stage of production. This version of Judah’s last interview with Pontius Pilate, the Roman governor, is one of the sections that specifically connects Judah to the anti-Roman rebellion run by Sheik Ilderim and Simonides.

25–26. 11 We also understand Spartacus as a myth in this sense, just as the image of Rome in films set in classical antiquity in general.

I think he knows what Rome is. Rome is the mob. He will conjure magic for them, and they will be distracted. He will take away their freedom, and still they will roar. The beating heart of Rome is not the marble of the Senate. It is the sand of the Colosseum. He will give them death, and they will love him for it. But how would this be a message that would resonate with the American audience, or, for that matter, any audience in a democratic society? It seems to be an insultingly anti-democratic policy issued from the lips of the one Roman senator supporting Maximus in his scheme against the tyranny of the emperor who holds power predominantly because he controls the same populace by simply manipulating their base desire to watch blood-sport spectacles.

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Ancient Worlds in Film and Television: Gender and Politics by Almut-Barbara Renger


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