Michelakis and Wyke took their films back to England, but hope to return to the states with other portions of their program, focusing on Egypt and on the Old and New Testament. Her research interests include the reception of ancient Rome, especially in popular culture. This being said, this book may be faulted by such aspirants-to-perfection as being rather scatter-shot. Griffith, Michael Curtis and Cecil B. The 1925 Ben-Hur and the 'Hollywood Question' Ruth Scodel; 19. In the earliest days of cinema, more than 800 films drew their inspiration from ancient Mediterranean cultures, history, and society.
This site is like a library, Use search box in the widget to get ebook that you want. Today more than 300 of these early films survive in archival collections in 26 countries, and digital technology has created new possibilities to access and transmit early cinema, allowing a reconsideration of silent films as a culturally and aesthetically dynamic medium. About Maria Wyke Maria Wyke is professor and chair of Latin in the department of Greek and Latin at University College London, England. Ranous, 14 minutes Cléopatre France, 1910, directed by Ferdinand Zecca and Henri Andréani, 15 minutes A Roman Scandal United States, 1924, directed by Bud Fisher, 6 minutes About Pantelis Michelakis Pantelis Michelakis is a senior lecturer in classics in the department of classics and ancient history at the University of Bristol, England. Few of these films have been studied, and even fewer have received the critical attention they deserve.
Several of the films screened were melodramas—a form that looks strangely exaggerated to us now, but was widely popular with audiences a century ago. The popular novel spawned an 1899 stage adaptation, reaching audiences of over 10 million, and two highly successful film adaptations. Ancient Rome in London: classical subjects in the forefront of cinema's expansion after 1910 Ian Christie; 8. Author by : Monica S. What contribution did antiquity make to the development of early cinema? Introduction: silent cinema, antiquity and 'The Exhaustless Urn of Time' Pantelis Michelakis and Maria Wyke; Part I.
Both being well-tilled fields, the attractions of reception studies like this one are patent. Drawing upon rarely seen archival footage and early landmark films of directors such as Louis Feuillade, D. This widely illustrated edited assortment is a primary systematic try to specialise in the instrumental function of silent cinema in twentieth-century conceptions of the traditional Mediterranean and heart East. Shepherd traces the evolution of the biblical film through the silent era, asking why the Bible attracted early film makers, how biblical films were indebted to other interpretive traditions, and how these films were received. In April, Michelakis and Wyke brought six of these films to at the Getty Villa with pianist Andrew Earle Simpson, who provided live accompaniment. Pantelis Michelakis, Maria Wyke éd. In the 1850s, our prehistoric ancestors were portrayed in satirical cartoons, songs, sketches and plays as ape-like, reflecting the threat posed by evolutionary ideas.
It is located at the intersection of film studies, classics, Bible studies and cultural studies. DeMille's The Ten Commandments 1923 David Shepherd; 16. Existing prints as well as ephemera scattered in film archives and libraries around the world constitute an enormous field of research. Many other films and one actress, Gloria Swanson, are discussed in considerable detail. This extensively illustrated edited collection is a first systematic attempt to focus on the instrumental role of silent cinema in twentieth-century conceptions of the ancient Mediterranean and Middle East.
What contribution did antiquity make to the development of early cinema? Peplum, melodrama and musicality: Giuliano l'Apostata 1919 Giuseppe Pucci; 15. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities. How did early cinema's representations affect modern understanding of antiquity? DeMille's The Ten Commandments 1923 David Shepherd 16 Silent laughter and the counter-historical: Buster Keaton's Three Ages 1923 Maria Wyke 17 From Roman history to German nationalism: Arminius and Varus in Die Hermannschlacht 1924 Martin M. How did early cinema's representations affect modern understanding of antiquity? Maria Wyke is Professor and Chair of Latin at University College London. The films discussed include not only critically recognized films by directors such Michael Cacoyannis, Jules Dassin, and Pier Paolo Pasolini, but also more recent films by Woody Allen, Tony Harrison, Werner Herzog, and Lars von Trier. Like classical studies, such film studies—and, in this case, a fusion of the two—bear obvious attractions to scholars of a perfectionist bent. His research interests are in Greek theatre, literature and culture and in their ancient and modern reception.
Ranging from historical and mythological epics to burlesques, animated cartoons, documentaries and adaptations of Greek drama, these films all suggest an interest in the ancient world. Few of them have been studied, even fewer have received critical attention. Obviously, the modern commodification of literature and film imposed its own considerations of marketability. Among the longer ones treated in individual essays are the 1907 Ben Hur, the 1914 Cabiria, the 1919 Giuliano l'Apostata, the 1923 The Ten Commandments, the 1923 Three Ages, the 1924 Die Hermannschlacht, the 1925 Ben Hur and the 1927 The Private Life of Helen of Troy. And, conversely, what justifies the grouping together, under the banner of antiquity, of films with different thematic preoccupations and arguably distinct generic histories such as, say, films of the New Testament, of Pharaonic Egypt, and of a Graeco-Roman history that might even be mediated through Shakespeare? A composer of opera, silent film, orchestral, chamber, and choral pieces, Simpson explores how music interacts with other arts, both in concert and on stage. This is one of the most interesting aspects of , a project of scholars Pantelis Michelakis and Maria Wyke. But when they portray another era still—like the ancient world—they serve as a kind of mirror, telling the story of that distant period while also reflecting their own.
This volume situates these films within the context of on-going debates in film criticism and reception theory in relation to theoretical or critical readings of tragedy in contemporary culture. Thus, while we know that the ancient world provided popular themes for silent cinema, we have little idea of just how popular such films were. Rome School of Music of the Catholic University of America in Washington, D. Pantelis Michelakis, Maria Wyke and Andrew Earle Simpson Made between 1908 and 1927, in the United States, France, and Italy, the films and fragments demonstrated a range of styles. The Kalem Ben-Hur 1907 Jon Solomon; 12. At each level, be it original authorship, editorial reworking, literary and cinematic appropriation, a hermeneutic of meaning, an interpretation, was imposed, more or less consciously. Reich reveals Maciste as a figure who both reflected classical ideals of masculine beauty and virility later taken up by Mussolini and used for political purposes and embodied the model Italian citizen.
From Roman history to German nationalism: Arminius and Varus in Die Hermannschlacht 1924 Martin M. The ancient world on silent film - the view from the archive Bryony Dixon; 3. Silent saviours: representations of Jesus' Passion in early cinema Caroline Vander Stichele; 11. Examining films produced against the backdrop of the War on Terror and subsequent invasions of Iraq and Afghanistan, this book assesses the relationship between mainstream cinema and American society through depictions of the ancient world, conflict and faith. Architecture and art dance meet in the ancient world David Mayer; 7. She studied classics at Oxford University and then at Cambridge University, where she received her Ph.