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Acknowledgments

In: Brill's Companion to Ancient Greek and Roman Warfare on Film
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Acknowledgments

An enormous debt of gratitude is first owed to my contributors for their unwavering commitment to the project, as well as for their patience, understanding, and kindness as we were navigating the many challenges of the pandemic. The volume did not originate from a conference and although I have not met a lot of the contributors in person, they all embraced the project with remarkable enthusiasm, worked admirably towards meeting deadlines, and answered my numerous requests with the utmost promptness. I am also grateful to the series editor, Lee L. Brice, for trusting me to lead this project, which was a tremendous honor and joy. Lee provided valuable guidance at all stages and replied to my emails with exemplary speed, accuracy, and compassion. His role during the proofreading process was crucial, and he saved me from several errors and embarrassments. Many thanks are also owed to the anonymous reviewers and the Editorial Board for their insightful comments and recommendations that led to significant improvements of the volume. A generous research grant from Saint Joseph’s University helped me lay the foundations of the collection and stay focused in the summer of 2020, when the world was experiencing great pain, isolation, and uncertainty because of COVID-19. I am most grateful to the SJU Board on Faculty Research and Development for this award, as well as to the Interim Dean of the College of Arts and Sciences, Nathan Baird, for approving the request for funds that covered the cost of the Indexer. Giulia Moriconi and Mirjam Elbers at Brill handled all my requests efficiently, for which I am thankful. Many thanks are also owed to Millie Gall, the proofreader, and Thalien Colenbrander, the production editor, for their impressive attention to details. Lastly, I would like to thank my husband, Richard Cavalli, for taking care of everything else so that I could find the time to work on this and other projects. I would not have been able to handle all the responsibilities resulting from my role as editor without his support, affection, and above all his jokes. It is to him that I dedicate this volume with all my love and deep gratitude!

Konstantinos P. Nikoloutsos

Philadelphia, PA

May 30, 2023

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Brill's Companion to Ancient Greek and Roman Warfare on Film

Series:  Brill's Companions to Classical Studies, Volume: 7 and  Brill's Companions to Classical Studies: Warfare in the Ancient Mediterranean World, Volume: 7
Cover Brill's Companion to Ancient Greek and Roman Warfare on Film
E-Book ISBN:
9789004686823
Publisher:
Brill
Print Publication Date:
12 Dec 2023
  • Subjects
    • Classical Studies
      • Classical Tradition & Reception Studies
    • Literature and Cultural Studies
      • Theatre Studies
Front Matter
Preliminary Material
Copyright Page
Dedication
Acknowledgments
Figures
Notes on Contributors
Part 1 Introduction
Chapter 1 Swords Made of Rubber: Cinematic Antiquity through the Lens of War
Part 2 Cinema vs. History: Testing the Accuracy of Celluloid Battles
Chapter 2 Form and Function: The Importance of Military Formations in Cinematic Depictions of the Roman Army
Chapter 3 Alexander in Ares’ Mirror: Armed Conflict in Oliver Stone’s Historical Epic
Part 3 The Leading Men of Celluloid Armies
Chapter 4 “Hail! The Sign of the Cross”: Industrial Campaigns and Commanding Performances in The Sign of the Cross (1932) and Cleopatra (1934)
Chapter 5 Richard Burton in Alexander the Great (1956) and the Mechanisms of Hollywood Stardom: Fashioning an Ancient Military Icon in Post-WWII American Cinema
Chapter 6 Brad’s Biceps and Dwayne’s Delts: Stardom as Physicality and Digital Spectacle in Troy (2004) and Hercules (2014)
Part 4 Women and Military Conflict
Chapter 7 Atalanta as Celluloid Warrior in Jason and the Argonauts (2000) and Hercules (2014)
Chapter 8 Women on the Battlefield: Ancient Warrior Queens and Female Military Commanders on the Millennial Screen
Chapter 9 “She Wants to Be Married and Give the Children Names!”: Women and the Roman Army in Post-Gladiator Films
Chapter 10 Women in Captivity: The Human Cost of Armed Conflict from the Trojan War to Modern Greek Cinema
Part 5 Western Colonialism and Racist Attitudes
Chapter 11 Rome vs. Carthage: Imperial and Racist Aspirations in Italian Films of the Twentieth Century
Chapter 12 Porus vs. Alexander in Modi’s Sikandar (1941) and Stone’s Alexander (2004–2014)
Part 6 Ancient Warfare on Film and Modern Politics
Chapter 13 Armed Conflict in Italian Historical Films of the Fascist and Post-WWII Era (1937–1954)
Chapter 14 The Noise of War: Sound, Politics and Space in the Italian Peplum
Chapter 15 “Make Love, Not War”: Roman Soldiers and 1960s Countercultural Masculinity in Fellini-Satyricon
Chapter 16 Epic Combat in Ancient and Modern History: A Comparative Analysis of The Fall of the Roman Empire (1964) and The Longest Day (1962)
Chapter 17 Lysistrata (1972): Political and Sexual Refractions of the Peloponnesian War during the Greek Junta
Part 7 Ancient Battles for Millennial Spectators and the Impact of the Hollywood War Film
Chapter 18 Sensational Violence: Brutality in Twenty-First-Century Cinematic Depictions of Roman Battles
Chapter 19 Rockules’ Revenge: The Portrayal of the Veteran Warrior in Brett Ratner’s Hercules
Chapter 20 Romans and Zealots in the Global War on Terror: Asymmetric Warfare and Counterinsurgency in Risen (2016) and Ben-Hur (2016)
Part 8 Epilogue
Chapter 21 To Be Continued: Considerations of Ancient Warfare in Film
Back Matter
Index

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