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In: Brill's Companion to Ancient Greek and Roman Warfare on Film
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1.1 The Persian hordes marching south into the Greek peninsula in front of the tent of King Xerxes in The 300 Spartans (1962, dir. Rudolph Maté). Image from the Michalis Nikolinakos archive. Published with permission from Nikos Nikolinakos 6

1.2 Wounded Greek soldiers. Screen capture from The 300 Spartans (1962, dir. Rudolph Maté) 13

1.3 Publicity photograph of Richard Burton for The Robe (1953, dir. Henry Koster). Image from the personal collection of Konstantinos P. Nikoloutsos 14

1.4 Maximus (Russell Crowe) fights in the mud during the initial battle scene. Screen capture from Gladiator (2000, dir. Ridley Scott) 15

1.5 Poster made by Leopoldo Metlicovitz for Cabiria (1914, dir. Giovanni Pastrone). Wikimedia Commons. Licensed under the Creative Commons Attribution-Share Alike 3.0. Image in the public domain 27

2.1–2.2 Commander giving the order to advance and subsequent infantry charge. Screen captures from Alexander Nevsky (1938, dir. Sergei Eisenstein) 44

2.3–2.4 Scipio addressing the army and discussing tactical deployment with officers. Screen captures from Scipione l’africano (1937, dir. Carmine Gallone) 45

2.5 Army of Crassus advancing in the quincunx formation. Screen capture from Spartacus (1960, dir. Stanley Kubrick) 48

2.6 Officers in Caesar’s army after the victory at Pharsalus. Screen capture from Cleopatra (1963, dir. Joseph Mankiewicz) 50

2.7 Combat between Caesar’s soldiers and those of Ptolemy in Alexandria. Screen capture from Cleopatra (1963, dir. Joseph Mankiewicz) 51

2.8 Roman army marching into the forest. Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 52

2.9 Roman army being ambushed by “barbarians.” Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 52

2.10 Romans fighting “barbarians” in a cave. Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 53

2.11 Soldiers forming a square arena to contain the combat between Livius and Commodus. Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 54

2.12 Guards whose vertical pila mirror the bars of the cage opposite them. Screen capture from Spartacus (1960, dir. Stanley Kubrick) 55

2.13 Opening battle scene between the Romans and Germans. Screen capture from Gladiator (2000, dir. Ridley Scott) 56

2.14 Roman soldiers forming a testudo-like battleline. Screen capture from Gladiator (2000, dir. Ridley Scott) 57

2.15 Pseudo-testudo formed by the gladiators led by Maximus. Screen capture from Gladiator (2000, dir. Ridley Scott) 58

2.16 Tightly packed gladiators, in the center of the arena, led by Maximus. Screen capture from Gladiator (2000, dir. Ridley Scott) 58

2.17 Roman encampment. Screen capture from Centurion (2010, dir. Neil Marshall) 59

2.18 Roman encampment. Screen capture from Gladiator (2000, dir. Ridley Scott) 59

2.19 Pictish encampment/village. Screen capture from Centurion (2010, dir. Neil Marshall) 60

2.20 Roman army marching into the forest. Screen capture from Centurion (2010, dir. Neil Marshall) 60

2.21 Roman army being ambushed by “barbarians.” Screen capture from Centurion (2010, dir. Neil Marshall) 61

2.22 Romans fleeing from “barbarians.” Screen capture from Centurion (2010, dir. Neil Marshall) 61

2.23 Hadrian’s Wall. Screen capture from Centurion (2010, dir. Neil Marshall) 62

2.24 Marcus addressing Roman soldiers in formation. Screen capture from The Eagle (2011, dir. Jeremy Brock) 63

2.25 Disorganized “barbarians” assaulting the testudo formation of the Romans. Screen capture from The Eagle (2011, dir. Jeremy Brock) 63

2.26 Disorganized “barbarians” assaulting the battleline of the Romans. Screen capture from The Eagle (2011, dir. Jeremy Brock) 64

2.27 Portonaccio sarcophagus, Rome, Palazzo Massimo (Museo Nazionale Romano). Photograph by Jeremy Armstrong 67

4.1 “Hail! ‘The Sign of the Cross’” Imagery from Paramount Punch, 22 February 1933, 2 and 12 October 1934, 4. Courtesy of the Media History Digital Library 101

4.2 Nero (Charles Laughton) flanked by his naked manservant and Poppaea (Claudette Colbert). Screen capture from The Sign of the Cross (1933, dir. Cecil B. DeMille) 107

4.3 Cleopatra “triumphantly conquering Caesar” in The New Movie Magazine, May 1934. Courtesy of the Media History Digital Library 111

4.4 Warren William and Claudette Colbert in Modern Screen, July 1934. Courtesy of the Media History Digital Library 112

4.5 Photo spread in Hollywood, August 1934. Courtesy of the Media History Digital Library 115

4.6 A sword strikes Marc Antony/Henry Wilcoxon’s thigh. Movie Classic, September 1934 (detail). Courtesy of the Media History Digital Library 119

4.7 Visualizing Henry Wilcoxon’s youthful derring-do in The Hollywood Reporter, 12 February 1934 (detail). Courtesy of the Media History Digital Library 121

4.8 Cleopatra (Claudette Colbert) and Marc Antony (Henry Wilcoxon) superimposed over the Battle of Actium. Screen capture from Cleopatra (1934, dir. Cecil B. DeMille) 122

4.9 Henry Wilcoxon as Marc Antony attempting to rally his forces. Screen capture from Cleopatra (1934, dir. Cecil B. DeMille) 123

4.10 Motion Picture Herald, 25 February 1933, 88. Courtesy of the Media History Digital Library 125

5.1 Alexander (Richard Burton) cutting the Gordian Knot in Alexander the Great (1956, dir. Robert Rossen). Image from the personal collection of Konstantinos P. Nikoloutsos 144

5.2 Richard Burton posing alongside an ancient plaque of Alexander the Great. Published with permission from the Wisconsin Center for Film and Theater Research 149

5.3 Alexander (Richard Burton) surrounded by his soldiers in Alexander the Great (1956, dir. Robert Rossen). Published with permission from the Wisconsin Center for Film and Theater Research 156

6.1 Achilles (Brad Pitt). Screen capture from Troy (2004, dir. Wolfgang Petersen) 176

6.2 Hercules (Dwayne Johnson) against the Nemean lion. Screen capture from Hercules (2014, dir. Brett Ratner) 182

7.1 Atalanta (Olga Sosnovska) and Jason (Jason London) practice archery. Screen capture from Jason and the Argonauts (2000, dir. Nick Willing) 201

7.2 Atalanta (Ingrid Bolsø Berdal) in battle among Hercules’ men. Screen capture from Hercules (2014, dir. Brett Ratner) 209

8.1 Sauromatian warriors. Screen capture from The Legend of Tomiris (2019, dir. Akan Satayev) 230

8.2 Tomyris marching against the Persians. Screen capture from The Legend of Tomiris (2019, dir. Akan Satayev) 231

8.3 Boudica fighting on her chariot. Still from Boudica, Warrior Queen (2003, dir. Bill Anderson). © Alamy. Published with permission 232

8.4 Artemisia with gothic makeup and fishnet stockings during the final battle. Screen capture from 300: Rise of an Empire (2014, dir. Noam Munro) 235

10.1 Cassandra (Genevieve Bujold) brandishes her burning torch. Still from The Trojan Women (1971, dir. Michael Cacoyannis). Published with permission from the Michael Cacoyannis Foundation 277

10.2 Electra (Eva Kotamanidou) confronts the camera. Screen capture from The Traveling Players [Greek Title: Ο Θίασος] (1975, dir. Theo Angelopoulos) 280

11.1 Hannibal after crossing the Alps into Italy. Screen capture from Cabiria (1914, dir. Giovanni Pastrone) 305

11.2 Roman fleet at Syracuse on fire from Archimedes’ mirrors. Screen capture from Cabiria (1914, dir. Giovanni Pastrone) 306

11.3 Roman siege basket overturned at Cirta. Screen capture from Cabiria (1914, dir. Giovanni Pastrone) 308

11.4 Cavalry clash. Screen capture from Scipio l’africano (1914, dir. Carmine Gallone) reused in Sikandar (1941, dir. Sohrab Modi) 313

11.5 Cavalry charge. Screen capture from Scipio l’africano (1914, dir. Carmine Gallone) reused in Sikandar (1941, dir. Sohrab Modi) 314

11.6 Cavalry charge. Screen capture from Cartagine in fiamme (1960, dir. Carmine Gallone) 318

11.7 Cavalry duel. Screen capture from Cartagine in fiamme (1960, dir. Carmine Gallone) 318

11.8 Cavalry duel. Screen capture from Cartagine in fiamme (1960, dir. Carmine Gallone) 319

12.1 Alexander (Colin Farrell) mounted on Bucephalus confronts the Indian king (Bin Banluerit) at the Battle of Hydaspes. Screen capture from Alexander (2004, dir. Oliver Stone) 337

12.2 The “Porus Medallion,” a silver coin struck in Mesopotamia, possibly in Alexander’s lifetime, celebrates his victory over King Porus. Copyright: The British Museum. Published with permission 338

14.1 Promotional poster with acoustic references for Maciste in the Valley of the Thundering Echoes [Italian title: La valle dell’eco tonante] (1964, dir. T. Boccia). Wikimedia Commons. Licensed under the Creative Commons Attribution-Share Alike 3.0. Image in the public domain 395

14.2 Promotional poster with acoustic references for Goliath and the Barbarians [Italian title: Il terrore dei barbari] (1959, dir. Carlo Campogalliani). Wikimedia Commons. Licensed under the Creative Commons Attribution-Share Alike 3.0. Image in the public domain 396

15.1 Julius Caesar’s suicide. Screen capture from Satyricon (1969, dir. Federico Fellini) 415

15.2 Julius Caesar’s body, pierced through by soldiers’ spears. Screen capture from Satyricon (1969, dir. Federico Fellini) 415

15.3 Roman soldier’s scarred face. Screen capture from Fellini-Satyricon (1969, dir. Federico Fellini) 417

15.4 Roman soldiers in Licas’ ship. Screen capture from Fellini-Satyricon (1969, dir. Federico Fellini) 417

15.5 Dead bodies in the triumph scene. Screen capture from Fellini-Satyricon (1969, dir. Federico Fellini) 418

15.6 Destroyed monuments in the triumph scene. Screen capture from Fellini-Satyricon (1969, dir. Federico Fellini) 418

15.7 Scarred soldiers, smoke and dust in the triumph scene. Screen capture from Fellini-Satyricon (1969, dir. Federico Fellini) 419

16.1 Roman soldiers smother and overwhelm the barbarians within the constricted space of a cave. Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 442

16.2 Soldiers stack their shields to form a combat arena for Commodus and Livius. Screen capture from The Fall of the Roman Empire (1964, dir. Anthony Mann) 443

16.3 An elevated tracking shot follows US infantry on Omaha beach. Screen capture from The Longest Day (1962, dir. Ken Annakin, Andrew Marton, Bernhard Wicki) 444

16.4 The Free French assault on Ouistreham is depicted in a traveling shot recorded from a helicopter. Screen capture from The Longest Day (1962, dir. dir. Ken Annakin, Andrew Marton, Bernhard Wicki) 445

17.1 Lysistrata (Jenny Karezi) is giving a speech from atop her headquarters. Screen capture from Lysistrata (1972, dir. Yorgos Zervoulakos) 468

20.1–3 Zealots. Screen captures from Risen (2016, dir. Kevin Reynolds) 540

20.4 Roman legionaries. Screen capture from Ben-Hur (2016, dir. Timur Bekmambetov) 549

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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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