Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender theory in greek plays
Gender theory in greek plays
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender theory in greek plays
Swords, sandals, bronze muscular men, chariots, an epic battle; these are all common characteristics of a sword and sandal film. The term peplum or “sword and sandal” refers to a genre of movies that tell a story of epic proportion. These movies are typically set in ancient or biblical times and tell stories of the significant characters of that time. Movies like Ben Hur (1907) (1925) (1959), The Three Ages (1923) and Quo Vadis (1951), serve as an example of what classic sword and sandal movies look like. A good sword and sandal movie wows the audience with its; grandiose theme, vivid visuals, and exceptional characters. By definition an exceptional sword and sandal film must have a large story and an even larger canvas. There are several …show more content…
The subjects of many of these films include; biblical subjects, gladiators, soldiers, and mythical figures. Most of these characters are seen in the epic film Ben Hur. A great part of this film revolves around notable Roman soldiers and biblical figures. This film is not the only sword and sandal film that uses these characters in their story. These subjects are also used in the movie Quo Vadis. A Roman Epic that follows a Roman general that falls in love with Lygia, a Christian hostage. Throughout this movie there are several biblical characters, St. Peter, St. Paul, Jesus, and there is also mention of several of the Roman gods. The characteristic of sword and sandal movies being big and epic is largely due to their significant characters. A movie cannot be mild and prudent when its aim is to tell of an epic story dealing with God(s), gladiators, or famous Roman soldiers. On the contrary it must be grand, luxurious, and most of all monumental in …show more content…
Films like Ben Hur, Quo Vadis, and The Three Ages tackled themes of; romance, religion, freedom, and revenge. These themes are universal because many humans can easily understand them. The themes listed can be easily identified in any one of these films. The theme of romance is seen in all of these films. Love is seen in Ben Hur not only towards Jesus but towards his mother and sister. The theme of love was also echoed throughout the Buster Keaton film, The Three Ages. In this film Keaton attempts to prove that the love a man has for a woman has not meaningfully changed throughout time. The film Quo Vadis at its rawest is a love story between a Roman general and a Christian. The theme of religion was seen in Ben Hur, and Quo Vadis, both are films that deal with Christian themes. This is so visible in these films that the hand of god was even shown in Ben Hur (1925) and his presence was alluded to in Quo Vadis with a ray of bright light shining through trees. Freedom (or the lack of) is seen as a theme in both Ben Hur, and Quo Vadis , in the form of slavery and servitude. In Ben Hur he becomes a slave due to an accident, a slip of a brick. He eventually is able to gain his freedom by saving a Roman consul from dying at sea after a shipwreck. In Quo Vadis many of the supporting actors are slaves or captives. Even the main female lead, Lygia is a hostage of Rome. Finally, the theme
In the 1967 prison film Cool Hand Luke, directed by Stuart Rosenberg, there are many examples of theological symbolism and religious themes. Most of the symbolism alludes to Jesus Christ, which is often utilized in film to add depth to the protagonist in the story. Such Christ figure symbolism can also be seen in films such as the 1999 hit The Matrix and the original Star Wars film (1977). Along with these visual suggestions, there are also thematic elements that underlie Cool Hand Luke which involve Biblical allusions and metaphysical questions.
The most obvious Biblical references of this film are that of the five main characters; Neo, Morpheus, Trinity, Cypher and Agent Smith. These characters are intended to represent the roles of Jesus Christ, John the Baptist, Mary Magdalene, Judas Iscariot and Pontius Pilate respectively. All of these biblical characters had major roles in the biblical story of Jesus’ sacrifice for humanity. The Wachowski brothers have done excel...
The story of Gladiator takes place in Ancient Rome and contains intense action, great acting, and fantastic storytelling. Although most of this action drama is mostly fictitious, some certain events and characters appear in the history books.
New and exciting technologies have always played a huge role in the culture of American people. When the motion picture came out it was no surprise that both consumers and producers were more than happy to get in on the action. Back in the 1920’s film was still pretty new and was only in black and white with no sound, but the films were always accompanied by orchestral pieces to help set the mood. The art of movie-making has come a long way since then with the addition of not only color and audio, but new techniques and new ideas. Both The Kid and Iron Jawed Angels are very popular films about the early 1900’s. Although they share some common thoughts, but because they were made in two completely different time periods their focuses are far off from one another and their ideas contrast for the most part.
Grainge, P., Jancovich, M., & Monteith, S. (2012). Film Histories; An introduction and reader. Edinburgh: Edinburgh University Press.
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
Since the days of mythological origin to the origin of pop culture, various mythological stories have been adopted and presented to newer generations. Some of these presented adaptations of mythological stories have significantly been modified in order to be deemed entertaining by audiences in a pop culture generation. Thus, my study will seek to compare mythological hero's during their time to how they have been depicted in modern day. Moreover, my study will analyze the similarities and differences between the Greek hero Heracles and his replica character, Hercules, depicted in Disney's adaptation of this myth. Although there are few similarities between the two versions, the differences between Heracles and Disney's Hercules are prominent. These differences help modern day audiences relate more easily to the characters in the story. Furthermore, the alterations have enabled a new aspect of heroism to emerge since Disney tailors it's movies towards youth who can seek valuable lessons from animated movies. Disney's choices through these alterations will be determined by focusing on the main plot, characters presented in the movie, peripheral details, and the notion of being a "true hero" that Disney presents.
Hiroshi Inagaki’s 1954 film Samurai 1: Musashi Miyamoto and Kenji Misumi’s 1972 film Lone Wolf and Cub: Sword of Vengeance are both characterized by fluid panoramic shots that show men that are at once dwarfed by their surroundings yet simultaneously in control, showcased in breathtaking sword-fighting scenes where they seem to defy the laws of gravity. Samurai films, “much like the American Western,” feature “tales of loyalty, revenge, romance, fighting prowess, and the decline of a traditional way of life” (“Samurai Cinema”). Both of these films display all of these themes, but where they depart is that the protagonist of Samurai 1: Musashi Miyamoto begins as a wayward member of society and eventually earns honor and respect, while the protagonist of Lone Wolf and Cub steps completely outside the bounds of social acceptability.
"The Passion of the Christ" by Mel Gibson, recounts the last twelve hours of the life of Jesus of Nazareth, portraying his arrest, trial, crucifixion and death. One of the most popular religious movies in modern times, it therefore becomes susceptible to criticism. Although the film is based upon the stories within the four gospels of Matthew, Mark, Luke and John, there are many exaggerations and non-biblical elements present in the movie. This is not unexpected, since it is a movie, but the vivid detail of the brutality in the movie as well as the Anti-Semitic theme are the most publicly criticized elements of the movie. The Passion emphasizes the brutality Jesus endured to give himself for his people, but at the same time in the movie the Jews are the ones that cry for his death. During several scenes of The Passion of the Christ, there are elements such as characters, themes, and motifs that are not found within the gospels, but are in the movie to add more dramatic elements.
Tacitus tells us in the introduction to his Annales that his intent is to “relate a little about Augustus, Tiberius, et cetera” and to in fact do so “sine ira et studio” -- without bitterness or bias.1 Experience, however, tells us that this aim is rarely executed, and that we must be all the more suspicious when it is stated outright. Throughout the Annales, Tacitus rather gives the impression that his lack of bias is evidenced by his evenhanded application of bitterness to all his subjects. But is this really the case? While Tacitus tends to apply his sarcastic wit universally – to barbarian and Roman alike – this is not necessarily evidence of lack of bias. Taking the destruction of Mona and Boudicca's revolt (roughly 14.28-37) as a case study, it is evident that through epic allusion, deliberate diction, and careful choice of episodes related, Tacitus reveals his opinion that the Roman war machine first makes rebels by unjust governance, and then punishes them.
Any generic film hero is a model of their community and culture. They help to clearly define and outline the community’s values and cultural conflicts by embodying prime characteristics in their persona. The western hero, like Ethan in The Searchers, is always a figure for civilization amongst the savagery of the wild west. By portraying the roles of a civilization, the hero ...
The third and final prequel to George Lucas's Star Wars trilogy Revenge of the Sith is the midpoint of the Star Wars saga. It is the climax of the Star Wars prequels and leads magnificently and flawlessly into the completion of the original trilogy. The original trilogy led up to a happy ending complete with fireworks and scenes of different planets celebrating. The prequels tell a similar hero's journey, but instead of an affirming story about believing in oneself, it is a dire warning about the dangers of arrogance and greed. We are reminded of human valves fear, hatred, greed, pride and "a failure to listen" which lead to the Dark Side. Compassion, love, and non-violence are the real way to peace and justice. I believe this form of storytelling captures the audience which makes the story memorable to the fans and in my opinion this was a successful combination. The following paragraphs will approach the narrative, similarities by comparing the original trilogy with the new trilogy and analysing the key elements of mise en scene used in particular scenes in the film. By doing this, I will discover how the position, colour and framing expresses the message George Lucas wants the viewers to absorb and remember.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Greek mythological characters make for perfect movie stars; however, Hollywood doesn’t always stick to the script when portraying these legendary figures or their glorified stories. The tale of the Trojan War, is one of the most profound works of art, written by Homer, in his poem the Iliad. In 2004 this monumental story was transformed into a feature film under the direction of Wolfgang Petersen.
The film is filled, from its opening moments, “with glancing references to and overt borrowing from the cinema of violence: the Western, the gangster movie, the kung-fu pic, the urban drama, the crime thriller, [and] the action comedy.”6 As Philippa Hawker implies, the film is a kaleidoscope of recognisable film tropes and images, notable instances might be the dramatic slow motion shot of Tybalt 's cowboy boots stubbing a cigarette, followed by his dramatic flair when shooting the retreating Capulets; both based in a fight scene in which the choreography may have been recognised in the tradition of melding both 'western ' and 'action comedy '. Alfredo Michael Modeness appears to also concur with this judgement of Luhrmann 's style, but adds that the brawl is “underscored by more spaghetti western music and choreographed through a mix of formulaic moves from classic action films and comic strips.”7 Modeness 's assertion allows a consideration of why Romeo + Juliet has become such a part of the epoch in which it was created, and still remains to resonate today, as it follows formulaic film codes that are detectable to a modern audience, especially its target audience of youth culture, and therefore makes its perhaps 'dated