By Monica Silveira Cyrino
Colossal display Rome is the 1st systematic survey of crucial and renowned motion pictures from the previous part century that reconstruct a twin of Roman antiquity.
- The first systematic survey of an important and renowned contemporary motion pictures approximately Roman antiquity.
- Shows how cinema explores, reinvents and celebrates the spectacle of old Rome.
- Films mentioned extensive comprise Stanley Kubrick’s Spartacus, Ridley Scott’s Gladiator and Terry Jones’s Monty Python’s lifetime of Brian.
- Contributes to discussions concerning the ongoing relevance of the classical international.
- Shows how modern film-makers use recreations of old heritage as commentaries on modern society.
- Structured in a manner that makes it compatible for path use, and lines matters for dialogue and research, and connection with extra bibliographic assets.
- Written in an lively and fascinating variety.
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Example text
Her loyal manservant, Ursus, “Bear,” is a symbol that strength can be utilized with humility and devotion. Yet Lygia is under the power of Rome, even in the Christian household of Plautius, since her status as a hostage curtails her freedom, and initially Marcus will seek to possess her the Roman way, through conquest. When Marcus first sees her, Lygia is lighting a lamp, in a scene QUO VADIS (1951) BSR_C01 23 23 29/8/05, 5:30 PM suggestive of the illumination she will ultimately impart to him.
Such a man finds the Christian message of peace hard to swallow, so when Marcus asks Lygia to choose between her love for him and her god, he reacts with anger at her decision, taking the crucifix off the wall and violently snapping it in two. Even after the fire, Marcus wants to work within the Roman system to remove Nero from power, and his plan to install Galba as emperor demonstrates his ability as a Roman 22 BSR_C01 QUO VADIS (1951) 22 29/8/05, 5:30 PM commander to influence the course of historical events (Elley, 126).
The film replays and reinforces the rhetoric of the Cold War . . but it also, through the death of the true artist Petronius, appears in passing to mourn the repression of the film industry’s creativity which constant vigilance against Communism has required” (Wyke, 144). Thus the narrative of Quo Vadis simultaneously highlights the patriotism of a studio eager to avoid political controversy, yet proposes a subtle political critique of the restraints on artistic freedom. While the post-war political environment profoundly affected epic films of the 1950s, the films also provided a stage on which gender roles in American society, both static and changing, are acted out for a receptive audience of men and women.