2001, ISBN: 9780300083378

[PU: New Haven: Yale University Press], 364 p., w/ fig. Original brochure. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of … Mehr…

[PU: New Haven: Yale University Press], 364 p., w/ fig. Original brochure. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Leicht beriebener sowie bestoßener Einband. Ansonsten im einwandfreien Zustand. / Condition: Slightly rubbed and bumped cover. Otherwise in perfect condition. - Content: When I began the first version of this book in 1976, there was little interest in the genre of films that I ironically and intentionally labeled “ancient.” Not only were most scholars in the field of classical studies uninterested in the application of the classics to popular culture, but the film world itself had abandoned the production of “ancient” films, which since the beginning of the century had made a significant impact on the development and continued success of the film industry. Since 1976, however, hundreds of classical scholars in America and Europe have turned their critical trainings to a variety of popular-culture genres, giving professional papers, publishing articles and books, and teaching classes on the influence of the classics. In addition, the film world itself was in 1976 just about to experience a renascence — predicted in the first edition of this book — that began with such television productions as the BBC’s I, Claudius and had by the end of the second millennium produced more than a half-dozen feature films, animated features, and television series, as well as scores of classical allusions in contemporary Hollywood films. What originally inspired the writing of this book was my preteen screening : f such films as The Ten Commandments, Ulysses, Solomon and Sheba, Jason and the Argonauts, and, of course, Ben-Hur, films that, along with several fine Latin teachers, helped to inspire my lifelong interest in classical studies. Nearly two decades later I » as in graduate school at the University of North Carolina, equipped with newly accired research skills, close enough to the Library of Congress and New York’s Museum of Modern Art to do film research, and invigorated by a flurry of coffee-table books about film genres and well-known actors. Because this was just before the video Ed cable revolutions and all my film viewing was performed at institutions, I was at ek mercy of the limitations of their holdings, opening hours, and equipment — ncept for the 16mm copies of films I rented and had shipped to my apartment. (My ¡Ejdlady suspected me of running a pornographical business under her roof.) Two decades later, not only do we all have the opportunity to study a video copy of almost every film in the genre — whether purchased or taped from one of the dozens of cable channels available — but a number of new reference options are available, including online databases that allow one to cross-reference names and titles in seconds rather than having to search manually through books with incomplete indexes, or none at all. All these advances make this a more complete and more accurate book. More films are now available for examination, and more information is available about them. The status of the database is not perfect, however. There are still lost films (Theda Bara’s 1917 version of Cleopatra), ineptly edited films (Fox’s 1963 version of Cleopatra; Bob Guccione’s Caligula), and many insecure dates and multiple titles — most of them originating in Italy in the spans 1908-1916 and 1959-1964. The scholar awaits more memoirs and autobiographies from and biographies about actors, directors, and producers, and it is a realistic hope that the e-revolution might soon place unexpected resources in our hands. In revising this book I left intact the Musaic order of the chapters and the arrangement of the films discussed, inserting in their proper positions discussions of and references to films produced after 1977. As best I could stomach I left intact also much of the “charm” I was more capable of exuding as a young man unaware of life’s many potholes, though it was now proper to edit out the unintentional political incorrectnesses that my original 1970s-style pronouns betrayed. Of course I added data and corrected mistakes, but I also changed my opinion about some of the films: twenty years of maturation and accumulated knowledge allow me to appreciate better the position of such films as Fabiola (1948), Two Nights with Cleopatra, and DeMille’s The Sign of the Cross in the history of cinema. In revising the book and reviewing the films I found that films of the 1950s and 1960s that were nostalgically interesting in 1976 had become, forty years after their production, virtual antiques nearly as old as films of the 1930s had been to me while writing the first edition of the book. As a result I revised my estimation of the genre, from genuine admiration to a gratitude that these films had been made and have continued to be made — albeit in different formats — for nearly a century. The genre of films about the ancient world tells us much about our own century, and now that scholars are more frequently turning their attention to the contributions of twentieth-century culture, the following pages provide an interesting method of surveying our modern view of antiquity and ourselves. As Marie Wyke pointed out in Projecting the Past: Ancient Rome, Cinema, and History (Routledge, 1997), it is virtually impossible to look at Hollywood’s treatments of Romans in films like Quo Vadis? (1951), Ben-Hur (1959), and Spartacus (1960) without comparing the Romans to Nazis and Communists. No longer are we examining just a sometimes brilliant, sometimes profound, sometimes campy genre of films; we are now looking at a century’s worth of international cinematic production that reflects how the moder, DE, [SC: 4.50], gebraucht; sehr gut, gewerbliches Angebot, [GW: 794g], Revised and expanded edition., Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<

2001, ISBN: 0300083378

Taschenbuch

[EAN: 9780300083378], Gebraucht, guter Zustand, [SC: 32.81], [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber … Mehr…

[EAN: 9780300083378], Gebraucht, guter Zustand, [SC: 32.81], [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Leicht beriebener sowie bestoßener Einband. Ansonsten im einwandfreien Zustand. / Condition: Slightly rubbed and bumped cover. Otherwise in perfect condition. - Content: When I began the first version of this book in 1976, there was little interest in the genre of films that I ironically and intentionally labeled "ancient." Not only were most scholars in the field of classical studies uninterested in the application of the classics to popular culture, but the film world itself had abandoned the production of "ancient" films, which since the beginning of the century had made a significant impact on the development and continued success of the film industry. Since 1976, however, hundreds of classical scholars in America and Europe have turned their critical trainings to a variety of popular-culture genres, giving professional papers, publishing articles and books, and teaching classes on the influence of the classics. In addition, the film world itself was in 1976 just about to experience a renascence — predicted in the first edition of this book — that began with such television productions as the BBC’s I, Claudius and had by the end of the second millennium produced more than a half-dozen feature films, animated features, and television series, as well as scores of classical allusions in contemporary Hollywood films. What originally inspired the writing of this book was my preteen screening : f such films as The Ten Commandments, Ulysses, Solomon and Sheba, Jason and the Argonauts, and, of course, Ben-Hur, films that, along with several fine Latin teachers, helped to inspire my lifelong interest in classical studies. Nearly two decades later I » as in graduate school at the University of North Carolina, equipped with newly accired research skills, close enough to the Library of Congress and New York’s Museum of Modern Art to do film research, and invigorated by a flurry of coffee-table books about film genres and well-known actors. Because this was just before the video Ed cable revolutions and all my film viewing was performed at institutions, I was at ek mercy of the limitations of their holdings, opening hours, and equipment — ncept for the 16mm copies of films I rented and had shipped to my apartment. (My ¡Ejdlady suspected me of running a pornographical business under her roof.) Two decades later, not only do we all have the opportunity to study a video copy of almost every film in the genre — whether purchased or taped from one of the dozens of cable channels available — but a number of new reference options are available, including online databases that allow one to cross-reference names and titles in seconds rather than having to search manually through books with incomplete indexes, or none at all. All these advances make this a more complete and more accurate book. More films are now available for examination, and more information is available about them. The status of the database is not perfect, however. There are still lost films (Theda Bara’s 1917 version of Cleopatra), ineptly edited films (Fox’s 1963 version of Cleopatra; Bob Guccione’s Caligula), and many insecure dates and multiple titles — most of them originating in Italy in the spans 1908-1916 and 1959-1964. The scholar awaits more memoirs and autobiographies from and biographies about actors, directors, and producers, and it is a realistic hope that the e-revolution might soon place unexpected resources in our hands. In revising this book I left intact the Musaic order of the chapters and the arrangement of the films discussed, inserting in their proper positions discussions of and references to films produced after 1977. As best I could stomach I left intact also much of the "charm" I was more capable of exuding as a young man unaware of life’s many potholes, though it was now proper to edit out the unintentional political incorrectnesses that my original 1970s-style pronouns betrayed. Of course I added data and corrected mistakes, but I also changed my opinion about some of the films: twenty years of maturation and accumulated knowledge allow me to appreciate better the position of such films as Fabiola (1948), Two Nights with Cleopatra, and DeMille’s The Sign of the Cross in the history of cinema. In revising the book and reviewing the films I found that films of the 1950s and 1960s that were nostalgically interesting in 1976 had become, forty years after their production, virtual antiques nearly as old as films of the 1930s had been to me while writing the first edition of the book. As a result I revised my estimation of the genre, from genuine admiration to a gratitude that these films had been made and have continued to be made — albeit in different formats — for nearly a century. The genre of films about the ancient world tells us much about our own century, and now that scholars are more frequently turning their attention to the contributions of twentieth-century culture, the following pages provide an interesting method of surveying our modern view of antiquity and ourselves. As Marie Wyke pointed out in Projecting the Past: Ancient Rome, Cinema, and History (Routledge, 1997), it is virtually impossible to look at Hollywood’s treatments of Romans in films like Quo Vadis? (1951), Ben-Hur (1959), and Spartacus (1960) without comparing the Romans to Nazis and Communists. No longer are we examining just a sometimes brilliant, sometimes profound, sometimes campy genre of films; we are now looking at a century’s worth of international cinematic production that reflects how the modern creative artist and our common populace perceive the ancient world. ISBN 9780300083378 Sprache: Englisch Gewicht in Gramm: 794, Books<

2001, ISBN: 0300083378

Taschenbuch

[EAN: 9780300083378], Gebraucht, guter Zustand, [SC: 4.0], [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber de… Mehr…

[EAN: 9780300083378], Gebraucht, guter Zustand, [SC: 4.0], [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Leicht beriebener sowie bestoßener Einband. Ansonsten im einwandfreien Zustand. / Condition: Slightly rubbed and bumped cover. Otherwise in perfect condition. - Content: When I began the first version of this book in 1976, there was little interest in the genre of films that I ironically and intentionally labeled "ancient." Not only were most scholars in the field of classical studies uninterested in the application of the classics to popular culture, but the film world itself had abandoned the production of "ancient" films, which since the beginning of the century had made a significant impact on the development and continued success of the film industry. Since 1976, however, hundreds of classical scholars in America and Europe have turned their critical trainings to a variety of popular-culture genres, giving professional papers, publishing articles and books, and teaching classes on the influence of the classics. In addition, the film world itself was in 1976 just about to experience a renascence — predicted in the first edition of this book — that began with such television productions as the BBC’s I, Claudius and had by the end of the second millennium produced more than a half-dozen feature films, animated features, and television series, as well as scores of classical allusions in contemporary Hollywood films. What originally inspired the writing of this book was my preteen screening : f such films as The Ten Commandments, Ulysses, Solomon and Sheba, Jason and the Argonauts, and, of course, Ben-Hur, films that, along with several fine Latin teachers, helped to inspire my lifelong interest in classical studies. Nearly two decades later I » as in graduate school at the University of North Carolina, equipped with newly accired research skills, close enough to the Library of Congress and New York’s Museum of Modern Art to do film research, and invigorated by a flurry of coffee-table books about film genres and well-known actors. Because this was just before the video Ed cable revolutions and all my film viewing was performed at institutions, I was at ek mercy of the limitations of their holdings, opening hours, and equipment — ncept for the 16mm copies of films I rented and had shipped to my apartment. (My ¡Ejdlady suspected me of running a pornographical business under her roof.) Two decades later, not only do we all have the opportunity to study a video copy of almost every film in the genre — whether purchased or taped from one of the dozens of cable channels available — but a number of new reference options are available, including online databases that allow one to cross-reference names and titles in seconds rather than having to search manually through books with incomplete indexes, or none at all. All these advances make this a more complete and more accurate book. More films are now available for examination, and more information is available about them. The status of the database is not perfect, however. There are still lost films (Theda Bara’s 1917 version of Cleopatra), ineptly edited films (Fox’s 1963 version of Cleopatra; Bob Guccione’s Caligula), and many insecure dates and multiple titles — most of them originating in Italy in the spans 1908-1916 and 1959-1964. The scholar awaits more memoirs and autobiographies from and biographies about actors, directors, and producers, and it is a realistic hope that the e-revolution might soon place unexpected resources in our hands. In revising this book I left intact the Musaic order of the chapters and the arrangement of the films discussed, inserting in their proper positions discussions of and references to films produced after 1977. As best I could stomach I left intact also much of the "charm" I was more capable of exuding as a young man unaware of life’s many potholes, though it was now proper to edit out the unintentional political incorrectnesses that my original 1970s-style pronouns betrayed. Of course I added data and corrected mistakes, but I also changed my opinion about some of the films: twenty years of maturation and accumulated knowledge allow me to appreciate better the position of such films as Fabiola (1948), Two Nights with Cleopatra, and DeMille’s The Sign of the Cross in the history of cinema. In revising the book and reviewing the films I found that films of the 1950s and 1960s that were nostalgically interesting in 1976 had become, forty years after their production, virtual antiques nearly as old as films of the 1930s had been to me while writing the first edition of the book. As a result I revised my estimation of the genre, from genuine admiration to a gratitude that these films had been made and have continued to be made — albeit in different formats — for nearly a century. The genre of films about the ancient world tells us much about our own century, and now that scholars are more frequently turning their attention to the contributions of twentieth-century culture, the following pages provide an interesting method of surveying our modern view of antiquity and ourselves. As Marie Wyke pointed out in Projecting the Past: Ancient Rome, Cinema, and History (Routledge, 1997), it is virtually impossible to look at Hollywood’s treatments of Romans in films like Quo Vadis? (1951), Ben-Hur (1959), and Spartacus (1960) without comparing the Romans to Nazis and Communists. No longer are we examining just a sometimes brilliant, sometimes profound, sometimes campy genre of films; we are now looking at a century’s worth of international cinematic production that reflects how the modern creative artist and our common populace perceive the ancient world. ISBN 9780300083378 Sprache: Englisch Gewicht in Gramm: 794, Books<

2001, ISBN: 0300083378

Taschenbuch

[EAN: 9780300083378], Gebraucht, guter Zustand, [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und … Mehr…

[EAN: 9780300083378], Gebraucht, guter Zustand, [PU: New Haven: Yale University Press], 364 p., w/ fig. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - Zustand: Leicht beriebener sowie bestoßener Einband. Ansonsten im einwandfreien Zustand. / Condition: Slightly rubbed and bumped cover. Otherwise in perfect condition. - Content: When I began the first version of this book in 1976, there was little interest in the genre of films that I ironically and intentionally labeled "ancient." Not only were most scholars in the field of classical studies uninterested in the application of the classics to popular culture, but the film world itself had abandoned the production of "ancient" films, which since the beginning of the century had made a significant impact on the development and continued success of the film industry. Since 1976, however, hundreds of classical scholars in America and Europe have turned their critical trainings to a variety of popular-culture genres, giving professional papers, publishing articles and books, and teaching classes on the influence of the classics. In addition, the film world itself was in 1976 just about to experience a renascence — predicted in the first edition of this book — that began with such television productions as the BBC’s I, Claudius and had by the end of the second millennium produced more than a half-dozen feature films, animated features, and television series, as well as scores of classical allusions in contemporary Hollywood films. What originally inspired the writing of this book was my preteen screening : f such films as The Ten Commandments, Ulysses, Solomon and Sheba, Jason and the Argonauts, and, of course, Ben-Hur, films that, along with several fine Latin teachers, helped to inspire my lifelong interest in classical studies. Nearly two decades later I » as in graduate school at the University of North Carolina, equipped with newly accired research skills, close enough to the Library of Congress and New York’s Museum of Modern Art to do film research, and invigorated by a flurry of coffee-table books about film genres and well-known actors. Because this was just before the video Ed cable revolutions and all my film viewing was performed at institutions, I was at ek mercy of the limitations of their holdings, opening hours, and equipment — ncept for the 16mm copies of films I rented and had shipped to my apartment. (My ¡Ejdlady suspected me of running a pornographical business under her roof.) Two decades later, not only do we all have the opportunity to study a video copy of almost every film in the genre — whether purchased or taped from one of the dozens of cable channels available — but a number of new reference options are available, including online databases that allow one to cross-reference names and titles in seconds rather than having to search manually through books with incomplete indexes, or none at all. All these advances make this a more complete and more accurate book. More films are now available for examination, and more information is available about them. The status of the database is not perfect, however. There are still lost films (Theda Bara’s 1917 version of Cleopatra), ineptly edited films (Fox’s 1963 version of Cleopatra; Bob Guccione’s Caligula), and many insecure dates and multiple titles — most of them originating in Italy in the spans 1908-1916 and 1959-1964. The scholar awaits more memoirs and autobiographies from and biographies about actors, directors, and producers, and it is a realistic hope that the e-revolution might soon place unexpected resources in our hands. In revising this book I left intact the Musaic order of the chapters and the arrangement of the films discussed, inserting in their proper positions discussions of and references to films produced after 1977. As best I could stomach I left intact also much of the "charm" I was more capable of exuding as a young man unaware of life’s many potholes, though it was now proper to edit out the unintentional political incorrectnesses that my original 1970s-style pronouns betrayed. Of course I added data and corrected mistakes, but I also changed my opinion about some of the films: twenty years of maturation and accumulated knowledge allow me to appreciate better the position of such films as Fabiola (1948), Two Nights with Cleopatra, and DeMille’s The Sign of the Cross in the history of cinema. In revising the book and reviewing the films I found that films of the 1950s and 1960s that were nostalgically interesting in 1976 had become, forty years after their production, virtual antiques nearly as old as films of the 1930s had been to me while writing the first edition of the book. As a result I revised my estimation of the genre, from genuine admiration to a gratitude that these films had been made and have continued to be made — albeit in different formats — for nearly a century. The genre of films about the ancient world tells us much about our own century, and now that scholars are more frequently turning their attention to the contributions of twentieth-century culture, the following pages provide an interesting method of surveying our modern view of antiquity and ourselves. As Marie Wyke pointed out in Projecting the Past: Ancient Rome, Cinema, and History (Routledge, 1997), it is virtually impossible to look at Hollywood’s treatments of Romans in films like Quo Vadis? (1951), Ben-Hur (1959), and Spartacus (1960) without comparing the Romans to Nazis and Communists. No longer are we examining just a sometimes brilliant, sometimes profound, sometimes campy genre of films; we are now looking at a century’s worth of international cinematic production that reflects how the modern creative artist and our common populace perceive the ancient world. ISBN 9780300083378 Sprache: Englisch Gewicht in Gramm: 794, Books<