Explores the role of silent cinema in early twentieth-century conceptualizations of the ancient Mediterranean and Middle East.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
1. Introduction: silent cinema, antiquity and 'The Exhaustless Urn of Time' Pantelis Michelakis and Maria Wyke; Part I. Theories, Histories, Receptions: 2. The ancient world on silent film - the view from the archive Bryony Dixon; 3. On visual cogency: the emergence of an antiquity of moving images Marcus Becker; 4. Cinema in the time of the pharaoh Antonia Lant; 5. 'Hieroglyphics in motion': representing ancient Egypt and the Middle East in film theory and criticism of the silent period Laura Marcus; 6. Architecture and art dance meet in the ancient world David Mayer; 7. Ancient Rome in London: classical subjects in the forefront of cinema's expansion after 1910 Ian Christie; 8. Gloria Swanson as Venus: silent stardom, antiquity and the classical vernacular Michael Williams; 9. Homer in silent cinema Pantelis Michelakis; Part II. Movement, Image, Music, Text: 10. Silent saviours: representations of Jesus' Passion in early cinema Caroline Vander Stichele; 11. The Kalem Ben-Hur (1907) Jon Solomon; 12. Judith's vampish virtue and its double market appeal Judith Buchanan; 13. Competing ancient worlds in early historical film: the example of Cabiria (1914) Annette Dorgerloh; 14. Peplum, melodrama and musicality: Giuliano l'Apostata (1919) Giuseppe Pucci; 15. 'An orgy Sunday school children can watch': the spectacle of sex and the seduction of spectacle in Cecil B. DeMille's The Ten Commandments (1923) David Shepherd; 16. Silent laughter and the counter-historical: Buster Keaton's Three Ages (1923) Maria Wyke; 17. From Roman history to German nationalism: Arminius and Varus in Die Hermannschlacht (1924) Martin M. Winkler; 18. The 1925 Ben-Hur and the 'Hollywood Question' Ruth Scodel; 19. Consuming passions: Helen of Troy in the jazz age Margaret Malamud.
1. Introduction: silent cinema, antiquity and 'The Exhaustless Urn of Time' Pantelis Michelakis and Maria Wyke; Part I. Theories, Histories, Receptions: 2. The ancient world on silent film - the view from the archive Bryony Dixon; 3. On visual cogency: the emergence of an antiquity of moving images Marcus Becker; 4. Cinema in the time of the pharaoh Antonia Lant; 5. 'Hieroglyphics in motion': representing ancient Egypt and the Middle East in film theory and criticism of the silent period Laura Marcus; 6. Architecture and art dance meet in the ancient world David Mayer; 7. Ancient Rome in London: classical subjects in the forefront of cinema's expansion after 1910 Ian Christie; 8. Gloria Swanson as Venus: silent stardom, antiquity and the classical vernacular Michael Williams; 9. Homer in silent cinema Pantelis Michelakis; Part II. Movement, Image, Music, Text: 10. Silent saviours: representations of Jesus' Passion in early cinema Caroline Vander Stichele; 11. The Kalem Ben-Hur (1907) Jon Solomon; 12. Judith's vampish virtue and its double market appeal Judith Buchanan; 13. Competing ancient worlds in early historical film: the example of Cabiria (1914) Annette Dorgerloh; 14. Peplum, melodrama and musicality: Giuliano l'Apostata (1919) Giuseppe Pucci; 15. 'An orgy Sunday school children can watch': the spectacle of sex and the seduction of spectacle in Cecil B. DeMille's The Ten Commandments (1923) David Shepherd; 16. Silent laughter and the counter-historical: Buster Keaton's Three Ages (1923) Maria Wyke; 17. From Roman history to German nationalism: Arminius and Varus in Die Hermannschlacht (1924) Martin M. Winkler; 18. The 1925 Ben-Hur and the 'Hollywood Question' Ruth Scodel; 19. Consuming passions: Helen of Troy in the jazz age Margaret Malamud.
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