Big Screen Rome - Amazon Web Services

More documents

Recommendations

Info

3 How does this film interpret the traditional struggle between corporate authority and personal freedom? Between oppression and rebellion? Between Romans and Jews? 4 What does the film say about the politics of opposition? What does it say about the methods of rebellion? 5 How is this film relevant to the sociopolitical and religious issues of the late 1970s? Is the film still relevant to contemporary society today? MONTY PYTHON’S LIFE OF BRIAN (1979) 193
Chapter 8 History of the World, Part I (1981) The Roman Empire Sequence A little something to offend everyone . . . Director: Mel Brooks <strong>Screen</strong>play: Mel Brooks Produced by: Mel Brooks for Brooksfilms Running Time: 40 minutes Cast Comicus Mel Brooks Josephus Gregory Hines Swiftus Lazarus Ron Carey Miriam Mary-Margaret Humes Nero Dom DeLuise Empress Nympho Madeline Kahn Marcus Vindictus Shecky Greene Captain Mucus Rudy De Luca Court Spokesman Howard Morris Narrator Orson Welles Plot Outline In <strong>Rome</strong>, the world’s most cosmopolitan and prosperous empire, the Forum is abuzz with commercial and social activity. Comicus, a stand-up 194 HISTORY OF THE WORLD, PART I (1981)
Page 2 and 3:
Big Screen Rome
Page 4 and 5:
BIG SCREEN ROME Monica Silveira Cyr
Page 6 and 7:
Contents List of Illustrations vi A
Page 8 and 9:
11 A Funny Thing Happened on the Wa
Page 10 and 11:
permissions were secured in part wi
Page 12 and 13:
Map 1 The city of Rome in the imper
Page 14:
R P I D A C I A M O Sarmizegetusa C
Page 17 and 18:
provocative combination of dignity
Page 19 and 20:
chapters examine how both films use
Page 21 and 22:
duty and desire set against the mon
Page 23 and 24:
Plot Outline It is the summer of ad
Page 25 and 26:
Plate 1 Quo Vadis. Petronius (Leo G
Page 27 and 28:
a soldier kills Tigellinus, calling
Page 29 and 30:
of Rome. Their obstinate refusal to
Page 31 and 32:
he was also condemned to death. The
Page 33 and 34:
associated with the Catholic Polish
Page 35 and 36:
ambivalent one, given the glitterin
Page 37 and 38:
This is the Appian Way, the most fa
Page 39 and 40:
suggestive of the illumination she
Page 41 and 42:
in historical epic films (Winkler,
Page 43 and 44:
narrative and thematic focus also s
Page 45 and 46:
later decades evolved into the Amer
Page 47 and 48:
Peter. Eunice is the slave of Petro
Page 49 and 50:
Chapter 2 The Robe (1953) The great
Page 51 and 52:
Plate 3 The Robe. Marcellus (Richar
Page 53 and 54:
on the command of the new emperor,
Page 55 and 56:
him to retire to the island of Rhod
Page 57 and 58:
of the Senate, the institution was
Page 59 and 60:
of Caesarea, the prefect would spen
Page 61 and 62:
of the changes in Catholicism that
Page 63 and 64:
of showing off the enduring power,
Page 65 and 66:
have made a great empress, thus hig
Page 67 and 68:
would also play Odysseus in Helen o
Page 69 and 70:
crime as a Roman citizen who has jo
Page 71 and 72:
Hollywood artists who sold out duri
Page 73 and 74:
Demetrius, and his jealous rage whe
Page 75 and 76:
Plot Outline In the Roman province
Page 77 and 78:
Judah, his mother and sister are le
Page 79 and 80:
farewell: they embrace and kiss, an
Page 81 and 82:
voice take the sword out of my hand
Page 83 and 84:
throughout the countryside around G
Page 85 and 86:
of people during its twenty-year ru
Page 87 and 88:
Since Ben-Hur was in preparation lo
Page 89 and 90:
technology, in particular the newly
Page 91 and 92:
forceful, almost fanatical, speeche
Page 93 and 94:
emperor’s offer of Roman citizens
Page 95 and 96:
Messala, as Esther recounts her mem
Page 97 and 98:
The appearances of Jesus are few an
Page 99 and 100:
War to condemn oppressive foreign t
Page 101 and 102:
poisoned by Rome, as he tells Pilat
Page 103 and 104:
CORE ISSUES 1 How does the film por
Page 105 and 106:
Plot Outline In the mines of North
Page 107 and 108:
Plate 7 Spartacus. Draba (Woody Str
Page 109 and 110:
army, losing nineteen thousand men
Page 111 and 112:
second broke out in 104 and was que
Page 113 and 114:
At this time, gladiatorial combat w
Page 115 and 116:
Senate had no choice but to yield.
Page 117 and 118:
the Communist Party of the United S
Page 119 and 120:
the first time in thirteen years. T
Page 121 and 122:
the slave movement with the migrati
Page 123 and 124:
From this point, the film divides i
Page 125 and 126:
At the heart of the new slave famil
Page 127 and 128:
Antoninus dies in the arms of Spart
Page 129 and 130:
Plate 8 Spartacus. Varinia (Jean Si
Page 131 and 132:
learning from their mistakes; Gracc
Page 133 and 134:
complaint.” As Gracchus observes
Page 135 and 136:
Spartacus continues the epic cinema
Page 137 and 138:
Plot Outline Part 1. On the battlef
Page 139 and 140:
Plate 9 Cleopatra. Cleopatra (Eliza
Page 141 and 142:
command at Tarsus in Asia Minor, an
Page 143 and 144:
knowing he is the undisputed master
Page 145 and 146:
Later, Ptolemy XIII fled and was fo
Page 147 and 148:
Antony came to Tarsus in Cilicia wh
Page 149 and 150:
for future campaigns. Early in 34 b
Page 151 and 152:
honored her request for burial with
Page 153 and 154:
Extra-cinematic commentary also sug
Page 155 and 156:
The script, based on C. M. Franzero
Page 157 and 158: Plate 10 Cleopatra. Mark Antony (Ri
Page 159 and 160: as Caesar, but is best known for hi
Page 161 and 162: eginning of the second half after t
Page 163 and 164: desertion: I from myself.” As he
Page 165 and 166: majesty and power are displayed, Ta
Page 167 and 168: the United Nations was composed lar
Page 169 and 170: modern sex scandal. When Cleopatra
Page 171 and 172: desire for sons, as she articulates
Page 173 and 174: 4 How does the film use the spectac
Page 175 and 176: kind and rather dim-witted gentlema
Page 177 and 178: Plate 11 A Funny Thing Happened on
Page 179 and 180: productions, and often acted in the
Page 181 and 182: shared experience of every society
Page 183 and 184: 1996, with Nathan Lane, who also wo
Page 185 and 186: In A Funny Thing Happened on the Wa
Page 187 and 188: series of preposterous sight gags,
Page 189 and 190: freedom and the pleasures of uninhi
Page 191 and 192: Chapter 7 Monty Python’s Life of
Page 193 and 194: 178 MONTY PYTHON’S LIFE OF BRIAN
Page 195 and 196: autonomous part of the Roman provin
Page 197 and 198: Silly Walks,” with their in-jokes
Page 199 and 200: different religious sects, the earn
Page 201 and 202: censorship that varied from region
Page 203 and 204: may provide some inspiration for th
Page 205 and 206: obstacle to group ideals. Because t
Page 207: The cartoon construction during the
Page 211 and 212: Ancient Background The Roman Empire
Page 213 and 214: was the protagonist’s inability t
Page 215 and 216: in classic epics like Quo Vadis, Be
Page 217 and 218: 202 HISTORY OF THE WORLD, PART I (1
Page 219 and 220: or shocking, hidden by the generic
Page 221 and 222: 3 How does the sequence incorporate
Page 223 and 224: Plot Outline In the year ad 180, th
Page 225 and 226: vets them with color codes. Maximus
Page 227 and 228: from the upper stands. Commodus inf
Page 229 and 230: to 98. Nerva’s most significant a
Page 231 and 232: most of the last decade of his reig
Page 233 and 234: morale of Roman legionaries on long
Page 235 and 236: unit known for their courage, high
Page 237 and 238: 38). Although dismayed by the games
Page 239 and 240: In contrast to earlier epics like Q
Page 241 and 242: gladiator epic that would reflect c
Page 243 and 244: $3 million. A dedication in the clo
Page 245 and 246: soft, admiring light of nostalgia.
Page 247 and 248: The film hinges almost completely o
Page 249 and 250: with the reluctance of Maximus to a
Page 251 and 252: attitudes about female political sk
Page 253 and 254: hero Maximus, an event that leaves
Page 255 and 256: Earlier epic films traditionally si
Page 257 and 258: laughs bitterly through tears when
Page 259 and 260:
his new gladiator idol, as he waits
Page 261 and 262:
246 GLADIATOR (2000) Plate 15 Gladi
Page 263 and 264:
“Fear and wonder,” Senator Grac
Page 265 and 266:
the provincial arena in Zucchabar,
Page 267 and 268:
the words of Maximus’ prayer in a
Page 269 and 270:
The field of wheat is thus a symbol
Page 271 and 272:
city, Maximus becomes a symbol both
Page 273 and 274:
2 Reference Maltin, Leonard, et al.
Page 275 and 276:
Killed Spartacus? How Studio Censor
Page 277 and 278:
Index Page numbers in italic refer
Page 279 and 280:
Caesar, Sid 166, 197 Caesarea 44, 6
Page 281 and 282:
Falco (Gladiator) 208, 210, 212 The
Page 283 and 284:
Jackson, Peter 83 Jacoby, Georg 18
Page 285 and 286:
musical scores A Funny Thing Happen
Page 287 and 288:
The Road Warrior 230 The Robe 3, 22
Page 289:
Via Appia 11, 12, 21, 24, 95, 99, 1
show all

Big Screen Rome - Amazon Web Services

Create successful ePaper yourself

Delete template?

Save as template?