Homer in silent cinema

Michelakis, Pantelis

doi:10.1017/cbo9781139060073.010

Cited by 5 publications

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“…See alsoDeBauche (2000) andHammond (2006) for discussion of WWI in the US and UK respectively. Indeed, this connection actually goes back even further into the final years of the nineteenth century and the era of silent cinema, on which seeMichelakis and Wyke (2013).Jeremy Armstrong -9789004686823 Downloaded from Brill.com 05/23/2024 04:29:46AM via Open Access. This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license.…”

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Form and Function: The Importance of Military Formations in Cinematic Depictions of the Roman Army

Armstrong

2023

Brill's Companion to Ancient Greek and Roman Warfare on Film

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Form and Function: The Importance of Military Formations in Cinematic Depictions of the Roman Army

Armstrong

2023

Brill's Companion to Ancient Greek and Roman Warfare on Film

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“…43. See for instance:Michelakis and Wyke 2013;Carlà 2014a;Rogers and Stevens 2015;Janka and Stierstorfer 2017;Rogers and Stevens 2019;Fletcher and Umurhan 2019;Rollinger 2020.Chapter 2 Ancient War and Modern Art: Some Remarks on Historical Painting from the Nineteenth and Twentieth Centuries16. An old English version of Lessing's text: ' A review of the reasons here alleged for the moderation observed by the sculptor of the Laocoon, in the expression of bodily pain, shows them to lie wholly in the peculiar object of his art and its necessary limitations'(Lessing 1887: 20); cf.Lessing 1974: 28 (Schranken and Bedürfnisse in original German).…”

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Ancient War and Modern Art: Some Remarks on Historical Painting from the Nineteenth and Twentieth Centuries

Duplá-Ansuategui¹

2020

The Fear and the Fury

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Greece and Rome on Screen

Michelakis

2017

A Companion to Ancient Greece and Rome on Screen

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Contrary to the widely held view that early films are largely lost, dozens of films related to ancient Greece, Rome and the other civilizations of the ancient Mediterranean survive scattered in film archives across Europe and North America. Only a small number of these films have been restored digitally and made available through home-video formats or online video streaming. The great majority of the films is accessible only through film prints available for onsite viewing in archival film collections with flatbed film-viewing facilities or in specialized film festivals. With the help of the "Treasures from the Film Archives" database of the International Federation of Film Archives, the open access database of the "Media History Digital Library" and the online catalogues of film archives, libraries and other institutions, one can trace a significant number of films made during the first twenty years of cinema. One can also collect valuable information about their production, distribution and exhibition with the help of ephemera such as production stills, screenplays, posters, reviews and film catalogues. What is distinctive about this body of archival films and its contexts? Why is it that a viewing technology and an art form associated with modernity turned its attention to antiquity from the very beginning? Which antiquity did it engage with? These are the questions that will form the basis for the discussion undertaken in this chapter. ]ha[Film or Cinema? ]p[The focus of this chapter is on the first two decades of cinema, and more specifically on the period between the 1890s and the mid-1900s which is often identified as "early cinema" and the period from around 1907 to around 1913 which is often referred to as the "transitional period." The cinema of this twenty-year period is often defined in opposition to the more familiar and mainstream types of cinema that follow it. It is called a period of "short films" (as opposed to "feature films"), or "trick films" (a dominant genre of the period to be eclipsed by the arrival of some of the more canonical genres with which we are familiar today), as "cinema of attractions" (as opposed to a cinema preoccupied with narrative causality and character development; Gunning 1990), as "kine-attractography" (as opposed to the more conventional "cinema"; Gaudreault 2011) or more broadly as a period of sensationalism or exhibitionism (as opposed to the realism or artistic maturity of later cinema). How to describe

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Homer in silent cinema

Cited by 5 publications

References 0 publications

Form and Function: The Importance of Military Formations in Cinematic Depictions of the Roman Army

Form and Function: The Importance of Military Formations in Cinematic Depictions of the Roman Army

Ancient War and Modern Art: Some Remarks on Historical Painting from the Nineteenth and Twentieth Centuries

Greece and Rome on Screen

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