By Martin M. Winkler
The essays accrued during this e-book current the 1st complete appreciation of the autumn of the Roman Empire from old, historiographical, and cinematic views. The publication additionally offers the vital classical assets at the interval. it's a significant other to Gladiator: movie and background (Blackwell, 2004) and Spartacus: movie and heritage (Blackwell, 2007) and completes a triad of scholarly reports on Hollywood’s maximum motion pictures approximately Roman historical past.
- A serious re-assessment of the 1964 epic movie the autumn of the Roman Empire, directed via Anthony Mann , from ancient, film-historical, and modern issues of view
- Presents a suite of scholarly essays and classical assets at the interval of Roman heritage that historic and sleek historians have thought of to be the turning aspect towards the eventual fall of Rome
- Contains a quick essay by way of director Anthony Mann
- Includes a map of the Roman Empire and picture stills, in addition to translations of the primary historic assets, an in depth bibliography, and a chronology of occasions
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Extra info for The Fall of the Roman Empire: Film and History
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And this ending may have made contemporary audiences think and feel about their own moment in history. 33 For viewers attuned to the emotional pull of romance and melodrama, here coupled to their sense of spectacular visual beauty and historical understanding, the effect can be overwhelming. ” Those who had gone to see The Fall of the Roman Empire in the expectation of watching another uplifting story had their expectations thwarted and may have warned others off this film: No happy ending! The film’s end title closes what had begun with the title card, whose thematic importance is commonly overlooked.
Those in Gladiator are dark and oppressive. 3 The Colosseum is nowhere to be seen in The Fall of the Roman Empire, whose chief setting is the Roman Forum. The Forum is nowhere to be seen in Gladiator except in a brief sequence that parallels a far more elaborate one in the earlier film. Commodus enters the city in a triumphal procession through the Forum. In The Fall of the Roman Empire this had been the audience’s first glimpse of Rome, meant to overwhelm by sheer visual appeal. Commodus’ parade in Gladiator consists of six or seven chariots and looks puny, even if thousands of computer-generated soldiers and people fill the area.
In DeMille’s The Sign of the Cross hero and heroine die together in the maws of the lions in Nero’s arena, but the gigantic cross of light, formed when the gate of the dungeon closes behind them, symbolizes their victory. (And the heavenly choirs? ) Also obvious are the endings of Wyler’s Ben-Hur and Stanley Kubrick’s Spartacus (1960), two of the most famous Roman epics made not long before The Fall of the Roman Empire. In the latter Spartacus unhistorically but to good dramatic effect dies on the cross for the sins of the Roman world.