By Marta Garcia Morcillo, Pauline Hanesworth, Óscar Lapeña Marchena
In movie imagery, city areas appear not just as spatial settings of a narrative, but additionally as projected principles and types that goal to recreate and trap the spirit of cultures, societies and epochs. a few cinematic towns have even controlled to go beyond fiction to turn into a part of smooth collective reminiscence. will we think a futuristic urban now not encouraged not less than remotely via Fritz Lang’s Metropolis? within the similar method, old Babylon, Troy and Rome can hardly ever be formed in renowned mind's eye with no unsleeping or unconscious references to the outstanding visions of Griffiths’ Intolerance, Petersen’s Troy and Scott’s Gladiator, to say just a couple of influential examples. Imagining old towns in movie explores for the 1st time in scholarship movie representations of towns of the traditional international from early cinema to the 21st century.
The quantity analyzes the several offerings made by way of filmmakers, artwork designers and reveal writers to recreate historic city areas as roughly convincing settings of legendary and historic occasions. In taking a look at the back of and past meant archaeological accuracy, symbolic fable, primitivism, exoticism and Hollywood-esque monumentality, this quantity will pay specific awareness to the depiction of towns as faces of old civilizations, but additionally as packing containers of ethical rules and cultural models deeply rooted within the modern zeitgeist and in consistently revisited traditions.
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Far from being a Christmas tale for families, Gibson’s The Passion of the Christ offered a raw approach to the narration of well-known events, providing new elements and shedding light on aspects which had been neglected before. This helped to create the impression of a sort of ‘truth-telling’, a new approach which intended to provide the public 36 Leonardo Gregoratti with a definitive story of Christ as “it was” and which made the movie a success. The public’s expectation of historicity is a common trait not only of biblical epic movies, but also of all films dealing with events set in the past.
This helped to create the impression of a sort of ‘truth-telling’, a new approach which intended to provide the public 36 Leonardo Gregoratti with a definitive story of Christ as “it was” and which made the movie a success. The public’s expectation of historicity is a common trait not only of biblical epic movies, but also of all films dealing with events set in the past. 3 This element of historicity is accomplished in different ways by different filmmakers, who usually claim to be scrupulously following the biblical texts.
3. See especially Drew 1986; Simmon 1993; Marcus 2013: 74–90. See also Hansen 1991 which makes Intolerance its central case study. 32 Michael Seymour 4. On the specific cases of transmission in antiquity, see Dalley 1998. On the reception of the biblical and classical traditions on Babylon, see Finkel and Seymour 2008; Seymour 2014. 5. For the history of the excavations, see Larsen 1996. 6. See Russell 1997; Cohen and Kangas 2010. 7. Layard 1849. 8. Bohrer 1989; Bohrer 1998; Bohrer 2003; McCall and Seymour forthcoming.