Since the golden era of silent movies, stars have been described as screen gods, goddesses and idols. This is the story of how Olympus moved to Hollywood to divinise stars as Apollos and Venuses for the modern age, and defined a model of stardom that is still with us today.

Since the golden era of silent movies, stars have been described as screen gods, goddesses and idols. This is the story of how Olympus moved to Hollywood to divinise stars as Apollos and Venuses for the modern age, and defined a model of stardom that is still with us today.

This book offers the first comprehensive exploration of how the ancient past has shaped screen stardom in Hollywood since the silent era. It engages with debates on historical reception, gender and sexuality, nostalgia, authenticity and the uses of the past. Michael Williams gives fresh insights into ‘divinized stardom’, a highly influential and yet understudied phenomenon that predates Hollywood and continues into the digital age. Case studies include Greta Garbo and Mata Hari (1931); Buster Crabbe and the 1930s Olympian body; the marketing of Rita Hayworth as Venus in the 1940s; sculpture and star performance in Oliver Stone’s Alexander (2004); landscape and sexuality in Troy (2004); digital afterimages of stars such as Marilyn Monroe; and the classical body in the contemporary ancient epic genre. The author’s richly layered ‘archaeological’ approach uses detailed textual analysis and archival research to survey the use of the myth and iconography of ancient Greece and Rome in some of stardom’s most popular and fascinating incarnations. This interdisciplinary study will be significant for anyone interested in star studies, film and cultural history, and classical reception.

This volume explores film and television sources in problematic conversation with classical antiquity, to better understand the nature of artistic reception and classical reception in particular. Drawing inspiration from well-theorized fields like adaptation studies, comparative literature, and film, the essays in this collection raise questions fundamental to the future of reception studies. The first section, ‘Beyond Fidelity’, deals with idiosyncratic adaptations of ancient sources; the second section, ‘Beyond Influence’, discusses modern works purporting to adapt ancient figures or themes that are less straightforwardly ancient than they may at first appear; while the last section, ‘Beyond Original’, uses films that lack even these murky connections to antiquity to challenge the notion that studying reception requires establishing historical connections between works. As questions of audience, interpretation, and subjectivity are central to most contemporary fields of study, this is a collection that is of interest to a wide variety of readers in the humanities.

In the first four decades of cinema, hundreds of films were made that drew their inspiration from ancient Greece, Rome, Egypt and the Bible. Few of these films have been studied, and even fewer have received the critical attention they deserve. The films in question, ranging from historical and mythological epics to adaptations of ancient drama, burlesques, cartoons and documentaries, suggest a fascination with the ancient world that competes in intensity and breadth with that of Hollywood's classical era. What contribution did antiquity make to the development of early cinema? How did early cinema's representations affect modern understanding of antiquity? Existing prints as well as ephemera scattered in film archives and libraries around the world constitute an enormous field of research. This extensively illustrated edited collection is a first systematic attempt to focus on the instrumental role of silent cinema in twentieth-century conceptions of the ancient Mediterranean and Middle East.

"This book explores the representation of Helen of Troy in Hollywood film and television, with a particular focus on her defining features: transcendent beauty and transgressive erotic agency. The first chapter, on early Hollywood, sets the scene by explaining the importance of ideas about Greek beauty at the beginning of cinema and highlighting some of the problems that continue to bedevil this topic, especially "realism" and the representation of supreme beauty. Blondell argues that the problem of Helen is baked into Hollywood from the start. In subsequent chapters Blondell examines specific screen adaptations in which Helen is featured. Each of these case studies locates a particular work in its historical, cultural, and generic context, as a framework for addressing the ways in which it approaches a range of interlocking questions about beauty, its representation, and the cinematic uses of myth. The second chapter is devoted to the sole Helenic feature film of the silent period, Alexander Korda's Private Life of Helen of Troy (1927). Part II moves to the big screen epic, pairing one film from each of the two great waves of ancient world epic spanning the latter half of the 20th century: Robert Wise's 1956 epic Helen of Troy and Wolfgang Petersen's more recent extravaganza, Troy (2004). In Part III she turns to television, with a chapter on episodic tele-fantasy followed by a study of the 2003 miniseries Helen of Troy. In some of these works Helen is the central character (or "hero"); in others she is at the periphery of a masculine adventure. But in all of them she represents the threat of superhuman beauty as an inheritance from classical Greece"--

Brill’s Companion to Ancient Greek and Roman Warfare on Film is the first volume exclusively dedicated to the study of a theme that informs virtually every reimagining of the classical world on the big screen: armed conflict. Through a vast array of case studies, from the silent era to recent years, the collection traces cinema’s enduring fascination with battles and violence in antiquity and explores the reasons, both synchronic and diachronic, for the central place that war occupies in celluloid Greece and Rome. Situating films in their artistic, economic, and sociopolitical context, the essays cast light on the industrial mechanisms through which the ancient battlefield is refashioned in cinema and investigate why the medium adopts a revisionist approach to textual and visual sources.