Face Off Sean Archer has been chasing Castor Troy to avenge his son's death by the hands of the psychotic terrorist for six years.
Bryn Mawr Classical Review From Homer's Iliad to Hollywood Epic. The classics scholarly community has responded to this wave of popular culture artefacts by arranging panels at regional and national meetings, and several volumes offering critical analysis have been published.
Film and History, edited by Martin M.
The volume under review offers scholarly comments on Troya film "inspired" by the Iliad, directed by Wolfgang Petersen, starring Brad Pitt as Achilles, and featuring other well-known actors, a large budget, and a major marketing campaign.
Like the other volumes of this kind, this one offers a variety of perspectives.
Winkler has wisely chosen contributors who believe "that simple dismissal of the film as yet another instance of deviation from a sacred tradition is beside the point," and hopes that the volume will persuade readers "to think anew about Homer, about ancient and modern culture and their interactions, and about epic cinema" He opens the collection with an introduction which provides some background on Petersen's qualifications to direct an epic film, followed by a thoughtful discussion of the issues involved in translating an ancient text into the medium of film, and concludes it with an annotated list of selected films and television productions involving the Trojan War.
The introduction does not offer guidelines to the contributions except to say that they "examine the film from a number of perspectives"and the contributions are not grouped in any obvious order. The first, by Manfred O. Korfmann, formerly director of excavations at Hisarlik, notes wryly that he and his colleagues were surprised to see the sun in Troy rise "from the very direction where we are used to seeing it set" Nevertheless, believing that the film can "increase interest in and study of the Bronze Age" 22 he then provides a brief answer, based on archaeological evidence, to the question whether a Trojan War took place, and if so, why.
The second and fourth essays focus on Troy in literary traditions. Joachim Latacz discusses the story of Troy before and in Homer, arguing that the poet of the Iliad reframed the traditional material he had received in order to address "the urgent contemporary problem, as yet unsolved, of how the aristocracy should define itself and its rights and responsibilities" He then argues that director Petersen similarly identifies the "true substance" of Troy in "scenes between individuals who are faced with critical issues" Georg Danek discusses how poets after Homer dealt with the Trojan stories, including allegorical, rationalizing, and parodic interpretations.
Focussing on the second- and third-century versions of Dictys and Dares, Danek argues that the film exploits some of the techniques used in these accounts, including verbal citations of the Iliad, hidden allusions, variations on Homeric scenes, Achilles as lover and hero, and the duration of the war, and discusses how these techniques create meaning in the film.
This is an excellent but brief essay on an important topic that merited more detail. British Museum curator J.
Lesley Fitton had some influence on the film. Unlike Kathleen Coleman, the official historical advisor to Gladiator who was so unhappy with the film that she demanded that her name be removed from the credits see her article in Winkler's volume on that filmFitton notes some of the film's anachronisms but says that "the creative art of filmmaking took precedence over the creative art of archaeological reconstruction.
And rightly so" 99he claims, because "Homer was not an historian, and something of Homer would certainly have been lost in a purist archaeological approach" Winkler argues that the poem "reveals features of the art of cinematic storytelling long before modern technology made this art a reality" 50 and suggests that Zeus views the battle in Book 8 like the spectator of an epic film, compares high- and low-angle shots to Homeric similes, and describes the ekphrases on the shield of Achilles as "short films expressed in words" This paper reviews the mythic film "Troy" and compares it to Homer's "The Iliad", upon which it is loosely based.
The paper discusses how the film bring to life mythical heroes and villains in a the great tale of love, war, loyalty, deception, honor, victory and defeat. 2) thesis statement: This was a fantastic film due to Russell Crowes great acting and the terrific plot as well as for the cinematography paragraphs 2, 3 and 4 should talk about: 1) i should talk about Russell Crowes great acting and what makes him so great, such as academy awards and so on.
Comparison Paper on the Book Iliad and Film Troy On the Plot The plot of the book and the film has a very big difference especially on its coverage and focus. The coverage of the film starts all the way from why the Trojan-Greeks conflict started up to the death of Achilles and the fall of Troy.
Vanessa Hudgens is Gabriella, the talented young singer and dancer with whom Troy appears to be going steady in a sweet'n'innocent way, though the film has a quasi-Bollywood reluctance to show. Read the Empire review of EMPIRE ESSAY: Face Off. Find out everything you need to know about the film from the world's biggest movie destination.
Published: Mon, 5 Dec In the tradition of tragic heroes such as Oedipus Rex, Willie Loman, and Marcus Brutus, Troy Maxson from August Wilson’s Fences is a noble man with a tragic flaw that leads him down a path ending in ruin.