Big Screen Rome by Monica Silveira Cyrino

By Monica Silveira Cyrino

Big Screen Rome is the 1st systematic survey of crucial and well known movies from the prior part century that reconstruct similar to Roman antiquity.

  • The first systematic survey of crucial and well known fresh motion pictures approximately Roman antiquity.
  • Shows how cinema explores, reinvents and celebrates the spectacle of historic Rome.
  • Films mentioned extensive contain Stanley Kubrick’s Spartacus, Ridley Scott’s Gladiator and Terry Jones’s Monty Python’s lifetime of Brian.
  • Contributes to discussions concerning the ongoing relevance of the classical world.
  • Shows how modern film-makers use recreations of historic historical past as commentaries on modern society.
  • Structured in a fashion that makes it appropriate for path use, and lines matters for dialogue and research, and connection with additional bibliographic resources.
  • Written in an brisk and fascinating style.

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Extra resources for Big Screen Rome

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2 How does the film portray Roman morality in the character of Marcus Vinicius? Does his outlook change during the film? 3 How is Rome displayed through the use of spectacle? How is Christianity portrayed in this Roman context? 4 How does the film present the theme of male/female relationships? Consider the three pairs: Marcus/Lygia, Petronius/Eunice, and Nero/Acte. 5 How do the themes of the film relate to contemporary American politics of the early 1950s? Are these themes still relevant to us today?

The theme of sexuality is more straightforward and overt in Quo Vadis than in later epics of the 1950s, and is thus somewhat at odds with the film’s virtuous articulation of Christian spirituality and asceticism. Perhaps the film is closer in spirit to movies of the previous decade, the 1940s, where onscreen erotic relationships between strong, sexy women and lusty, vigorous men were more freely explored. At the beginning of the film, Marcus openly expresses his hunger for the sexual companionship of refined females after three years on the front with only raggedy camp followers and captives to entertain him.

Chariots careen along the Via Appia at high speed, wheels grating dangerously against each other, as Marcus rushes back to Rome chased by the Praetorian Guard. For the Great Fire sequence, LeRoy was reportedly influenced by his childhood memories of the earthquake and fire that gutted San Francisco in 1906. ” To film this scene, LeRoy assembled a 1/12-scale model of the city inside a 300 square-foot tank. While three hundred alcohol burners destroyed the model, eighteen gasoline burners sent flares 20 feet into the air.

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