Paul explores the relationship between films set in the ancient world and the classical epic tradition, arguing that there is a connection between the genres. Through this careful consideration of how epic manifests itself through different periods and cultures, we learn how cinema makes a claim to be a modern vehicle for a very ancient tradition.

The literary epic and critical theories about the epic tradition are traced from Aristotle and Callimachus through Apollonius, Virgil, and their successors such as Chaucer and Milton to Eisenstein, Tolstoy, and Thomas Mann. Newman's revisionist critique will challenge all scholars, students, and general readers of the classics, comparative literature, and western literary traditions.

From popular histories through to reworkings of classical subject matter by contemporary poets, dramatists, and novelists, the classical world and the masterpieces of its literature continue to fascinate readers and audiences in a huge variety of media. In this Very Short Introduction, William Allan explores what the 'classics' are and why they continue to shape our Western concepts of literature. Presenting a range of material from both Greek and Latin literature, he illustrates the variety and sophistication of these works, and considers examples from all the major genres. Ideal for the general reader interested in works of classic literature, as well as students at A-Level and University, this is a lively and lucid guide to the major authors and literary forms of the ancient period. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

As Charlton Heston put it: ‘There’s a temptingly simple definition of the epic film: it’s the easiest kind of picture to make badly.’ This book goes beyond that definition to show how the film epic has taken up one of the most ancient art-forms and propelled it into the modern world, covered in twentieth-century ambitions, anxieties, hopes and fantasies. This survey of historical epic films dealing with periods up to the end of the Dark Ages looks at epic form and discusses the films by historical period, showing how the cinema reworks history for the changing needs of its audience, much as the ancient mythographers did. The form’s main aim has always been to entertain, and Derek Elley reminds us of the glee with which many epic films have worn their label, and of the sheer fun of the genre. He shows the many levels on which these films can work, from the most popular to the specialist, each providing a considerable source of enjoyment. For instance, spectacle, the genre’s most characteristic trademark, is merely the cinema’s own transformation of the literary epic’s taste for the grandiose. Dramatically it can serve many purposes: as a resolution of personal tensions (the chariot race in Ben-Hur), of monotheism vs idolatry (Solomon and Sheba), or of the triumph of a religious code (The Ten Commandments). Although to many people Epic equals Hollywood, throughout the book Elley stresses debt to the Italian epics, which often explored areas of history with which Hollywood could never have found sympathy. Originally published 1984.

The newest novel from the critically-acclaimed author of WITCHBORN ... Fourteen-year-old Cadmus has been scholar Tullus's slave since he was a baby - his master is the only family he knows. But when Tullus disappears and a taciturn slave called Tog - daughter of a British chieftain - arrives with a secret message, Cadmus's life is turned upside down. The pair follow a trail that leads to Emperor Nero himself, and his crazed determination to possess the Golden Fleece of Greek mythology. This quest will push Cadmus to the edge of the Roman Empire - and reveal unexpected truths about his past ...