Film history, theory or criticism Books

Book SynopsisLuis Buñuel was one of the great film-makers of the twentieth century. Gwynne Edwards analyses his work in the context of Buñuel's personal obsessions - sex, bourgeois values and religion. Luis Buñuel (1900-1983) was one of the truly great film-makers of the twentieth century. Shaped by a repressive Jesuit education and a bourgeois family background, he reacted against both, escaped to Paris, and was soon embraced by André Breton's official surrealist group. His early films are his most aggressive and shocking, the slicing of the eyeball in Un Chien andalou (1929) one of the most memorable episodes in the history of cinema. The Forgotten Ones (1950) and He (1952), made in Mexico, were followed, from 1960, in Spain and France, by the films for which he is best known: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977). Gwynne Edwards analyses the films in the context of Buñuel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist. GWYNNE EDWARDS is Professor of Spanish at the University of Wales, Aberystwyth.Table of ContentsBuñuel and the Surrealists A Surrealist in Chains Buñuel and the Bourgeoisie 'Thank God I'm Still an Atheist'

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Book SynopsisEste libro delinea el papel del niño en el cine argentino de la post-dictadura. Interprets the allegorical role of the child character in Argentine cinema of the post-dictatorship era. Este libro constituye la primera monografía dedicada al papel del niño en el cine latinoamericano. El análisis detallado de una decena de películas argentinas de la post-dictadura dirigidas entre 1983 y 2008, incluyendo tanto clásicas (La historia oficial, Un lugar en el mundo) como olvidadas (Amigomio, El rigor del destino), revela cómo la mirada y el lenguaje del niño son puestos al servicio de una alegoría nostálgica, estructurada en tornoa la memoria o al lenguaje verbal y vinculada a la figura del padre ausente. Dufays combina los análisis fílmicos con una amplia reflexión teórica sobre las cuatro nociones clave de alegoría, melancolía, nostalgia y duelo yrticula con una genealogía de la figura alegórica del niño en las tradiciones narrativas latinoamericanas. Este recorrido permite al lector explorar las significaciones simbólicas y discursivas que el personaje infantil, la infancia y la familia han adquirido en el cine y en el contexto postdictatorial argentino. Sophie Dufays es investigadora postdoctoral del Fondo Nacional de Investigación Científica de Bélgica, en la Universidad de Louvain-la-Neuve. This book is the first monograph devoted to the role of the child in Latin American cinema. Through close analysis of about ten Argentine fiction films of the post-dictatorship period directed between 1983 and 2008, including both classic such as The Official Story and A Place in the World) and forgotten works such as Amigomío and El rigor del destino. Dufays shows how the child's gaze and language are a meansof focusing a nostalgic form of allegory, structured around either memory or verbal language, and related to the figure of the absent father. In combining these analyses with a wide theoretical articulation of four key notions (allegory, melancholy, mourning and nostalgia) and with a genealogy of the allegorical child character in Latin American narrative traditions, Relatos de infancia allows the reader to explore the meanings that childhood and family have come to acquire in cinema, particularly in the Argentine post-dictatorial context. Sophie Dufays is a FNRS Postdoctoral Researcher (Belgian National Fund for Scientific Research) at the University of Louvain-la-Neuve.Table of ContentsIntroducción La alegoría, entre figuración nostálgica del duelo y desfiguración melancólica Antecedentes: niños alegóricos en la literatura y el cine argentinos/latinoamericanos Alegorías nacionales y relatos nostálgicos de la tranmisión filial Apéndice documental: Anexos Filmografía y bibliografía

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Book SynopsisA compelling account of the role of Fado and the fadista in Portuguese film and the wider culture. Colvin studies the evolution of Fado music as the soundtrack to the Portuguese talkie. He analyzes the most successful Portuguese films of the first two decades of the Estado Novo era, showing how directors used the national songto promote the values of the young Regime regarding the poor inhabitants of Lisbon's popular neighborhoods. He considers the aesthetic, technological, and social advances that accompany the progress of the Estado Novo---Futurism;the development of sound film; the inception of national radio broadcast; access to the automobile; and urban renewal---within a historical context that considers Portugal's global profile at the time of António de Oliveira Salazar's rise to power and the inauguration of António Ferro's Secretariado da Propaganda Nacional; Portugal's role as a secret ally of the Falange during the Spanish Civil War; Lisbon's role as a neutral refuge during World War II; and the Portuguese colonial empire as an anachronism in the post-World War II years. Colvin argues that Portuguese directors have exploited the growing popularity of the Fado and Lisbon's fadistas to dissuade citizens from alien values that promote individual ambitions and the notion of an easy life of poverty in the capital. As the public image of the Fado evolves, the fadista's role in film becomes more prominent and eventually the fadista is the protagonist and the Fado the principal concern of national film. The author exposes the irony that as the social profile of the Lisbon fadista improves with the international fame of singer Amália Rodrigues, Portuguese film perpetuates and validates the outdated characterization of the fadista as a social pariah that Leitão de Barros proposed in the first Portuguese talkie, A Severa (1931). Michael Colvin is Associate Professor of HispanicStudies at Marymount Manhattan College.Table of ContentsAcknowledgments Introduction Images of Defeat: Early Fado Films and the Estado Novo's Notion of Progress The Musical War Against Lisbon: Aldeia da Roupa Branca's Rural Family Values in Conflict with an Easy Fadista Life in the Capital A Return to Marialvismo: O Costa do Castelo and the Comedies of the 1940s Lisbon (Fado) versus Coimbra (Fado): New Severas, the Colonial Enterprise, and Class Conflict in Capas Negras Fado, História d'um Cantadeira: Construction and Deconstruction of the Fado Novo Conclusions: Fado Malhoa, etc. Afterword Bibliography Filmography Index

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Book SynopsisA close analysis of Buñuel's and the Order of Toledo's making of iconoclastic public art. In 1923, Luis Buñuel established the Order of Toledo, a parody order of knights whose members included Salvador Dalí, García Lorca, and Rafael Alberti. Together, they often visited the ancient Spanish capital to stroll through itslabyrinthine streets. But these excursions on the part of Buñuel and the Brotherhood were more than simple episodes of cultural sightseeing; they were happenings, public interventions in space. This book explores the anti-artistic aspect of these activities and urban perambulations. Are these practices similar to the flânerie of the Dadaists and French Surrealists? Taking into account their liberal, Spanish context, what was new about them, and what did they mean? Does their aesthetic experimentation make for ideological radicalism? And what impact do these first steps have on Buñuel's subsequent work and his later ideological trajectory? María Soledad Fernández Utrera is Associate Professor of Spanish at The University of British Columbia.Table of ContentsIndice de figuras Agradecimientos Introducción El artista en marcha Narrar Toledo La magia de la ciudad laberinto Política del caminar Nostalgia de Toledo Conclusión Bibliografía citada

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Book SynopsisAn original and groundbreaking historiography on fifty years of Uruguayan cinema. Runner-up for the 2014 Publication Prize awarded by the Association of Hispanists of Great Britain and Ireland This book presents an original historiography on fifty years of Uruguayan cinema. It is the first English language academic book in which Uruguay becomes a case study to reflect upon broader interests of both Film and Latin American Studies, such as the conditions of film archives, the many materialities of film, the relationshipbetween film and politics, and the ways in which films are produced in countries without a mainstream film industry. Uruguayan cinema has recently begun to capture the attention of academics and critics. However, most of Uruguayan productions remain ignored and forgotten, and have not been explored in depth. This ground-breaking investigation unearths films and videos from private and public archives, made in both amateur and professional settings, to reflect upon the ever-changing nature of the concept of cinema. How is the concept of cinema defined in non-industrial contexts? Can we even talk about cinema, when most of the production was captured in small-gauge film and video? In seeking to answer these questions, this book uncovers the tensions behind the text and the - filmic, magnetic or digital - materiality of films. Detailed case studies are based on the analysis of the political, cultural and economic contexts of film production and current issues of accessibility. Beatriz Tadeo Fuica is an Associate Researcher in the Grupo de Estudios Audiovisuales (GESTA), Universidad de la República (Uruguay); and atthe Centre d'histoire culturelle des sociétés contemporaines (CHCSC), Université de Versailles Saint-Quentin-en-Yvelines.Trade ReviewSome books are more instrumental than others. Beatriz Tadeo Fuica's recently published Uruguayan Cinema, 1960 - 2010. Text, Materiality, Archive is one of those volumes that comes to fill a long overdue gap in research. * FRAMES CINEMA JOURNAL *[E]l trabajo más completo sobre cine uruguayo, no solo por el períodio que abarca, sino también por su enfoque, su análisis minucioso y su interés por desentrañar todos los aspectos de un fenómeno tan complejo como el cinematográfico en un país tan particular como el Uruguay. The most complete work on Uruguayan cinema, not only because of the period it covers, but also because of its focus, its meticulous analysis and its interest in unraveling all aspects of a phenomenon as complex as cinematography in a country as individual as Uruguay. * Romanische Forschungen *Table of ContentsAcknowledgements List of Abbreviations Introduction Between Europe and Latin America (1960-73) Cinema By and Against the Dictatorship (1973-85) In Transition (1985-2000) Negotiating the Local at the Beginning of the Millennium (2000-2010) Conclusion Filmography Bibliography Index

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Book SynopsisGender representation in Mexico's contemporary audio-visual landscape This book focusses on gender and the audio-visual landscape of Mexico since 2010, examining popular culture as expressed in the still distinct but rapidly converging media forms of cinema, television, and streaming platforms. It tracks how changes in producers and genres coincide with changes in gender representations and engages with depictions of feminism, women's sexuality, masculinity, and teen homosexuality. It aims to move beyond the art, auteur or specialist film that is vaunted by film festivals but little seen by Mexicans at home, focussing instead on a wider world of media content and practices available in Mexico itself. Close attention is also paid to the social media footprint of the productions studied and the way it is used for promotion and engagement with the target audience. The book proposes a new approach to audio-visual studies, combining textual analysis with field surveys and the useof industrial sources perhaps unfamiliar to scholars in Anglo-American Hispanism and Latin American media studies in the UK and USATrade ReviewMexican Genders, Mexican Genres is a welcome contribution to the field due to its broad examination of contemporary screen fictions, many of them unknown outside Mexico. * Bulletin of Spanish Studies *Table of ContentsIntroduction Post-Patriarchal Comedy in Mexico (and Spain): Three Films of Fernanda Castillo Mexican Cinema vs. Mexican Streaming: Four Films of Omar Chaparro Art, Industry, and Affect: Three Mexican Film Festivals Teen Gay Romance: Two Television Dramas from Juan Osorio Gender, Genre, and Female Auteurship: Two Television Dramas from Giselle González Public Television in a Female Key: Historical Drama from Patricia Arriaga Jordán Coda: The Anti-Roma: Cinema, Television, Streaming Works cited Index

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Book SynopsisHow have sociopolitical fears been enacted, represented and performed in societies marked by repression, conflict and abuse of power? And how has this emotion shaped aesthetic and ideological discourses and cultural productions? Violencia, poder y afectos: narrativas del miedo en Latinoamérica ofrece una contribución crítica al estudio de las representaciones de los miedos sociopolíticos en la literatura y el cine contemporáneos. Este volumen estudia las consecuencias inmediatas y de larga duración de la violencia y el terror en las sociedades latinoamericanas desde varias perspectivas teóricas. Los capítulos del libro abordan dos preguntas centrales: ¿cómo se han asumido, asimilado y representado los diversos temores sociopolíticos que caracterizan a unas sociedades marcadas por el conflicto, la represión y el abuso de poder? y ¿cómo este afecto ha marcado los discursos estéticos e ideológicos de las producciones culturales? Mediante el estudio de las obras de escritores y productores culturales contemporáneos incluso Mónica Ojeda, Cristina Rivera Garza, Rodrigo Rey Rosa, Alonso Cueto y Manlio Argueta, los colaboradores de este libro examinan el clima de terror y ansiedad provocados por las guerras civiles en Guatemala, El Salvador y Perú; la guerra de las drogas en México; la invasión estadounidense a Panamá en 1989; así como las dinámicas de desigualdad de clase y género en Ecuador y México. Violencia, poder y afectos: narrativas del miedo en Latinoamérica offers a critical contribution to studies of the representation of socio-politically inflicted fears in contemporary literature and film. This volume looks at the immediate and long-lasting consequences of violence and terror in Latin American societies from a variety of theoretical perspectives. Chapters of the book engage with two central questions: How have sociopolitical fears been enacted, represented and performed in societies marked by repression, conflict and abuse of power? And how has this emotion shaped aesthetic and ideological discourses and cultural productions? Looking at contemporary writers and cultural producers including Mónica Ojeda, Cristina Rivera Garza, Rodrigo Rey Rosa, Alonso Cueto and Manlio Argueta, the contributors of this volume examine the climate of terror and anxiety resulting from the civil wars in Guatemala, El Salvador and Peru; the war on drugs in Mexico; the 1989 U.S. invasion of Panama; and dynamics of class and gender power imbalances in Ecuador and Mexico.Table of ContentsLista de illustraciones Lista de autores Introducción Narrativas del miedo: consideraciones históricas y definiciones conceptuales Marco Ramírez Rojas Ecuador 1. En la boca del miedo: violencias afectivas y éticas perversas en Mandíbula, de Mónica Ojeda Marta Pascua Canelo El Salvador 2. Desde el miedo hasta la liberación en Un día en la vida del salvadoreño Manlio Argueta Bradley Hilgert y Zachary Dehm Guatemala 3. Espectros subversivos y miedos neoliberales en La llorona de Jayro Bustamante Carlos Gardeazábal Bravo 4. El miedo como condición crónica y la desactivación política del sujeto en El material humano de Rodrigo Rey Rosa Magdalena Perkowska México 5. Cartografías del miedo en la narrativa mexicana contemporánea Ester Bautista y Daniela Pérez 6. Los trabajos del miedo: el terror, el horror y la ruina en la narrativa sobre la guerrilla mexicana de los años 70 José Lara 7. El miedo en un México neoliberal: El papel de las narco-narrativas seriales y las impredecibles formas de coexistencia Blanca Judith Martínez 8. Figuras del miedo en El buscador de cabezas de Antonio Ortuño Margarita Remón-Raillard Panamá 9. Heterofonía del miedo y trauma nacional: La primera novela de la invasión a Panamá en 1989 David Rozotto Perú 10. Memoria, espacio y niñez: Las formas de lo gótico en Las malas intenciones Rosana Díaz-Zambrana 11. Una historia contada dos veces: Los residuos del miedo en La Hora Azul y La Pasajera de Alonso Cueto Marco Ramírez Rojas Índice onomástico

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Book SynopsisIn all his films, Peter Greenaway shows obsessive attention to detail, exaggerating the archaic and fabricating his plots out of an artificial realm of caricature and pastiche. This book examines his vision from a number of perspectives and traces a shift of sensibility in his work. A painter by training, Greenaway has made his reputation as a controversial film-maker with a strong visual style. The book focuses on his work as an artist, curator and writer, as well as a film-maker, and is illustrated with stills from his films.Trade ReviewPascoe tirelessly explicates the numerology and mytho-mania that are the film-maker's organising principles Guardian A supremely intelligent, utterly tuned-in, definitive exploration of the ultimate British auteur's back catalogue, helpfully illustrated at every opportunity... illuminating Empire

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Book SynopsisSince 1984, Chinese cinema has been the most dramatic new entry on the international film scene. This text looks at contemporary Chinese cinema as a visual art and illustrates the many ways it has been shaped by centuries of Chinese visual and cultural traditions. Among its many concerns are the role of female gender in Chinese cinema, the use of allegory, the strategies of filmmakers in comping with state censorship, the translation of Chinese novels into film, the continuing attachment of filmmakers to melodramatic form, and the cinematic critiques of Maoism and post-Maoist Chinese culture. Illustrated with Chinese paintings as well as scenes from such internationally acclaimed films as "Yellow Earth", "Red Sorghum", "Raise the Red Lantern" and "Farewell My Concubine", Jerome Silbergeld reveals a cinematic form that is at once excitingly new and yet deeply embedded in traditional Chinese visual culture.Trade Review'As a study of the relationship between contemporary Chinese film and the visual legacy of Chinese arts and culture, this book is superb.' - Journal of Asian Studies

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Book SynopsisIn "Death 24 x a Second", Laura Mulvey addresses some of the key questions of film theory, spectatorship and narrative. New media technologies, such as video and DVD, have transformed the way we experience film, and the viewers' relationship to film image and cinema's narrative structure has also been fundamentally altered. These technologies give viewers the means to control both image and story, so that films produced to be seen collectively and followed in a linear fashion may be found to contain unexpected (even unintended) pleasures. The tension between the still frame and the moving image coincides with the cinema's capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film's hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film's best-kept secret, can now be revealed, by anyone, at the simple touch of a button. As Mulvey argues, easy access to repetition, slow motion and the freeze-frame may well shift the spectator's pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object. The manipulation of the cinematic image by the viewer also makes visible cinema's material and aesthetic attributes. By exploring how new technologies can give new life to old' cinema, "Death 24 x a Second" offers an original re-evaluation of film's history and also its historical usefulness.Trade Reviewelegiac ... a wonderful close analysis. Despite the melancholy in cinema's enounters with a fleeting past, the prospects opened up by filmic slowness are, for Mulvey, productive of optimism. Times Higher Education Supplement Rethinking the fundamentals of fim history through modern audiovisual technology Independent on Sunday Mulvey ... continues to provoke new ways of seeing - or re-seeing - the cinema we think we know. Film Comment Death 24x a Second takes up both the challenge to critical thinking represented by new technological developments, and the impulse towards reflection on film's past that they have occasioned ... a thoughtful book. New Left Review

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Book SynopsisGaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in fi lm, either directly as practitioners or in other areas such as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent?The interviews with Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Djo Tunda wa Munga, Rumbi Katedza, Katarina Hedrén, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners.The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Beti Ellerson, Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of fi lm festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex fi lmic responses of Africa’s film practitioners.Trade ReviewThis intricately woven collection presents nuanced images - from the north to the south of the African continent - of the contemporary state of women's representation, roles and engagements in the film world. - Lindiwe Dovey, senior lecturer in African film, SOAS, University of London and honorary associate professor, University of KwaZulu-Natal.Table of ContentsAcknowledgements; List of illustrations; Foreword by Katharina von Ruckteschell, Goethe-Institut sub-Saharan Africa; Introduction - By way of context and content - Jyoti Mistry and Antje Schuhmann; African women in cinema: An overview - Beti Ellerson; 'I am a feminist only in secret' - Interview with Taghreed Elsanhouri and Christina von Braun by Ines Kappert; Staged authenticity: Femininity in photography and film - Christina von Braun; 'Power is in your own hands': Why Jihan El-Tahri does not like movements - Interview with Jihan El-Tahri by Jyoti Mistry and Antje Schuhmann; Aftermath - A focus on collective trauma - Interview with Djo Tunda wa Munga and Rumbi Katedza by Antje Schuhmann and Jyoti Mistry; Shooting violence and trauma: Traversing visual and social topographies in Zanele Muholi's work - Antje Schuhmann; Puk Nini - A filmic instruction in seduction: Exploring class and sexuality in gender relations - Antje Schuhmann and Jyoti Mistry; I am Saartjie Baartman - Nobunye Levin; Filmmaking at the margins of a community: On co-producing Elelwani - Jyoti Mistry; On collective practices: Jeppe on a Friday - Interview with Shannon Walsh and Arya Lalloo by Jyoti Mistry; 'Cinema of resistance' - Interview with Isabel Noronha by Max Annas and Henriette Gunkel; Dark and personal - Anita Khanna; 'Change? This might mean to shove a few men out' - Interview with Anita Khanna by Antje Schuhmann and Jyoti Mistry; Barakat means enough! - Katarina Hedren; 'Women, use the gaze to change reality' - Interview with Katarina Hedren by Antje Schuhmann and Jyoti Mistry; Post-colonial film collaboration and festival politics - Dorothee Wenner; Tsitsi Dangarembga: A manifesto - Interview with Tsitsi Dangarembga by Jyoti Mistry and Antje Schuhmann.

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Book Synopsis'Ancient Rome at the Cinema' is a lucid study of the worlds created in Roman historical epics. Based on analysis of the visual and narrative fabric of seven films set in Ancient Rome, 'Ancient Rome at the Cinema' demonstrates how cinematic versions of Ancient Rome have been able to captivate us, and inscribe their versions of the city and its history onto our imagination. Theodorakopoulos uses film theory and criticism to examine the ways in which historical drama creates the past through story-telling and visual effects. Particular emphasis is put on the tension between narrative and spectacle which is an inherent feature of cinema, and a long-standing preoccupation of film critics and theorists from the 1930s to the present. The book also examines the techniques and the rhetoric of realism which feature especially prominently in historical films. 'Ancient Rome at the Cinema' is a companion volume to 'Ancient Greece in Film and Popular Culture' by Gideon Nisbet (9781904675785, 2008, 2nd edition).Trade ReviewTheodorakopoulos ist eine weitgehend koharente Auseinandersetzung mit wichtigen Erzeugnissen des Antikfilmgenres gelungen, wobei gerade die Heterogenitat der Beispiele aus dem Mainstream-Kino und dem Autorenfilm die Untersuchung bereichert. Durch ein gut strukturiertes Theoriekapitel, in dem die Autorin auf wichtige Theorien zum Medium Film, zum Historienfilm sowie zur Thematik der Metahistorie eingeht, werden die Betrachtungen zu den einzelnen Produktionen gut vorbereitet. Die Bezugnahme auf unterschiedliche Theorien aus den verschiedensten interdisziplinaren Bereichen an der Schnittstelle zwischen Medien- und Geschichtswissenshaften macht diese Publikation auch fur den Einsatz im didaktischen Bereich wertvoll. H-Soz-u-KultTable of Contents List of Illustrations vi Introduction 1 1 Narrative and Spectacle, Realism and Illusion, and the Historical Film 9 2 Ben-Hur: ‘Tale of the Christ’ or Tale of Rome? 30 3 Spartacus and the Politics of Story-Telling 51 4 The Fall of the Roman Empire: The Filmmaker as Historian 77 5 Gladiator: Making it New? 96 6 Fellini Satyricon: ‘Farewell to Antiquity’ or ‘Daily Life in Ancient Rome’? 122 7 Titus: Rome and the Penny Arcade 145 Conclusion 168 Notes 173 Further Reading and Viewing 186 Bibliography 190 Filmography 196 Index

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Book SynopsisThis revised and expanded second edition responds to new developments in the reception of Greece in contemporary popular culture, and particularly the impact of the film "300" (2006). Why, in a century of film-making, have so few versions of the story of Alexander the Great - or that of Troy's fall - made it to the big screen? In the aftermath of "Gladiator" (2000), with Hollywood studios rushing to revisit the ancient world with "Troy" and "Alexander" (both 2004), this question takes on renewed significance. Nisbet unpacks the ideas that continue to make Greece hot property - often too hot for Hollywood to handle. His lively explorations, which assume no prior expertise in classical or film studies, will appeal to all with an interest in 'reception': the present day's re-use and re-invention of the past. 'Ancient Greece in Film and Popular Culture' is a companion volume to 'Ancient Rome at the Cinema: Story and Spectacle in Hollywood and Rome', by Elena Theodorakopoulos (2010, paperback isbn: 9781904675280, hardback isbn: 9781904675540).Trade Review… the time is ripe for turning scholarly (and student) attention to what Greece means in modern popular culture (and why). Gideon Nisbet’s book, part of Bristol Phoenix Press’s Greece and Rome Live series, serves as a brief but punchy account of the topic, and will be of considerable value to a wide audience. … this book should be of as much interest to those working in reception study, and classics and ancient history more generally, as it is to students and teachers at whom it is notionally aimed. Joanna Paul, Bryn Mawr Classical ReviewIt is well suited to sparking discussion among undergraduates as well as introducing new perspectives to scholars. Course logistics permitting, I think it would be especially useful in combination with other recent studies as a stimulating introduction to the current scholarly conversation on Classics, media, and popular culture. Seán Easton, Bryn Mawr Classical Review * Bryn Mawr Classical Review *Table of Contents List of illustrations Preface: The Dog in the Night-time Acknowledgements A Note on Terminology 1 Socrates' Excellent Adventure 2 Mythconceptions 3 Wars of the Successors 4 2007: It's Raining Men Epilogue: Radio Gaga Glossary Suggestions for Further Reading (and Viewing) Index

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