GLADIATOR by David Franzoni Revisions by John Logan SECOND
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Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College
Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Research Master's Theses, Dissertations, Graduate Research and Major Papers Overview and Major Papers 4-2009 Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Peirce, Merle Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films" (2009). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 19. https://digitalcommons.ric.edu/etd/19 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TRANSGRESSIVE MASCULINITIES IN SELECTED SWORD AND SANDAL FILMS By Merle Kenneth Peirce A Thesis Submitted in Partial Fulfillment of the Requirements for the Individualised Masters' Programme In the Departments of Modern Languages, English and Film Studies Rhode Island College 2009 Abstract In the ancient film epic, even in incarnations which were conceived as patriarchal and hetero-normative works, small and sometimes large bits of transgressive gender formations appear. Many overtly hegemonic films still reveal the existence of resistive structures buried within the narrative. Film criticism has generally avoided serious examination of this genre, and left it open to the purview of classical studies professionals, whose view and value systems are significantly different to those of film scholars. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Emperor Bios.Cwk (WP)
Augustus reign: 31 BCE - 14 CE 1st Emperor of Rome Established Pax Romana Nephew of Julius Caesar -Battled Marc Antony for power after the death of Caesar Helped Rome recover after about 100 years of Civil War: -meritocratic when it came to giving out high- paying jobs -started having a census (for tax purposes) -put unemployed men on public works projects -reign marked the beginning of the Pax Romana -issued new coins to make trade easier -set up a postal service -created law enforcement (police) Death: Natural causes. The next emperor was already taking power a year before his death. Tiberius Reign: 14 CE - 37 CE 2nd Emperor of Rome Stepson of Augustus after his parents divorced. Augustus eventually adopted him after his own natural sons died. -Emperor who Pontius Pilate worked for -Generally hired good governors for the provinces -Had a poor relationship w/the Senate -By end of his reign he was hated by patricians & plebs -Spent final years on Capri, depressed by betrayals from those closest to him. Communicated w/Senate via letters Death: natural causes (though some believe Caligula had something to do with it) -When he died, people in the streets were saying “To the Tiber with Tiberius!” Gaius (Caligula) Reign: 37 CE - 41 CE Crazy/Punky Young Emperor Nephew & adopted son of Tiberius, whose own son was murdered. Tiberius had given his power to both Caligula & a cousin. Caligula had his cousin killed. When he became Emperor, age 25, everyone loved him: -gave money to high ranking officials & military -burned Tiberius’ papers publicly -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe. -
Patricians and Plebeians Under Etruscan Rule the Patricians Create a Republic Between 616 and 509 B.C.E., the Over Time, the Etruscans Ruled Rome
Patricians and Plebeians under Etruscan Rule The Patricians Create a Republic Between 616 and 509 B.C.E., the Over time, the Etruscans ruled Rome. During this patricians began to time, Roman society was divided into resent Etruscan two classes, patricians and plebeians. rule. In 509 B.C.E., a group of patricians, Upper-class citizens, called led by Lucius Julius patricians, came from a small group Brutus, rebelled. of wealthy landowners. Patrician They drove out the comes from the Latin word pater, last Etruscan king. In which means “father”. The patricians place of a choose from among themselves the monarchy, they “fathers of the state”, the men who created a republic. advised the Etruscan king. Patricians In a republic, controlled the most valuable land. elected officials Patricians were the elite in They also held the important military govern for the Roman society and religious offices. Brutus denounced the Etruscan kings and was people. elected one of the first consuls in the new republic. Free non-patricians called plebeians were mostly peasants, laborers, craftspeople, and shopkeepers. To the patricians, “the people” meant themselves, not the plebeians. The word plebeian comes from plebs, The patricians put most of the power in the hands of the Senate. The which means ”the common people”. Senate was a group of 300 patricians elected by patricians. The Plebeians made up about 95 percent of senators served for life. They also appointed other government Rome’s population. They could not be officials and served as judges. priests or government officials. They had little voice in the government. -
Caesar IV Manual
TABLE OF CONTENTS WELCOME TO THE ROMAN EMPIRE . .3 Getting Started . .4 Installation . .4 System Requirements . .4 Starting a New Game . .4 The Control Panel . .5 ROMAN CITIES AND HOW TO BUILD THEM . .6 Controls . .6 Immigration . .6 Employment . .7 Social Classes . .7 Desirability . .8 Household Happiness & Evolution . .8 Crime . .9 Successful City Building: Advisors, Ratings & Overlays . .9 INFRASTRUCTURE . .12 Housing . .12 Water . .13 Roads . .14 Bridges . .15 Fire & Collapse . .16 Beautification and Decorative Items . .16 FOOD, FARMING & INDUSTRY . .17 Food . .17 Farms . .17 Raw Material Gathering & Farming . .18 Industry . .19 Warehouses & Granaries . .19 Mothballing . .20 MARKETS & TRADE . .20 Markets . .20 Trade . .22 Trade Depots & Ports . .22 CITY SERVICES . .23 Justice . .24 Education . .25 Religion . .25 Entertainment . .26 Healthcare . .27 GOVERNMENT . .28 Treasury & Wages . .28 Taxation . .28 Festivals . .29 Player Salary & Personal Savings . .29 MILITARY ACTIVITY . .30 Fortifications . .30 Military Buildings . .31 Solidiers . .32 CAESAR IV ONLINE . .34 THE SCENARIO EDITOR . .34 CREDITS . .35 2 WELCOME TO THE ROMAN EMPIRE Congratulations, Citizen! Caesar has called upon you to enter into service to Rome. The Emperor is eager to expand his settlements and is seeking qualified executors who can implement his will. The Roman Empire is so vast and growing so rapidly that even our divine Caesar cannot hope to rule it alone. He needs capable provincial governors, and that is where you come in. Your goal is to build a thriving Roman City—a bastion of culture and commerce that reflects the glory of Rome itself. As you begin your career, the lands you administer will be small, but Caesar rewards success with promotions and more challenging assignments. -
The Roman Republic S
P1: IML/SPH P2: IML/SPH QC: IML/SPH T1: IML CB598-FM CB598-Flower-v3 August 26, 2003 18:47 The Cambridge Companion to THE ROMAN REPUBLIC S Edited by Harriet I. Flower Princeton University iii P1: IML/SPH P2: IML/SPH QC: IML/SPH T1: IML CB598-FM CB598-Flower-v3 August 26, 2003 18:47 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United States of America Typeface Bembo 11/13 pt. System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data The Cambridge Companion to the Roman Republic / edited by Harriet I. Flower. p. cm. Includes bibliographical references and index. isbn 0-521-80794-8 – isbn 0-521-00390-3 (pb.) 1. Rome – History – Republic, 510–30 b.c. I. Flower, Harriet I. dg235.c36 2003 937.02 – dc21 2003048572 isbn 0 521 80794 8 hardback isbn 0 521 00390 3 paperback iv P1: IML/SPH P2: IML/SPH QC: IML/SPH T1: IML CB598-FM CB598-Flower-v3 August 26, 2003 18:47 Contents S List of Illustrations and Maps page vii List of Contributors ix Preface xv Introduction 1 HARRIET I. -
Gladiator from Screenplay to Screen
NKL1 12/15/03 3:46 PM Page 1 chapter one Gladiator from Screenplay to Screen Jon Solomon Everyone interested in tracing the development of Gladiator has access to various sources: two preliminary versions of David Franzoni’s screen- play; several Internet interviews with Franzoni, director Ridley Scott, and co-producer Douglas Wick; the film itself; extra footage on its DVD issue; numerous comments on the World Wide Web; and, finally, the ancient historical sources for the life of the villainous Commodus – Cassius Dio, Herodian, and the Augustan History.1 The following essay offers a study of the development of Gladiator based on these sources, from its original artistic concept to its release version. To most of us, this may seem like a common or easy enough task: reading interviews with filmmakers, examining their notes or drafts, and finding additional material on a DVD or on the Web. But nothing could be further from the truth when these methods of research are applied to an ancient story. For example, Homer is not available for interviews, and we have none of Virgil’s notes or drafts. On his deathbed, Virgil report- edly requested his friends to burn the one copy of his not quite finished Aeneid, Rome’s national epic. We are fortunate to have his poem, but we cannot examine his notes or drafts. 1 The two drafts of the screenplay are published electronically at http://www.hundland. com/scripts/Gladiator_FirstDraft.txt (revised and dated April 4, 1998) and http://www. hundland.com/scripts/Gladiator_SecondDraft.txt (revised by John Logan and dated October 22, 1998). -
Edwin Link 0 Mi E ,S
ARCTOS ACTA PHILOLOGICA FENNICA NOVA SERIES · VOL.I. COMMENTATIONES IN HONOREJ\1 EDWIN LINK 0 MI E ,S S EXA GEN .LJ\RI I A.D. MCMLIV EDITAE OTAVA ~~ ~ ~ • 6 9 0 HELSINKI KUSTANNUSOSAI<EYHTIÖ OTAVA INDEX Y. M. Biese Zwei Beitrage zur Geschichte der rômischen Gram- matik 9 Gudmund Bjorck »Rhesos» Patrick Bruun The Consecration Coins of Constantine the Great Erich Burck Amor bei Plautus und Properz Ingemar Düring eLA..ristotle the Scholar A. Ernout Consensus --- concentHs - conJentaneus R. Hakamies Tïntinnabulutn et equitiu111 dans le latin finlandais du 1noyen ageA . 8o U. Knoche Der Gedanke der Freundschaft in Senecas Briefen an Lucilius . Heikki Koskenniemi Cicero über die Briefarten (genera epistularum) 97 J. Marouzeau Ordre des mots et realia 103 Eino Mikkola »Pluralis rarior» bei Isokrates . 108 Tauno F. Mustanoja I .. atin and French Proverbs in the Fourteenth-Century IVLS. LI. z. 12. of Sidney Sussex Colle ge, Cambridge . 12 3· Paivô Oksala Über die Fiinstellung Ciceros zum lexikalischen Pu- tlSffiUS 132 Gunnar Rudberg (t) Kuns~prosa und Hymnenstil Torsten Steinby 1/Istituto Finlandese a Roma . 145 Joh. Sundwall Parallelistno fra Grecia ed Italia nelle migrazioni preistoriche 210 Index J. Suolahti The Origin of the Poet Ca tullus . I 59 J. Svennung NtttJtero = Nr. Holger Thesleff <~1ç &À"'J'&wc; und Verwandtes Rolf W estman Observatio critica ad Procli in Platonis Rem publi- can1 co1nmentarios (Vol. II, p. 1 I 3, I o !(roll) . I 90 V eikko Vaarüinen Sur la préposition latine de n1arquant la notion parti tive Henrik Zilliacus The Stolen _l\nchor . THE ORIGIN OF THE POET CATUI_JIJUS ]. -
Orthography of Names and Epithets: Latinization of Personal Names Author(S): Dan H
Orthography of Names and Epithets: Latinization of Personal Names Author(s): Dan H. Nicolson Source: Taxon, Vol. 23, No. 4 (Aug., 1974), pp. 549-561 Published by: International Association for Plant Taxonomy (IAPT) Stable URL: http://www.jstor.org/stable/1218779 . Accessed: 13/04/2014 09:02 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Association for Plant Taxonomy (IAPT) is collaborating with JSTOR to digitize, preserve and extend access to Taxon. http://www.jstor.org This content downloaded from 212.238.43.46 on Sun, 13 Apr 2014 09:02:03 AM All use subject to JSTOR Terms and Conditions TAXON 23(4): 549-561. AUGUST 1974 ORTHOGRAPHY OF NAMES AND EPITHETS:LATINIZATION OF PERSONAL NAMES Dan H. Nicolson* Summary There are two steps to the latinization of personal names: adding -i- to the stem of most names ending in consonants (stem augmentation) and determining the appropriate case ending to be added (inflection). A review of Roman personal nomenclature shows that Romans formed surnames from given names by stem augmentation (adding -i-) before inflection. Latinization of modern names with stem augmentation honors a person by according his name the same treatment originally accorded only to the surnames of patrician and noble Romans.