Screening Love and Sex in the Ancient World

Copyrighted Material - 9781137299598

Edited by Monica S. Cyrino

Copyrighted Material - 9781137299598

pal-cyrino-book.indb iii 1/10/13 10:19 AM Copyrighted Material - 9781137299598

First published in 2013 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010.

Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS.

Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world.

Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.

ISBN: 978- 1- 137- 29959- 8

Library of Congress Cataloging-in- Publication Data is available from the Library of Congress.

A catalogue record of the book is available from the British Library.

Design by Scribe Inc.

First edition: February 2013

10 9 8 7 6 5 4 3 2 1

Copyrighted Material - 9781137299598

pal-cyrino-book.indb iv 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Contents

List of Illustrations vii Acknowledgments ix Introduction: Screening Love and Sex in the Ancient World 1 Monica S. Cyrino

Part 1: Screening Love and Sex in Ancient Myth and Literature 1 G. W. Pabst’s Hesiodic Myth of Sex in Die Büchse der Pandora (1929) 11 Lorenzo F. Garcia Jr. 2 Kiss Me Deadly (1955): Pandora and Prometheus in Robert Aldrich’s Cinematic Subversion of Spillane 25 Paula James 3 Perversions of the Phaeacians: The Gothic Odyssey of Angels & Insects (1996) 39 Meredith Safran 4 Woman Trouble: True Love and Homecoming in Pedro Almodóvar’s Volver (2006) 55 Corinne Pache 5 Sappho and Pocahontas in Terrence Malick’s The New World (2005) 69 Seán Easton 6 Soul Fuck: Possession and the Female Body in Antiquity and in Cinema 85 Kirsten Day 7 Ancient Allusions and Modern Anxieties in Seven Brides for Seven Brothers (1954) 99 Christopher M. McDonough

Copyrighted Material - 9781137299598

pal-cyrino-book.indb v 1/10/13 10:19 AM Copyrighted Material - 9781137299598

vi contents

Part 2: Screening Love and Sex in Ancient History 8 Gorgo at the Limits of Liberation in Zack Snyder’s 300 (2007) 113 Vincent Tomasso 9 Oliver Stone’s Unmanning of Alexander the Great in Alexander (2004) 127 Jerry B. Pierce 10 The Order of Orgies: Sex and the Cinematic Roman 143 Stacie Raucci 11 Partnership and Love in Spartacus: Blood and Sand (2010) 157 Antony Augoustakis 12 Objects of Desire: Female Gazes and Male Bodies in Spartacus: Blood and Sand (2010) 167 Anise K. Strong 13 Glenn Close Channels Theda Bara in Maxie (1985): A Chapter in the Social History of the Snake Bra 183 Gregory N. Daugherty 14 Virility and Licentiousness in Rome’s Mark Antony (2005– 7) 195 Rachael Kelly 15 Love, Rebellion, and Cleavage: Boadicea’s Hammered Breastplate in The Viking Queen (1967) 211 Alison Futrell 16 Subverting Sex and Love in Alejandro Amenábar’s Agora (2009) 227 Joanna Paul Filmography 243 Bibliography 247 List of Contributors 263 Index 267

Copyrighted Material - 9781137299598

pal-cyrino-book.indb vi 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Introduction4 Screening Love and Sex in the Ancient World

Monica S. Cyrino

Love and sex attracted the earliest filmmakers to screen the mythology, literature, and history of the ancient world. Images and narratives of torrid romance, provocative sexualities, and erotic excess have been a mainstay of screen depictions of ancient Greece and Rome since the beginning of cinema in the early twentieth century. Vibrant scenes of baths, orgies, and brothels were first borrowed from nineteenth- century paintings, photographic tableaux vivants, and stage plays, and given new life in the nascent medium of film, and then they were later reanimated on ancient-themed television series. By seizing the oppor- tunity to exhibit scantily clad dancing girls and bare- chested muscle men mingling with pagan abandon at bacchanals, banquets, and gladiator games, cinematic entrepreneurs are able to satisfy both their artistic and commercial senses. Characters, themes, and plots centered on romance and sexuality continue to appear in the most recent recreations of antiquity in blockbuster movies and on premium cable television. Today, filmmakers and television producers regularly return to classical antiquity as a persistent, powerful source of historical, literary, and mythological models for representing sexuality—its prob- lems, pleasures, and intimate link to gender roles—to be celebrated on the screen, as well as for negative paradigms to be confronted, censured, or covertly savored. Screening the history, imagined and “real,” of famous ancient bat- tles and political intrigues has always been infused with a heavy dose of

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 1 1/10/13 10:19 AM Copyrighted Material - 9781137299598

2 Monica S. Cyrino

love and sex. Although the notorious— and visually titillating—sexual debauchery of ancient Rome has especially captivated filmmakers throughout the first century of cinema and television, the complicated erotic inclinations of the ancient Greeks have also received screen time. The artistic preference for screening antiquity as a time of sexual exploration and excitement— where the lack of erotic inhibition is set against the rise of powerful warriors, politicians, and femmes fatales, as well as the birth of great empires and their eventual decay and destruction—has provided the historical framework for literally hun- dreds of films and television programs set in the ancient Greek and Roman worlds. From the various cinematic versions of Cleopatra as a spectacle of sex and power (such as Cecil B. DeMille’s in 1934 and Joseph L. Mankiewicz’s in 1963), to the eye- popping exposure of buff male physicality in Zack Snyder’s 300 (2007), to the recent cable television adaptation of the Spartacus story with its unparalleled dis- play of graphic nudity, sex, and violence (Spartacus: Blood and Sand on Starz, 2010), these recreations transport the viewer back to an imagined ancient world brimming with enormous romantic passions and sexual appetites. While purporting to offer a morally edifying illustration of the dangers of overreaching power and erotic license, the process of screening antiquity has at the same time allowed filmmakers and television producers to exploit the audience’s pervasive and prurient fascination with the unbridled and alluring sexualities of the ancient Greeks and Romans. Modern fascination with and anxieties about love and sex are thereby projected back vividly onto the ancient world onscreen. Along with ancient historical accounts, the narratives and motifs of classical mythology and literature have also provided a wide range of thematic material for filmmakers and television producers to engage with topics of love and sexuality, gender and power, erotic desire and jealousy, loss and reunion. In using the archetypal characters and plot outlines from ancient myth and literature, rather than strict “history,” writers and directors find themselves more free to adapt stories and images of romance and sexuality to the screen, often locating them in a temporal setting far removed from antiquity, or even in the modern day. For example, the Greek myth of the first woman, Pandora, together with the erotic danger she brought to mankind, has inspired the cinematic narratives of numerous films, from the silent film classic of consuming female sexuality in G. W. Pabst’s Die Büchse der Pandora (1929), to the evocative name of the lush tropical moon, Pandora, lethal but valuable to humans, in James Cameron’s futuris- tic adventure Avatar (2009), while the epic tale of Homer’s Odyssey,

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 2 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Screening Love and Sex in the Ancient World 3

with its exotic, sexually adventurous travel narrative embedded within a frame of enduring conjugal love, has been reimagined countless times in films such as Mervyn LeRoy’s romantic drama, Homecom- ing (1948), the Coen brothers’ caper comedy, O Brother, Where Art Thou? (2000), and Anthony Minghella’s Civil War love story, Cold Mountain (2003). Films like these allow viewers to enjoy the essence of an ancient literary work or myth distilled into its most basic narrative and authentic archetypal paradigms of love, sexuality, and gender that resonate deeply with the contemporary world. Moreover, since these films are not bound by any obligation to recreate a genuine ancient setting or a precise historical context, the filmmaker can take a more direct and innovative approach to the timeless themes and characters, just as the ancient authors and mythographers did. This volume of essays has the ambitious aim of engaging with these two reception strands for screening love and sex in the ancient world, both the mythic/literary approach, and the historical one; in doing so, the chapters seek to demonstrate the importance of understanding the many different ways in which filmmakers and television producers use the past to explore contemporary issues of love and sexuality. In 16 original and compelling essays, the contributors to this proj- ect address the question of how love and sex are portrayed in films that refer to the ancient Greek and Roman worlds, either directly in the context of ancient history, or indirectly through allusion to classical mythology and literature. These 16 chapters are organized into two sections: the first half focuses on films that evoke characters and themes from ancient myths and literature, and the second half deals with onscreen representations of subjects rooted (more or less) in historical accounts from antiquity. While the division reveals productive connections between separate analyses, it is also somewhat arbitrary: where does the boundary between myth and history break down? The ancient Romans themselves viewed the foundational legend of the Rape of the Sabine Women as something close to sacred history, while the historical Battle of Thermopylae (in 480 B.C.), where three hun- dred elite Spartan warriors gave their lives to hold off the invading Persian force, was quickly mythologized in its own time by the ancient Greeks who saw it as a conflict between Civilization and Barbarism. Historical figures like Spartacus, the gladiator who led a slave rebellion against Rome (in 73– 71 B.C.), and Boudicca, the warrior queen of the Britons who fiercely opposed Roman military occupation (in A.D. 61), have been romanticized by freedom-fighters as iconic sym- bols of resistance against oppression down through the centuries and in various cultural contexts up to the present day. Yet, as the essays in

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 3 1/10/13 10:19 AM Copyrighted Material - 9781137299598

4 Monica S. Cyrino

this volume show, the sometimes murky space between mythology and history can be creatively negotiated by the themes of love and sexuality when the ancient world is recreated onscreen. Within the volume, and crossing over between the two sections, the individual essays offer a great deal of diversity in subject matter— chronology, genre of production, onscreen medium— just as they utilize a variety of critical methodologies for analysis. There is a bal- ance between films dealing with ancient Greece and those involving ancient Rome, with both cultures of antiquity represented in each section— myth and history—of the volume. In their essays, the contributors examine a broad array of films and television programs, starting from the silent film era and going all the way up to the most recent cable television series, with discussions of numerous films from several decades in between, while the type of productions they cover include both art-house and independent films, as well as epics and blockbusters. Many of the contributors are well-known scholars in the area of classical receptions on film and television, but the volume also showcases a number of exciting new voices who add fresh perspectives to the conversation. The volume should be of great appeal and profes- sional benefit to a wide range of scholars, teachers, students, and fans of film and television, and it will be of particular interest to researchers in the fields of classics, film studies, popular culture and media, and the history of human sexuality. Part 1 considers several films that draw their inspiration from ancient mythological or literary characters, plots, and motifs to explore the themes of love and sex onscreen. The first two chapters deal with two early films (1929 and 1955) that allude to the figure of Pandora, the first female who appears in Greek “myth- time,” and her relation- ship to the males around her. In Chapter 1, “G. W. Pabst’s Hesiodic Myth of Sex in Die Büchse der Pandora (1929),” Lorenzo F. Garcia Jr. establishes the fact that Greek myths about erotic passion and sexuality infiltrated the modern cinema from its beginnings in the silent film industry. Garcia examines the way Pabst uses the iconic image of Hesiod’s Pandora to associate female sexuality with economic production and fertility; he argues that the character of the femme fatale Lulu is ultimately exposed, just like Pandora’s emptied box of evils, as a barren and unproductive commodity. In Chapter 2, “Kiss Me Deadly (1955): Pandora and Prometheus in Robert Aldrich’s Cinematic Sub- version of Spillane,” Paula James joins Pandora with Prometheus, the culture hero in the Hesiodic creation myth who brought fire to humans and punishment on himself, to analyze the classic film noir based on the mystery novel. James raises important questions about

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 4 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Screening Love and Sex in the Ancient World 5

gender roles and biases evident in the mid- century cinema, as she explores how Aldrich updates the ancient myth of female duplicity and male fallibility to reflect contemporary anxieties about nuclear technologies in the 1950s. The next two chapters investigate the nature of conjugal love and fidelity as well as the themes of separation, return, and reunion, as portrayed in Homer’s epic poem, the Odyssey, and how these particular motifs manifest themselves in two recent films. In Chapter 3, “Perversions of the Phaeacians: The Gothic Odyssey of Angels & Insects (1996),” Meredith Safran elucidates how director Philip Haas distilled Homeric material from the novella on which the film is based (A. S. Byatt’s “Morpho Eugenia,” 1992) and made these images and ideas explicit onscreen in his gothic sexual morality tale. Safran’s analysis juxtaposes the characters of Homer’s Odysseus and the film’s William Adamson and considers the film’s alternative plot scenario where the protagonist is enticed to choose a profitable and pleasurable marriage abroad rather than the delayed gratification of homecoming. In Chapter 4, “Woman Trouble: True Love and Homecoming in Pedro Almodóvar’s Volver (2006),” Corinne Pache argues that the film, while perhaps not directly influenced by the Odyssey, is subtly and ingeniously engaged with the epic’s foremost themes of memory, identity, and return. Pache introduces another early Greek poem, the Homeric Hymn to Demeter, to illuminate how Almodóvar’s film offers a radical feminization of the male heroism implicit in the Odyssey’s journey and homecoming themes— one that privileges female familial bonds over those of romantic or conjugal love. The last three chapters of the first section look at films inspired by classical Greek and Latin literary topics and motifs centered on love, gender, and sexuality. In Chapter 5, “Sappho and Pocahontas in Ter- rence Malick’s The New World (2005),” Seán Easton sifts through the literary allusions underlying the film’s presentation of the legendary love affair between Pocahontas and John Smith during the found- ing of the Jamestown colony. While critics have noted that the film is rooted in the male-centered, classical epic tradition, Easton demonstrates how Malick integrates the verses of the archaic Greek love poet, Sappho, to develop a model of female erotic consciousness that serves to foreground Pocahontas as the protagonist of the film. In Chapter 6, “Soul Fuck: Possession and the Female Body in Antiq- uity and in Cinema,” Kirsten Day surveys several contemporary films, from The Exorcist (1973) to Paranormal Activity (2009), that portray female characters in the throes of supernatural or demonic possession and links them to ancient Roman literary accounts of the prophetic

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 5 1/10/13 10:19 AM Copyrighted Material - 9781137299598

6 Monica S. Cyrino

possession of female mediums. Describing these scenes as “spiritual rape,” Day explains how the comparison with ancient depictions of female possession exposes the sexualized representation of women’s bodies on film as vessels to be controlled and manipulated for male pur- poses. Last, in Chapter 7, “Ancient Allusions and Modern Anxieties in Seven Brides for Seven Brothers (1954),” Christopher M. McDonough investigates the way Stanley Donen’s colorful film not only follows the gender and genre conventions of the 1950s Hollywood musical but also reflects those same conventions in classical literary accounts of the Rape of the Sabine Women. As a cinematic commentary on gender relations in mid-century America, McDonough shows how the film cannily evokes male anxiety and female ambivalence about marriage using the ancient tale of the early Romans’ abduction of their wives. Part 2 of this volume presents discussions of films and television series set, or imagined to take place, in the “real time” of ancient history; these chapters consider how the themes and images of love and sexuality manifest themselves against the background of the genuine (or what is presumed to be) historical record of antiquity. The first two chapters in the second section focus on films set in the ancient Greek world. In Chapter 8, “Gorgo at the Limits of Liberation in Zack Snyder’s 300 (2007),” Vincent Tomasso evaluates the strong, independent figure of the Spartan queen, Gorgo, as portrayed in the recent blockbuster film, to outline the challenges of trying to depict the sexuality and personal autonomy of historical female characters in screening the ancient world. Tomasso intertwines ancient material with modern reception theory to pose the vital question of how popular representations of the ancient world should deal with the historical realities of gender relations in antiquity and yet reconcile them with the more progressive views held by contemporary society. In Chapter 9, “Oliver Stone’s Unmanning of Alexander the Great in Alexander (2004),” Jerry B. Pierce describes how the ancient epic cinema sets up the male lead as a powerful standard of masculinity by emphasizing tropes such as his moral fortitude and his familial and sexual bonds, while depicting male antagonists as weak and feminized. Against this conventional representation, however, Pierce argues that Stone’s film presents an emotionally and sexually enfeebled Alexan- der, whose character is drawn more like that of a villain or a tyrant, thereby undermining the heroism of the historical figure the director claimed he sought to portray. The next three chapters deal explicitly with themes and images of love and sexuality in representations of the ancient Roman world in film and, especially, on television. In Chapter 10, “The Order of

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 6 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Screening Love and Sex in the Ancient World 7

Orgies: Sex and the Cinematic Roman,” Stacie Raucci presents a detailed overview of several orgy scenes in films and television series set in ancient Rome and elucidates how such onscreen depictions of sex in ancient Roman settings allow modern viewers to examine their own sexualities. Raucci sets up a distinction between “orderly” and “chaotic” orgies, which reveals the tension between the narrative purpose of the orgy scene—to indicate the more moral character with whom the audience should identify— and the audience’s ability to enjoy without restraint the spectacle of onscreen erotic decadence. In Chapter 11, “Partnership and Love in Spartacus: Blood and Sand (2010),” Antony Augoustakis makes the case for the major thematic significance of love as portrayed in its many permutations during the first season of the recent original television series on Starz. Joining the concepts of love and heroism as the driving force of the narrative, Augoustakis offers a close reading of how the relationships portrayed on Spartacus influence the characters’ individual development, and he demonstrates the way the series unites the themes of sex and love, rather than setting them in opposition. In Chapter 12, “Objects of Desire: Female Gazes and Male Bodies in Spartacus: Blood and Sand (2010),” Anise K. Strong employs feminist and queer theory to show how the Spartacus series develops a female- positive representation of sexual relations that inverts conventional cinematic and televisual depictions of erotic relationships and the objectification of women. In assessing the female characters’ sexual dominance and agency, as well as the mechanisms at work in the “female gaze,” Strong explains how Spartacus explores the nature of social hierarchies and the corruption of slave- owning societies. The following two chapters look at onscreen appearances of two of the most familiar celebrities from the annals of ancient history, Cleopatra and Mark Antony, who were also (notoriously) lovers. In Chapter 13, “Glenn Close Channels Theda Bara in Maxie (1985): A Chapter in the Social History of the Snake Bra,” Gregory N. Daugherty takes a film not usually on the radar screen in studies of Cleopatra receptions and locates it on a multimedia trajectory of numerous popular Cleopatras. In a close examination of one noteworthy scene in the film, Daugherty shows how certain costuming details, and in particular the metallic snake bra, visually invoke the sexy image of the Egyptian queen to suggest her silent film heyday as a Vamp rather than her classical past. In Chapter 14, “Virility and Licentiousness in Rome’s Mark Antony (2005–7),” Rachael Kelly situates the onscreen figure of Mark Antony within a long history of patriarchal anxiety about the depiction of hegemonic maleness. Using masculinity studies and feminist film theory, Kelly interprets the

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 7 1/10/13 10:19 AM Copyrighted Material - 9781137299598

8 Monica S. Cyrino

character’s sexual availability on the HBO- BBC series Rome as the narrative and visual embodiment of his “deficient masculinity,” as she unpacks the ambiguities inherent in the terms “licentiousness” and “virility” and suggests that the concept of fatherhood serves as a signifier of successful masculine performance in the series. The last two chapters of this section explore the narratives of two extraordinary historical women from the ancient world—Boudicca, the Briton queen, and Hypatia, the Alexandrian teacher and astronomer— and how the cinematic receptions of their stories engage with themes of love, gender, and sexuality. In Chapter 15, “Love, Rebellion, and Cleavage: Boadicea’s Hammered Breastplate in The Viking Queen (1967),” Alison Futrell surveys the history of the Boudiccan Revolt against Rome and the various receptions of the figure before turning to an analysis of the story as portrayed in the lurid screen production from Hammer Studios. Locating the film in the tradition of “barbarian queen” portrayals and revisionist Hammer tales of female leadership, Futrell describes how the film deploys the normative female-gendered tropes of star-crossed romance, familial loyalty, and feminine sacrifice to complicate—and ultimately doom—the rebel queen’s author- ity. Finally, in Chapter 16, “Subverting Sex and Love in Alejandro Amenábar’s Agora (2009),” Joanna Paul considers the bold innova- tion of Agora among ancient epic films for its setting in late antiquity, its nuanced depiction of religion and intellectual culture, and most significant, its presentation of the scholar Hypatia as a woman who is not primarily defined by her male romantic or familial relationships. Paul argues that the film’s originality lies in its use of the central female character to subvert epic cinematic conventions concerning love and sex, while it positions her brutal murder by zealots (in A.D. 415) as a symbol of the demise of the classical world. When it comes to screening the universal themes of romance and sexuality, those films and television series based on the history, literature, and mythology of the ancient world have always succeeded in arousing audience expectations, anxieties, and desires. The essays in this volume offer a distinctive focus on the issues of love and sex that have always been— and will continue to be— so prominent in screen- ings of the ancient Greek and Roman worlds, as they contribute to the fruitful ongoing dialogue between scholars, critics, and fans of the films and television series that recreate antiquity onscreen.

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 8 1/10/13 10:19 AM Copyrighted Material - 9781137299598

4Part 1 Screening Love and Sex in Ancient Myth and Literature

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 9 1/10/13 10:19 AM Copyrighted Material - 9781137299598

Copyrighted Material - 9781137299598 Copyrighted Material - 9781137299598

Index

Aaron, Paul, 185– 86 Alexandria, 8, 150, 195, 206, 228– 29, Ab Urbe Condita (Livy), 238 232– 33, 235, 237–39 “Ac- Cent- Tchu- Ate the Positive” (song), All About My Mother (1999), 57– 58 100 Almagro, 58, 60 Achilles, 40, 52n19, 128– 29, 131–32, Almodóvar, Pedro, 5, 55– 61, 63, 66 134, 139, 140n8, 140n11, 161 Altman, Robert, 107– 8 Adam, 17 Amandry, Pierre, 88– 89 Addey, Wesley, 31 Amata (character; Aeneid), 89 Aeneid (Vergil), 78– 80, 86, 89 Amazon, 39, 42, 47, 51– 52, 122, 191 Aeschylus, 26, 30, 38n31, 89, 119 Amenábar, Alejandro, 8, 228 Agamemnon, 49, 62, 89, 97n19, Anchises (character; Aeneid), 79 131– 32 Andress, Ursula, 215 Agamemnon (Aeschylus), 89, 97n19 Angels & Insects (1996), 5, 39– 52 Agave (character; Bacchae), 89, 97n20 and courtship, 41– 43 Agora (2009), 8, 227– 40, 240nn5– 6 and cuckoldry, 49– 50 and the end of the classical world, and fidelity and license, 51– 52 234– 38 and marriage as misalliance, 43– 45 and gender, 230– 31 and nature vs. culture, 45– 48 and religion, 231– 33 Angels & Insects characters Agora characters Bredely Hall, 39– 45, 48– 51, 52n3 Cyril, 229, 231– 33, 235–37, 240n12 Edgar, 43– 44, 46– 50 Davus, 229– 30, 233, 239 Eugenia Alabaster Adamson, 39– 40, Hypatia (see Hypatia) 43– 46, 49– 51 Orestes, 229– 30, 232– 33, 237 Lady Alabaster, 39– 40, 42– 43 parabalani, 229, 232– 33 Matilda Crompton, 51 Synesius, 229, 231– 32, 237 William Adamson, 5, 39– 51, 52n3 Theon, 229– 30 Animal House (1978), 153– 54 Theophilus, 229 Anne Catherick (character; The Woman Alberich (character; Rheingold), 71 in White), 29 Alcaeus, 70 Anthony, Albert, 37n19 Alcanfor de las Infantas, 56– 57, 60–61, anthropopoieisis, 36n8 67 Aphorisms (Hippocrates), 18 Alcinous (character; Odyssey), 39, 42 Aphrodite, 26, 34, 44– 45, 49– 50, Aldrich, Robert, 4– 5, 25, 28– 31, 33– 35, 53n28, 78, 175 36n1, 38n28, 38n31 Apollo, 86– 89, 93, 97n19 Alexander (2004), 6, 123, 127– 40, 235 Appius Claudius Pulcher, 87 Alexander the Great, 6, 127– 40 Ares, 49– 50, 53n28

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 267 1/10/13 10:20 AM Copyrighted Material - 9781137299598

268 Index

Arete (character; Odyssey), 39, 41– 43, Bowra, C. M., 77 46, 50 B. P. Johnson Co., 190 Aristotle, 133– 34 Brandt, Lesley- Ann, 158 Ars Amatoria (“The Art of Love”; Ovid), brassiere, 189– 92 106– 7 See also snake bra “Arthur Freed Unit” (MGM), 105 breastplates, 189, 191– 92, 214, 217– 23 Assemblywomen (Aristophanes), 120 Briseis, 129 Athena, 17, 26, 41, 44, 51, 53n32 British Board of Film Censorship Athens, 26, 50, 95, 113, 118, 120, 130 (BBFC), 215, 220 Augoustakis, Antony, 7 British Empire, 211– 23, 224n16, Augustus (2002), 199, 201 225n26 Avatar (2009), 2 Broken Embraces (2009), 58 Avedon, Richard, 190 Brooks, Louise, 11– 12, 14, 19–22 Aymé, Jean, 145 Buffy the Vampire Slayer, 177, 181 Butler, Gerard, 117– 19 Bacchae (Euripides), 89, 97n20 Byatt, A. S., 5, 39– 40, 52, 52nn3– 4, Bacchanalia, 153 53n30 Bacchus, 146 Bagoas, 134– 35, 137 Cabrera, Santiago, 149 Bakhtin, Mikhail, 172 Calame, Claude C., 36n8 Bara, Theda, 7, 183– 85, 187–92 Calchas, 86, 89 “barbarian queen,” 8, 211– 14 Calgacus, 165, 213, 223n4 barbarism, 3, 8, 42, 63, 117, 128– 29, Caligula, 147– 49, 154n8, 170 211– 14, 222, 227 Caligula (1979), 148 Barrie, Amanda, 188– 90 Caligula (2007 “Imperial Edition”), 148 BBC, 8, 147, 149, 151, 157, 192, 196, Caligula “remake” trailer, 148– 49 201, 206 Calypso, 40, 42, 44, 52n18 BBFC. See British Board of Film Camelot (2011), 177 Censorship Cameron, James, 2 Bell Jar, The (Plath), 104 Campus Vamp, The (1928), 185, 189 Benét, Stephen Vincent, 109n1 Caratacus, 213– 14 Ben- Hur (1959), 99, 172, 218– 19 Carr, Marion, 34 Bettie Page: Queen of the Nile, 191 Carrie (1976), 91 Bezzerides, A. I., 25, 28, 33, 36n1, Carroll, Brett, 200 37n17, 38n30 Carry on Cleo (1964), 188 Bianca, Viva, 170 Carson, Anne, 89 Bianco, Robert, 155n20 Cartledge, Paul, 124 Big Chill, The (1983), 183 Casanova, 106 Blanshard, Alastair, 153 Cassandra (character; Agamemnon), 89, Blatty, William Peter, 90, 97n24, 98n33 97n19 Blondell, Ruby, 124n1 castration anxiety, 93 Blunt, Emily, 149 Catholic Church, 185, 228, 231, 240n6 Boa, Elizabeth, 20 Catullus, 74, 161 Boadicea, 213– 16, 234 Centurion (2010), 227 Bodysnatchers, The (1955), 184 Cerberus, 28 Bonduca (1609; Fletcher), 214 Chafe, William, 104 Boudicca, 3, 8, 211– 13, 217, 220, Chicago, Judy, 234 225n26 Christianity, 27, 94, 99, 146–47, 227– Boudiccan Revolt (A.D. 61), 8, 211 29, 231– 39, 240n6

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 268 1/10/13 10:20 AM Copyrighted Material - 9781137299598

Index 269

Chronicles of England (1577), 213– 14 126n46, 141n20, 154n7, 154n10, Cicero, 196– 98, 209 158, 165n1, 169 Circe, 40 “civilization,” 3, 42, 63, 145– 46, 212– Darius, 132 13, 237 Darville, Eka, 161 Clash of the Titans (1981), 185 Darwinism, 40, 46, 49– 50, 53n30 Clash of the Titans (2010), 228, 240n2 Daryaee, Touraj, 125n27 Cleopatra, 2, 7, 150, 183– 92, 193n1, Daugherty, Gregory N., 7 193n9, 193n11, 193n20, 195, 197, Davis, John, 79– 80 200– 203, 205– 6, 208, 209n20, Day, Doris, 107 223, 228 Day, Kirsten, 5– 6 Cleopatra (1534 sketch; Michelangelo), Death of Cleopatra (1660), 189 189– 90, 192 Decline and Fall of the Roman Empire Cleopatra (1911), 189 (Gibbon), 236 Cleopatra (1912), 189 Dekker, Albert, 27– 28 Cleopatra (1917), 183– 85, 187, 189 DeKnight, Steven S., 168, 171, 177, 180 Cleopatra (1934; DeMille), 2, 187, 201 Delphi, 86– 87, 89 Cleopatra (1963; Mankiewicz), 2, 184– del Toro, Benicio, 149– 50 85, 187– 88, 190, 201–2, 223 Demaratus, 115– 16, 118, 121 Cleopatra (1999), 199, 201 Demeter, 63– 64 Cleopatra Jones- Wong- Schwartz trend, DeMille, Cecil B., 2, 145– 46, 201 184 Demodocus, 49, 66 Cleopatre: La derniere reine d’Egypt Dennis, Nick, 37n16 (2010), 192 De Paul, Gene, 100 Close, Glenn, 7, 183– 93 Diary of a Lost Girl, 22 Clover, Carol, 93, 96n3, 97n24, 98n33 Dido, 37n13, 79– 80 Clum, John M., 129 Die Büchse der Pandora (1929; Pabst), 2, Clytemnestra, 49, 62, 97n19, 119 4, 11– 22, 23n10, 19 Cobo, Yohana, 56 and Alwa, 12– 16, 19, 22 Coen brothers, 3 and Countess Geschwitz, 12– 14, 22, Colbert, Claudette, 185, 187– 88 23n10 Cold Mountain (2003), 3 and Dr. Goll, 12 Cold Storage Room, The, 57– 58 and Dr. Hilti, 20 Cold War, 35, 36n1 and Dr. Schön, 12–15, 19– 20, 22 Collins, Wilkie, 29 and Lulu, 4, 11– 15, 19–22, 22n7, Commodus, 130–32, 135 23n10, 23n19 Complete History of England (1757), 214 and Marquis Casti- Piani, 13– 14, 22 Condon, Kerry, 150 and Schigolch, 13– 14 Cooper, Maxine, 27 and Schwartz, 12, 19 corsets, 189 Diessl, Gustav, 13 Courtney, Jai, 152 Dinner Party, The (installation; “crisis of American masculinity,” 102 Chicago), 234 Cruz, Penélope, 56– 57, 65 Dionysus, 154 cuckoldry, 49– 50 Dixon, Wheeler Winston, 128 Cummings, Erin, 170– 71 Doane, Mary Ann, 20 Curse of Frankenstein, The (1957), Dodds, E. R., 38n31, 97n20 214– 15 Donaldson, Mike, 200 Cyrino, Monica, 22n1, 52n1, 81n1, Donen, Stanley, 6, 105 82n16, 83n32, 96n1, 118, 124n1, Don Quixote, 60

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 269 1/10/13 10:20 AM Copyrighted Material - 9781137299598

270 Index

D’Ora, Daisy, 12 Feminine Mystique, The (Friedan), 103– Dracula (1958), 214– 15 4, 108– 9 Dr Pepper television ads, 184 feminism, 7– 8, 27, 55, 86, 95, 113, 118, Dueña, Lola, 56 121, 125n28, 168, 177, 179– 81, Durgnat, Raymond, 33–34 196, 208, 227, 234, 238– 40 feminist theory, 7, 27, 55, 86, 95, 113, Eagle, The (2011), 227 118, 121, 168, 177, 179, 180– 81, Easton, Seán, 5 196, 208, 227, 234, 238– 40 Ebert, Roger, 185 “feminization,” 5– 6, 34, 64– 66, 98n41, ecstasy, 86– 90, 94– 95, 96n2, 9, 97n12, 127, 130– 32, 134, 138– 40, 197, 98n34, 149 199, 214, 217 Edwards, Catharine, 204 feminized male, 5– 6, 98n41, 127– 40, Edwards, Cliff, 189 197, 199, 214 Egyptians, 150– 51 Femme Fatale (2002), 191 Elsaesser, Thomas, 20– 21, 22n7, 23n10 femmes fatales, 2, 4, 11, 21, 27, 37n17, Empire (2005), 149 191– 92, 227 Enlightenment, 233 fetish, 14, 19, 87– 88, 93– 94, 118– 19, epikleros, 53n29 171, 233 Epimetheus, 17– 18, 26, 30, 32– 35, Feuillade, Louis, 145 36n12 film noir, 4, 34, 38 epithalamium, 70, 73, 76– 77 Film Threat’s Top Ten Lost Silent Films, Erdgeist (“Earth Spirit”; 1895), 12 184 Eros, 82n3, 203 Finney, Jack, 184 Erotic Dreams of Cleopatra, The (1985), First Epistle of Paul to Timothy, 232 184 Fitzgerald, Robert, 79 Euripides, 89, 119 flappers, 146, 183, 185– 86, 189– 92 Euryalus, 46– 48 Fletcher, John, 214 Evans- Grubbs, Judith, 103 Fletcher, Judith, 40 Eve, 17, 19, 27, 37n19 Flinn, Carol, 34, 37n23 Exorcist, The (1973), 5, 90– 92, 186 Flower of My Secret, The (1995), 57– 58, and Father Karras, 92, 98n33 61, 67n6 and Father Merrin, 98n33 and Alicia, 57– 58 and Regan, 90– 91, 98n33 and Leo Macías, 57– 58, 67n6 Fool There Was, A (1914), 189 Fall of the Roman Empire, The (1964; Forbes, Michelle, 153 Mann), 127, 143, 154n5, 237 Foucault, Michel, 174 Faludi, Susan, 169, 176 French New Wave cinema, 38n27 Farnell, Lewis Richard, 88– 89, 97n22 frenzy, 86– 90, 96n2, 97n12, 138 Farr, Jamie, 190 Freud, Sigmund, 93, 199 Farrell, Colin, 71, 134 Friedan, Betty, 103– 4, 108 Fatal Attraction (1987), 183 frontier mores, 103, 109 father/fatherhood, 8, 13, 19, 21, 29, Funny Thing Happened on the Way to the 37n13, 39, 41, 45– 50, 57–58, 62– Forum, A (1966), 143 67, 79–81, 92, 106, 115, 129– 30, Futrell, Alison, 8 133, 135– 38, 176, 184, 186, 196, 201– 7, 217, 221– 22, 229– 30, 235 Game of Thrones (2011), 169– 70, 177, Federal Meese Commission (1986), 168 179 “female gaze,” 7, 167– 81 Garcia, Lorenzo F., Jr., 4 “feminine mystique,” 103– 4 Gaugamela, battle of, 132

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 270 1/10/13 10:20 AM Copyrighted Material - 9781137299598

Index 271

Gaultier, Jean Paul, 191 Here Comes Mr. Jordan (1941), 185 Genesis, 17 Hermes, 17, 26, 48 Gibbon, Edward, 233, 236 Herodotus, 88– 89, 114– 16, 118, 121, Gielgud, John, 170 124n12, 125n15, 125n21 Gill, Rosalind, 208 Hesiod, 4, 11– 22 Gladiator (2000), 127– 30, 139, 140n2, heterosexuality, 127, 129– 30, 132–36, 143, 157, 172 140n8 Glaucon, 60 Heyman, Francis, 214 Gloriosus, Miles, 143 Hippocrates, 18 Gods of the Arena (2011), 152, 155n20, Histories (Herodotus), 114– 16, 118, 165n7, 178– 79 124n12, 125n15 Goetz, Carl, 13 Hitchcock, Alfred, 34, 37 Gordon, Ruth, 185 Holinshed, Raphael, 213– 14 Graces, 26 Hollywood film epics, 227– 40 Group of Polygnotos, 30 Hollywood musicals (1950s), 6, 99– 109 Guccione, Bob, 170 Homecoming (1948), 3 Guggenheim Museum, 149 Homer, 2, 5, 39– 43, 47– 48, 50– 52, 52n3, 53n28, 55– 64, 66, 69–70, Haas, Belinda, 39 77, 80, 82n3, 89 Haas, Philip, 5, 39 Homeric Hymn to Demeter, 5, 63– 64 Hades, 35, 50, 64 homosexuality, 127–40, 140n8, Haggard, H. Rider, 215 140n12, 140n14, 158, 160–62, Hamlet, 37n13 165n6, 170 Hamlin, Harry, 185– 86, 188, 192 Hopkins, Claude, 190 Hammer Studios, 8, 211, 214– 17, 220, horror films, 85– 95, 215 222– 23, 244n13, 244n17, 244n20 Hours, the, 26 Hannah, John, 152 Hudson, Rock, 107 Hanson, Victor Davis, 120 Hughes, Bettany, 116–17, 119 Hark, Ina Rae, 130, 172 Hypatia, 8, 228– 39, 240n9, 241n19, Harris, Charlene, 153 241n22, 241n34 Harrison, Rex, 188 and the end of the classical world, Harrison, Tony, 26 234– 38 Hassler- Forest, Dan, 117– 18 and gender, 230– 31 Hays Code, 198 HBO, 153, 169, 176– 77, 209 and religion, 231– 33 HBO- BBC, 7– 8, 149– 51, 157, 196, Hypatia (1885 painting), 233 201, 206 Hypatia, or Old Foes with a New Face Headey, Lena, 117–20 (1853; Kingsley), 231 Hector, 128– 29, 131– 32, 135, 138– 39 Helen, 70, 80– 81, 82n8, 131 I, Claudius (1976), 147– 48 Heliogabalus (A.D. 218– 22), 145 Ibycus, 70 Heller, Bruno, 209 Iceni tribe, 212– 13, 216–17, 220– 21, Henley, Alice, 150 223n3, 224n12 Hephaestion, 128, 133– 39, 140n11 Imperium: Augustus (2003), 192 Hephaestus, 15– 17, 26, 31, 35, 38n30, incest, 39– 52 49– 50, 53n28 incest taboo, 53n30 Hera, 53n28 incontinentia (lack of self- control), 197– Hercules and the Amazon Women (1994), 99, 203 122 Io (character; Prometheus Bound), 30

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 271 1/10/13 10:20 AM Copyrighted Material - 9781137299598

272 Index

Jack the Ripper, 12–15, 23n24 Lady’s Pictorial, The, 234 Jacob, Mary Phelps, 189 Laertes, 67 James, Paula, 4– 5 La Mancha, 59 James, Richard, 155n20 La Mort de Cléopâtre (1874), 189 Jamestown colony, 5 Lampreave, Chus, 56 Jayamanne, Laleen, 37n17 Landi, Alissa, 146 “Jeepers Creepers!” (song), 100 Laodamas, 46– 47 Jordaan, L. J., 36n8 La Rosa del Azafrán (1930), 59, 67n10 Joshel, Sandra, 144, 154, 154n6, “Las Espigadoras” (“the Gleaners”), 154n10, 180 59– 60 Jovovich, Milla, 148– 49 Lasker, Albert, 190 Joy, Leatrice, 145–46 Last Exorcism, The (2010), 92 Joyner, Joyzelle, 146 and Nell, 92 Julius Caesar, 213, 235 and Reverend Cotton Marcus, 92 Last Legion, The (2007), 240n3 katabasis theme, 38n28 Lauretis, Teresa de, 94 Keel, Howard, 101– 2 Lawless, Lucy, 152– 53, 177, 181 Kelly, Rachael, 7 Leachman, Cloris, 27– 28 Kensit, Patsy, 45 Lederer, Franz, 12 Kepler, Johannes, 239 Lee, Christopher, 215 Kerr, Deborah, 147 Leech, Allen, 150 Kilcher, Q’Orianka, 72, 74 Leonidas, 89– 90, 116–21, 128– 30, 132, kinaidos, 140n13 135, 138– 39, 227 Kinder, Küche, und Kirche, 103 LeRoy, Mervyn, 3 King Arthur (2004), 240n3 Leto, Jared, 134 King Lear, 217 Lev Kenaan, Vered, 27, 33 Kingsley, Charles, 231, 233–34 Life of Antony (Plutarch), 185 “Kirk Douglas,” 173– 75 Life of Brian (1979), 232 Kiss Me Deadly (1955), 25– 36 Lilith, 19 and the modern Prometheus, 28– 33 Littau, Karin, 11 and the movie, 27– 28 Livy, 238 and the myth, 26–27 Lizpatra. See Cleopatra (1963) and readings of the film, 33– 36 Lombard, Carol, 185, 189 and seizing the fire, 33 Lonely Planet, 89 Kiss Me Deadly characters Lord, Mary- Louise, 64 Berga, 28– 31 L’Orgie romaine (The Roman Orgy; Christina, 27– 32, 34– 35, 36n11 1911), 145 Dr. Soberin, 27– 28, 31– 33 Lot, 28 Friday, 34 Love, Courtney, 148– 49 Gabrielle, 25, 27– 28, 31– 35 Love Boat, The (1977– 86), 184 Lily, 25, 27– 28, 31– 35 Lucan, 87– 88, 95 Mike Hammer, 25, 27–35, 36n12 Lucretia, 152, 158, 162– 63, 165n7, Pat Murphy, 31 173– 80 Velda, 27– 28, 32, 35, 36n1 Lydia, 145– 46 Kortner, Fritz, 12 Lysistrata (Aristophanes), 120 Kristeva, Julia, 37n24 Kubrick, Stanley, 157, 172– 74 Macmillan, Maree, 11 Kungu Poti, 20 Madonna, 189, 191 Kwok, Miranda, 174 Maenad, 153

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 272 1/10/13 10:20 AM Copyrighted Material - 9781137299598

Index 273

Malamud, Margaret, 144, 154, 154n6, McDowell, Malcolm, 148 154n10, 154n14 McRobbie, Angela, 208 male anxiety, 93– 95, 109 Medea, 119, 159 male gaze, 71, 87– 95, 96n8, 169, 170– Medusa, 32 71, 191, 207– 9 Meeker, Ralph, 27 Malick, Terrence, 5, 69– 81 Menelaus, 131 Mankiewicz, Joseph L., 2, 184, 201 Mensah, Peter, 152 Mann, Anthony, 127, 143, 154n5 Mercer, Johnny, 100– 103, 107, 109n2 Manslaughter (1922), 145 Metamorphoses (Ovid), 35 Marc Antony, 7, 150–51, 169, 185– 88, methodology, 3– 5 195– 209, 209n13 Michaels, Lloyd, 81 characteristics of, 197 Midler, Bette, 189 and fatherhood, 196, 201– 7 militat omnis amans (“every lover is a and licentiousness, 196, 198– 201 soldier”), 108 and Roman political invective, Miller, Frank, 109n4, 114– 17, 121– 22, 196– 98 126n42 in Rome, 195– 209 Minghella, Anthony, 3 and virility, 196, 198– 200 Mirren, Helen, 148– 49, 170 March, Fredric, 146 misogyny, 11, 27, 113– 14, 118– 19, Marcus Antonius (historical figure), 121– 23, 181, 229, 232–37 195– 98, 201 Mitchell, Charles William, 233 Mariette in Ecstasy (1996), 94 mollitia (feminized behavior), 34, 197 Marion’s Wall (Finney), 184– 89 monogamy, 103, 153 and Marion, 184–88 Monroe, Marilyn, 190 and Nick, 184 Monstertragedy (Eine Monstretragödie), Mark Antony. See Marc Antony 12, 19 Marshal, Lyndsey, 150 Monty Python, 232 Marshall, George, 21 morality, 2, 5– 7, 21, 39, 43– 46, 48, 50, Martin, John, 36n3 52, 53n25, 72, 94, 127, 144– 48, masculinity, 6– 8, 12, 14, 20, 44, 47, 151, 154, 159– 60, 172– 73, 180– 102, 107– 8, 113, 116– 17, 120, 81, 211– 13, 216, 229 126n42, 127– 40, 171, 176, 195– “Morpho Eugenia” (Byatt), 39– 40, 205, 207– 9, 209n20, 217 52n3 M*A*S*H (1970 film), 108 Mortal Kombat (video game), 167 M*A*S*H (1972– 86 series), 184, 190 mother/motherhood, 18, 20, 24n49, Maura, Carmen, 57 41, 50, 55– 61, 63– 67, 70– 71, Maurizio, Lisa, 93, 96n9, 97nn11– 12 73– 79, 90– 92, 104, 106, 117– 18, Maxie (1985), 7, 183– 93 125n28, 127, 132, 135– 38, 214, and Antony, 186–87 217, 225n27, 231, 236 and Cleopatra, 183– 87 Movie That Changed My Life, The, 103 and Jan, 183– 88, 191 Mulvey, Laura, 11, 37n18, 37n24, 91, and Maxie, 185– 89, 191– 92 93– 94, 96n9, 98n42, 126n42, 170, and Nick, 183, 185– 86 207 screenwriter of, 185 Mummy, The (Rice), 184 and snake bra, 7, 183, 186–92, 193n1 Murray, Jaime, 152 and uraeus, 186– 87 Muse, 70– 71, 77– 78 Maximus, 128– 32, 135, 138–39 My Fair Lady (1964), 108 McCarthyism, 36n1 McDonough, Christopher M., 6 narcissism, 30, 34

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 273 1/10/13 10:20 AM Copyrighted Material - 9781137299598

274 Index

National Union of Women’s Suffrage and audience identification, 153– 54 Societies, 214 Roman, 145– 53 Native American culture, 118 Osiris, 218, 220, 224n24 Natural, The (1984), 183 Ovid, 34– 35, 87, 105– 8 Nausicaa (character; Odyssey), 37n13, 39– 43, 46, 50– 51, 52n11, 62 Pabst, G. W., 2, 4, 11– 22, 22n7, 23n8, Neilson, Julia, 234 23n10, 23n19, 24 Nero, 146– 47, 212, 219 Pache, Corinne, 5 Newes, Tilly, 12 Padel, Ruth, 87, 96n10 New Line Cinema, 78 Palmolive ads, 189 New World, The (2005), 69– 81, Pandora, 2, 4, 11– 22, 23n27, 28, 30, 82nn3– 4 24n34, 25– 36, 36n4, 36n8, 37n14, and desire and loss, 76– 77 37nn18– 19, 37n24 and desire and marriage, 70– 76 and Hesiod, 11 and the goddess, 77– 78 jar of, 17– 18 and the “hero of her own story,” Panofsky, Dora, 24n34, 36n8 78– 81 Panofsky, Erwin, 24n34, 36n8 Nine to Five (1980), 185 Paranormal Activity (2009), 5, 85, 92 Nisbet, Gideon, 153 and Diane, 85, 92 nostos, 55– 56, 62– 67, 67n3 and Katie, 85, 92 Notorious (1947; Hitchcock), 37n24 and Micah, 85, 92 Paranormal Activity 2 (2010), 91– 92 objectification, 7, 13, 22, 31, 44, 64, 70, Paranormal Activity 3 (2011), 91– 92 87, 93– 95, 96n9, 167– 81, 199, Paris, 131 208 Parke, H. W., 97n12 O Brother, Where Art Thou? (2000), 3 Patinkin, Mandy, 183, 185 Octavia, 150 patriarchy, 7, 11– 12, 18, 41, 44– 45, 49, Octavian, 150– 52, 204–5, 218– 22, 51, 53n32, 64, 72, 79, 95, 96n9, 224n24 116, 127– 28, 168– 69, 177, 196, Octavius, 149 201, 203, 207, 229, 234 Odysseus, 5, 37n13, 39– 52, 56, 61– 63, Patroclus, 129, 134, 140n8, 141n11, 161 66– 67, 78 Patton (1970), 108 Odyssey (Homer), 2– 3, 37n13, 39– 40, Paul, Joanna, 8, 164 41– 42, 48– 49, 51– 52, 52n3, 52n18, Pax Romana, 99 55– 56, 59– 64, 66, 78, 86, 89 Peitho (Persuasion), 26 Oedipal complex, 136– 37, 141n16, 205 Penelope (character; Odyssey), 42, 44, Oliver, Kelly, 199, 201– 4, 207 48– 49, 56, 61– 62, 66 Olympias, 132, 136, 138, 140n15 Penthouse magazine, 148 Olympus, 26 Penthouse Pets, 148, 170 Omen, The (1976), 93 Penwill, John, 38n32 Omen, The (2006), 93 Persephone, 50, 64 One Hour to Madness and Joy Phaeacians, 5, 39– 47, 49, 52n4, 62, 66 (Whitman), 76 Phaedrus (Plato), 86 One Million Years B.C. (1967), 211, Pharsalia (Lucan), 87– 88 215– 16, 224n20 Philip, 136, 138, 140n15 On Generation (Hippocrates), 18 Philippics (Cicero), 196– 98, 209 orgasm, 34, 85– 95 2.3, 197– 98, 209 orgies, 1, 6– 7, 113, 143– 54, 154n5, 9, 5.9, 198 155nn19– 20, 178, 181, 198 Pierce, Jerry B., 6

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 274 1/10/13 10:20 AM Copyrighted Material - 9781137299598

Index 275

Pillow Talk (1959), 107 Raiders of the Lost Ark (1981), 38 Plath, Sylvia, 104 Raimi, Sam, 177 Plato, 86, 203 rape, 3, 6, 48, 57– 58, 62– 64, 86– 95, Plutarch, 99– 103, 105, 108, 114, 116– 97n23, 99– 107, 119, 136, 140n15, 18, 122, 125nn16– 17, 185, 187 148, 159, 168– 70, 178– 81, 212, plutonium, 38n32 222, 230, 238 Pocahontas, 5, 69– 81, 81n2, 82n14, “divine,” 97n23 82n27 and raptus, 103 Polanski, Roman, 97n23 Rape of the Sabine Women, 3, 6, 99– Poltergeist (1982), 91– 92 106, 238 and Carol Anne, 91– 92 rapture, 94 and Diane, 91– 92 Raucci, Stacie, 6– 7 Pomeroy, Sarah, 116, 118, 125n21 Resnick, Patricia, 185 pornography, 94– 95, 144, 153, 155n20, Return of the Jedi (1983), 189– 91 167– 71, 176, 180– 81, 184 Rheingold (Wagner), 71 Portillo, Blanca, 56 Rice, Anne, 184, 191 Poseidon, 47, 49, 51 Richlin, Amy, 107 possession, 85– 96, 96n2 Robson, Eddie, 38n27 in the ancient world, 86– 89 Rodgers, Gaby, 27– 28 defined, 96n2 Rolfe, John, 70, 78– 80 in film, 89– 94 Rolfe, Rebecca, 80, 82n2 post- 9/11 world, 95 Rolling Stone magazine (Italian), 149 Powell, Jane, 103 Roman Holiday (1953), 99 Powhatan, 69, 73– 74, 81 Roman orgy. See orgies Prasutagus, 212 Rome (HBO- BBC series), 7–8, 122, Prehistoric Women (1967), 211, 215– 16 149– 51, 155n19, 157, 176– 77, presidential election, US (2008), 95 192, 195– 209 Princess Leia, 189– 91 and Egyptians, 150– 51 Private Gladiator (2001), 144– 45 and fatherhood, 201– 7 Prometheus, 4, 15– 17, 25– 28, 30– 32, and the male gaze, 207– 9 34– 35, 36n4, 36n11, 37n19, and Roman political invective, 196– 98 38nn30– 31 and virility, 198– 200 Prometheus (1998), 26 Rome characters Prometheus Bound (Aeschylus), 26, Agrippa, 150– 51, 201– 2 30– 31 Atia, 169 Prose, Francine, 103, 107 Caesar, 198, 202– 3, 208 Protestantism, 231– 32 Caesarion, 202, 204– 5 Psycho (1960), 34, 93 Cleopatra, 150– 51, 201– 3 Psycho (1998), 93 Livia, 150 Ptolemy, 128, 133, 235 Lucius Vorenus, 151, 204– 5, 208 Purcell, Henry, 37n13 Maecenas, 151 Purefoy, James, 150 Marc Antony, 150–51, 169, 195– 209 Pygmalion (mythology), 34 Niobe, 204 Pythia, 86– 89, 97n12, 97n16 Octavia, 150, 155n20, 201– 2, 205– 6 Octavian, 150– 52, 204– 5, 218 Queen of the Damned (2002), 191 Pullo, 204, 208 Quo Vadis (1951), 99, 147 Servilia, 169 and Lygia, 147 Romulus, 100– 101, 106 and Marcus, 147 Rosemary’s Baby (1968), 97n23

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 275 1/10/13 10:20 AM Copyrighted Material - 9781137299598

276 Index

Rossetti, Christina, 31, 37n13 167– 69, 171– 80, 190– 91, 205, Roxane, 135– 37 208, 215, 218– 23, 227, 229– 30 Royalle, Candida, 169– 71, 176 Smith, Bruce R., 200 Royster, Francesca, 184 Smith, Chloe, 177 Rubin, Gayle, 168– 69 Smith, John, 5, 69– 81, 82n27 Rylance, Mark, 45, 48 snake bra, 7, 183, 186– 92, 193n1 Snow White and the Seven Dwarves Sabine Women, 3, 6, 99– 106, 238 (1937), 103 sadism, 95, 207 Snyder, Zack, 2, 6, 90, 113– 24, 124n8 sadomasochistic, 204, 233 See also 300 Safran, Meredith, 5 “sobbing women,” 99– 102 Samantha Jones (character; Sex and the Soranus, 18 City), 169 “soul fuck,” 85– 96 Sappho, 5, 69– 81, 82nn3–4, 234 Sound of Music, The (1959), 108 Sarris, Andrew, 143 Sparta, 113 Sartre, Maurice, 229 Spartacus (1960; Kubrick), 157– 58, Sayings of Spartan Women (Plutarch), 164, 165n3, 172 114– 24, 125n16 Spartacus: Blood and Sand (2010 series), Scheib, Richard, 185 7, 152, 157– 65, 167– 81 Schlesinger, Arthur, Jr., 102 and conjugal love, 158– 65 Schwartz, Russell, 78 and domesticated loved, 161– 62 scopophilia, 85– 86, 91– 92 and dreams, 159 Scott, A. O., 121, 239 and pornography, 170– 71 Scott, Ridley, 143 and rape, 178– 80 Segal, Lynne, 129 and Roman matronae, 162 Selous, Henry Courtney, 214 and sex and violence, 167– 81 Serapeum, 236– 37, 239, 241n27 and sex scenes, 176– 78 Serpent of the Nile (1953), 201 Spartacus: Blood and Sand characters Seven Brides for Seven Brothers (1954), 6, Ashur, 162, 175, 178 99– 109 Aurelia, 160 and Adam Pontipee, 99– 104 Barca, 160– 62, 176 Sex and the City (1998– 2004), 169, 171 Batiatus, 157– 60, 162, 173– 76, “sexual productivity,” 19– 21 178– 80 Sharrock, Alison, 34, 36n11, 107 Crassus, 162 She (1965), 211, 215– 16 Crixus, 158– 59, 162– 64, 174– 76, 178 Shining, The (1980), 93 Gaia, 152, 165n7 Shrek (2001), 107 Glaber, 159, 162 Sibyl, 86– 87, 89, 96n3, 97n12 Ilithyia, 158, 162– 63, 170, 173–75, Sign of the Cross, The (1932), 146 180 and Ancaria, 146 Licinia, 162 and Marcus Superbus, 146 Lucretia, 152, 158, 162– 63, 165n7, and Mercia, 146– 47 173– 80 Silvae (Statius), 87 Mira, 158, 163– 64, 175 Simon, John, 143 Naevia, 158– 59, 163– 64, 174– 76, Singy, Patrick, 154n9 178– 79 Skinner, Marilyn, 78 Numerius, 162– 63 slaves/slavery, 3, 7, 13– 14, 88, 104, Oenomaus, 152 123, 132, 152– 53, 155n19, 157–64, Pietros, 160– 62, 176, 178

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 276 1/10/13 10:20 AM Copyrighted Material - 9781137299598

Index 277

Sura, 157– 60, 162–64, 170, 176 Three Coins in a Fountain (1954), 99 Varro, 152, 158– 63, 179 300 (2007), 2, 6, 90– 91, 113–24, Spartacus: Gods of the Arena (2011), 161 124n8, 126n42, 126n46, 127– 30, and Auctus, 161 132, 139, 140n2, 167, 170, 227 and Barca, 161 and Cleomenes, 115– 16 Spartan Reflections (2001; Cartledge), and Dilios, 115 124 and Ephors, 89– 90 Spartans, 3, 6, 89– 90, 113– 24, 129– 30, and Gorgo, 113– 24, 124n8, 125n15, 132 227 Spartan women, 113– 18, 123, 125n16 and Leonidas, 89–90, 116– 21, 128– Spielberg, Steven, 38n29 30, 132, 138– 39, 227 Spillane, Mickey, 4, 25, 28– 30, 33, 35, and Theron, 114, 119– 21 38n27 and Xerxes, 113– 14, 117 See also Kiss Me Deadly 300 (graphic novel; Miller), 114– 15 Starz network, 2, 7, 152, 161, 167, 174, 300 Spartans, The (1962), 116 177– 78, 180– 81 Thuggee cult, 215 Statius, 87 Tiberius, 98n41 Stephens, Susan, 235 Titan, 26, 35, 36n3, 185, 228, 240n2 Stevenson, Adlai, 104 Toland, John, 233 Stigmata (1999), 94 Tomasso, Vincent, 6 Stone, Oliver, 6, 123, 127– 40, 235 Topper (1937), 185 Stranglers of Bombay, The (1960), 215 Torchwood: Miracle Day (2011), 177 Strong, Anise K., 7 Trailer for a Remake of Gore Vidal’s Sucker Punch (2011), 121 Caligula, 148– 49 Sweeney Todd, 63 Trojan War, 39, 66, 131 Troy (2004), 127– 31, 139, 140n2 Tacitus, 98n41, 165n5, 212– 14, 219, True Blood, 153 223n1, 223n6, 225n26 Truman, Harry, 101 Talk to Her (2002), 58 Tudors, The, 176– 77 Tancharoen, Maurissa, 177 Tandy, David, 47– 48 uranium, 38n32 Tapert, Robert, 177 Ustinov, Peter, 172 Taylor, Elizabeth, 184, 188 Taylor, Robert, 147 Vajda, Ladislaus, 12 Teiresias, 86, 89, 51 Valentino, Rudolph, 184 Telemachus, 45, 67 vamps, 7, 185– 87, 189– 90, 192, 212, Te Maioha, Antonio, 161 215 Tenuta, Judy, 184 Venice Biennale (2005), 149 Terror of the Tongs (1961), 215 Venus, 79, 241n19 Theogony (Hesiod), 11, 15– 17, 20, 22n2, Vergil, 69, 78– 79, 82n3, 83n29, 86– 89, 23n27, 28, 26 95 Theoklymenos (character; Odyssey), 89 Vernant, Jean- Pierre, 27 Thermopylae, battle of (480 B.C.), 3, Versace, Donatella, 149–50 113– 14, 116, 118– 20, 127, 167 Vestal Virgin, 149 Thetis, 52n19 Vezzoli, Francesco, 149 Thomson, David, 34, 37n17 Victorians, 29, 36n3, 40, 42, 50, 53n30, “Those Sobbin’ Women” (song), 189, 224n16 99– 100 Vidal, Gore, 148– 49

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 277 1/10/13 10:20 AM Copyrighted Material - 9781137299598

278 Index

Viking Queen, The (1967), 8, 211– 23 Wedekind, Frank, 11– 12, 14, 18– 21, and “barbarian queen,” 211– 12 22nn3– 4 and Boudicca’s revolt, 212– 13 Weisz, Rachel, 228– 29, 231, 233, 235 and the breastplate, 217– 23 Welch, Raquel, 215– 16 and building Boadicea, 213– 16 Wenzel, Diana, 184 and Iceni tribe, 212– 13, 216–17, Werewocomoco, 73 220– 21, 223n3, 224n12 West, Dominic, 119– 20 Viking Queen, The characters Whedon, Jed, 177 Justinian, 217– 23, 224n24 Whitfield, Andy, 152 King Priam, 217, 219, 224n24, Whitman, Walt, 76 225n27 Whitney Museum (New York), 149 Maelgan, 219– 21 Williams, Linda, 94 Winkler, John J., 67n2, 140n13, Octavian, 218– 22, 224n24 154nn4– 5, 165nn2– 3 Salina, 217– 23 Witchboard (1986), 91 Virgin Mary, 93 Wolfman, The (1941 and 2010), 93 “Visual Pleasure and Narrative Cinema” Woman in White, The (Collins), 29 (Mulvey), 93 Women on the Verge of a Nervous Voltaire, 233 Breakdown (1988), 57– 58 Volver (2006; Almodóvar), 5, 55– 67 Woods, Simon, 150 and Agustina, 56– 57, 61–62 Works and Days (Hesiod), 11– 12, 15– 18, and Emilio, 61 22n2, 23n27, 26, 35 and Irene, 56– 57, 62– 66 World According to Garp, The (1982), 183 and Paco, 57, 61– 64 World War I, 189 and Paula (aunt), 56, 62– 63 World War II, 104 and Paula (daughter), 56– 57, 60, Wormell, D. E. W., 97n12 62– 65 Wyke, Maria, 98n41, 144, 154 and Raimunda, 56– 57, 59– 66 and Sole, 56– 57, 60, 63, 65 Xena: Warrior Princess (1995– 2001), von Newlinsky, Michael, 13 122, 177, 181, 191, 214, 224n12 voyeurism, 87, 91– 92, 94, 148, 153, Xerxes, 113– 14, 117, 132, 135 175 Yentl (1983), 185 Wagner, Richard, 71 Walker, Polly, 155, 169 Zeitlin, Froma, 27, 37n18 Walter (character; The Woman in White), Zeus, 15–17, 26, 28, 33, 38n31, 48, 50– 29 51, 52n19, 53n28, 64, 78 Washington Post, 167 Zweig, Bella, 118

Copyrighted Material - 9781137299598

pal-cyrino-book.indb 278 1/10/13 10:20 AM