DOCSLIB.ORG

The Witchs Curse Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Witchs Curse Pdf, Epub, Ebook THE WITCHS CURSE PDF, EPUB, EBOOK Jordan Quinn,Robert McPhillips | 114 pages | 01 Sep 2014 | SIMON & SCHUSTER | 9781481400756 | English | New York, United States The Witchs Curse PDF Book Please look at the screenshot for the solution. Robert Vaughn. Is it actually Grom making all that rain, or is it somebody else? Was it sexual repression, dietary deficiency, mass hysteria? Click on the sparkly spot in the lower left side and search for the list of items. Enlarge cover. Martha Gaunt Angelo Zanolli Pick up the mirror piece that is at the bottom of the right banister. Shoot the evil beings as they run across the screen. The mirror pieces you collect for each person will be noted at all times in the lower left corner of the scene. The purple flower in the lower left corner is holding a bone. Silly Asa, Colonel Jonathan Buck was a nice man cursed with a silly legend. This book was a good lesson to never trust old ladies. Edit page. The Witch's Curse is a major plot line in the film Into the Woods. Parents and caregivers: Set limits for violence and more with Plus. Other books in the series. You will use this piece for another puzzle in the room. Alternate Versions. Parents say No reviews yet Add your rating. Rock Ability — The rock ability lets you break items like vases and bottles. Enter the Hallway. Photos Add Image. Each time you fill in an empty space the block goes back to the starting point. Common Sense Media, a nonprofit organization, earns a small affiliate fee from Amazon or iTunes when you use our links to make a purchase. I read this with my 4 year old son and it was another fun addition to the series. Click on the glowing chest by the bed for a closer view. Was this review helpful to you? Categories : films s fantasy films Italian fantasy films Peplum films Italian films Films directed by Riccardo Freda Films set in Scotland Films about witchcraft Maciste films Italian film remakes Sound film remakes of silent films Sword and sandal films s Italian film stubs Fantasy film stubs. Click on the vase for a closer view. Perfect for first and second graders. Years later in , he moved his family to settle what would eventually become the town of Bucksport. Danika rated it it was amazing Dec 09, You can also use it to attack some of the foes in a scene since they are weak to fire attacks. Oct 03, Lisa Casmer rated it really liked it Shelves: kid-reads-age Films with Maciste Samson. Mar 30, Angie rated it really liked it Shelves: fantasy , middle-grade. The room has been rid of evil. The second bear claw is in the lower center of the fireplace. One gun should already be assembled on the right side of the gun rack. Click on the front door to get a closer view. After everything is in place, slide the arrows located at the bottom of the puzzle. Report this review. At first I was a little annoyed at the way Lucas rushed to accuse without much proof, but when I discovered that that was the point of the book, I loved it. Some inventory items may stay in your inventory for most of the game. Photo Gallery. Parents' Ultimate Guide to What could have been a laughably ridiculous episode turned out to be nothing of a kind. The Witchs Curse Writer Click on the right side of the scene and you will be taken to the Hallway. The lower right corner gives you access to West Art Gallery. Official Sites. A copy of The Witch's Curse was provided by the illustrator in exchange for an honest review. Use your rock ability to smash the bugs under the bed. The game will ask you if you want to be taken to the Mirror Room right away, choose yes if you want the game to take you there. You will soon die. I love all the books of this series. Clare Turner rated it really liked it Jan 09, Pick up the note in the lower left side. The sword is on the right side of the scene. Go the hallway by clicking on the back door. Director Freda knew what the public wanted, he made enough other movies including Maciste flicks - there even is a flashback to previous adventures -, so you get the fires, the beasts, the drama and all. Click on the fairy in the upper right corner and a small menu opens up. Enter the next scene by clicking on the fireplace on the right side of the room. Once the puzzle has been solved the area will be clear, enter the dressing room. Technical Specs. Children's books featuring bold and brave girls are both becoming easier for parents to find, and also cover a large range of Go to the West Art Gallery by clicking on the lower right side of the scene. James Gray William Frazer I love the way they created a tree house in a swampy type environment. The mirror piece is on the lower left side. In Adventures in Flatfrost , Lucas and Ruskin his dragon have to learn a hard lesson in appreciating hard work, when Ruskin melts all of the ice in the palace kitchens. The other piano string is in the back of the scene, below the top hat. Chuck Billy is a Golden Retriever, living in Southern Maine, who likes to share his unique observations on life with his little brother Asa. Once the mirror has been cleaned properly the room will be rid of evil. Eve Simpson Mary Crosby Wrenly is a peaceful kingdom ruled by the benevolent King Caleb. Once the inventory goes over six items, you can use the arrows on each end to scroll through your items. Each problem is solved neatly with a lesson that is not overtly didactic being taught in each book. The hint option will be available right away. Country: UK. A map and a passage about Greystone will appear when you click on the book. My only regret is I had to watch this as a full screen copy with poor colors, because in the original wide screen format, it must be quite a show. The Witchs Curse Reviews The room has been rid of evil. Water Ability - The water ability allows you to water plants. The third mirror piece is on the lower right side, close to the lion statue on the right side of the door. Go to West Art Gallery by clicking in the lower right corner. Your goal in this puzzle is to eliminate all the colored balls in 5 moves. Enter the Hallway. Grab the mirror piece on the right lamppost. The Italian 'Maciste' series, Added to Watchlist. Educational Value. By all accounts Buck was a pillar of the community. Go to the royal bedroom by click on the door in the back. Edit Storyline Maciste travels to Hell to find a witch and make her undo a curse she put on the surface world. Only click on the areas in which you see the ability icon appear, otherwise, you will not uncover the items needed. When it gets below the button hole, slide it all the way up until the button disappears. The Witch Michelle Archer See the full gallery. Grab the mirror piece in the upper left side. Doris John Karlsen Release Dates. Their conclusion: the girls were under a spell, bewitched — and, worse yet, by members of their own pious community. Reminded me of Shutter Island where the main character is living in a made up world only to find her reality is the complete opposite!!! The Witchs Curse Read Online You will notice a faint silhouette which shows where the pieces belong. Available on Amazon. Keith McGowan Fantasy Go into Your Bedroom. You will not be able to use regular hints while you are doing a puzzle. For other films involving Maciste, when the English language track was recorded in the US, his name would usually be changed to a more familiar name such as "Goliath" or "Samson. To know, read the book! The yellow flower in the lower right corner has a triangle dial. Warp back to the mirror room. Your goal is to move the bales of hay so the horse can enter the stables. User Ratings. Taglines: After the fires of Hades and frenzied attacks by ferocious beasts, there remained only the venom of 'The Witch's Curse'. Pick up the mirror piece on the lower left side of the floor, it is behind the white chair. When you water the plants and they bloom, you will find inventory items inside of them. If it's correct, the globe will spin open. Clare Turner rated it really liked it Jan 09, Back to School Picks. The second gun barrel is on the lower left side. Mar 17, Mara rated it it was amazing Shelves: books-owned , 5-stars , fantasy. For the purposes of this guide, we will go to the Mirror Room now. Plot Keywords. Click on the pipes and they will rotate. Clear your history. Pick up the clock face that appears inside the helmet. https://files8.webydo.com/9582975/UploadedFiles/9275A41D-7812-FE91-B01C-5A8505E6AA77.pdf https://files8.webydo.com/9582854/UploadedFiles/E2169CAF-A17B-9695-1E86-07884186FF52.pdf https://files8.webydo.com/9582924/UploadedFiles/DD49A7C1-DB0F-D897-FEF1-0791BA338201.pdf https://files8.webydo.com/9584336/UploadedFiles/DD1F6051-5702-42F0-9176-52FEB861911E.pdf.
Load more

Recommended publications
  • Copyright Edinbugh University Press
    chapter 1 Introduction: The Return of the Epic Andrew B. R. Elliott n the spring of 2000, some three decades after the well-publicised flops of ICleopatra (Mankiewicz 1963), The Fall of the Roman Empire (MannPress 1964) and The Greatest Story Ever Told (Stevens 1965), unsuspecting cinema audi- ences were once again presented with the lavish and costly historical epics which had ruled the box office a generation earlier. Ridley Scott’s Gladiator, in a seemingly sudden departure from many of Scott’s previous films, told the epic tale of a Roman general-turned-gladiator ‘who defied an emperor’ and who (albeit posthumously) founded a new Roman Republic. Though few could have predicted it at the time, the global success of his film ‘resurrected long-standing traditions of historical and cinematic spectacles’,1 and Scott would later find himself credited with re-launching a genreUniversity which had lain dormant for 35 years, heralding ‘a sudden resurrection of toga films after thirty-six years in disgrace and exile’, which prompted critics and scholars alike emphatically to declare the return of the epic.2 Indeed, looking back over the first decade of the twenty- first century, in terms of films and box-office takings the effect of this return is clear: in each year from 2000 to 2010, historical epics have made the top ten highest-grossing films, and attracted numerous awards and nominations.3 Accordingly,Copyright from Gladiator to The Immortals (Singh 2011), via Troy (Petersen 2004), Kingdom of Heaven (Scott 2005) and Alexander (Stone 2004), the decade came to be Edinbughcharacterised by a slew of historically-themed, costly, spectacular, lavish – in a word, ‘epic’ – films which, though not always as profitable as might have been hoped, performed respectably at the box office.
    [Show full text]
  • 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.
    [Show full text]
  • Vittoria Colonnese-Benni 150 DANTE and MACISTE
    Vittoria Colonnese-Benni 150 DANTE AND MACISTE: A VERY IMPROBABLE COUPLE n this visual, mediatic, turn-of-the-century world, some sort of a hidden, subtle, evanescent fil rouge seems to link, more or less loosely, more or less often, the highest levels of creativity and pop Iculture, the utmost peaks of poetry and the lowest levels of parody, each individual artistic expression and all manieristic mass productions. It's nothing really new and, for good or bad, the Gutenberg machine has probably been the first trigger of all this. In this century, however, the Eastman and Lumière machines and the Bill Gates software have generated such a network of capillaries between pop and high culture - and are obviously still expanding it at the speed of light - that it may be difficult for one side of our culture to survive without at least scrutinizing what bearing the extra curricular, non-academic activities may have on the survival and diffusion of the best sources of man's thought. Maciste all'Inferno (Maciste in Hell), a 1925 Italian movie, may just be seen as one of this infinite number of capillaries that have contributed to create a generic but pervasive connective tissue between elements of culture that may look -perhaps are - far apart one from the other but which nevertheless influence each other in a never-ending alchemic process shaping up our ways of thinking and expression, often even beyond our consciousness of it. In fact, around the name and the figure of Maciste, an almost invisible thread stiches together ancient mythology, the beginning of Italian and international movie kolossals (like Cabiria, for example), Gabriele D'Annunzio's fantasy, Federico Fellini's art of filmmaking, Gustave Dore's rendition of infernal scenes and, last but not least, the background influence of Dante Alighieri's genius.
    [Show full text]
  • Italian Film Cylce to Be Shown at MOMA
    _, FOB RELEASE: MONDAY THE MUSEUM OF MODERN ART March ,, 1955 „ WBT 33 STMET, NIW YORK •». N. Y. £^ ^^ No. lo ITALIAN FITJI CYCLE TO BE SHOWN AT MUSEUM OF MODERN ART 50 YEARS OF ITALIAN CINEMA, the first survey of the development of the film in Italy to be shown in the United States, will be presented by the Film Library of the Museum of Modern Art beginning March 21, in the Museum's Auditorium, 11 West 53 Street, The retrospect, consisting of some thirty films, more than a third of which have never before been shown in the United States, is part of the Museum's 25th Anniversary year-long celebration. It marks as well the occasion of the 50th Anni­ versary of Italian films, the first of which, THE TAKING OF ROME, was produced in 1905* Films are shown ttice daily at 3 and 5130 p.m. In the Museum Auditorium. Commenting on the retrospect, Richard Griffith, Curator of the Film Library, says: "Twice in the course of motion picture history, Italian films have achieved world-wide fame and influence. Before the first World War, such spectacles as QUO VADIS? and CABIRIA brought the growing film medium to a new level of artistry, helped to establish its prestige, and deeply affected production everywhere -- their great length and colossal scale, for example, inspired D. W. Griffith to produce his THE BIRTH OF A NATION and INTOLERANCE. After the second War, OPEN CITY, PAISAN, BICYCLE THIEF, and other electrifying documents of "neo-realism" startled the world with their vitality and challenged film-makers of all nations by raising all the issues inherent in film form.
    [Show full text]
  • Sieve Reeves, Sylvia Koscina. and Gabriele Anionini As Hfrnilfs, Lou-, ;Iiid Ulysses in Erróle Fin Rrgiva Cli Lidia Ílierfule.S Vitrliained)
    .Sieve Reeves, Sylvia Koscina. and Gabriele Anionini as HfrnilfS, loU-, ;iiid Ulysses in Erróle fin rrgiva cli Lidia ílierfule.s Vitrliained). Note the "echoing effcci," as lolf and Ulys5t.s appear as ever more diminisbed and "impcrtt-ci" versions of Hercules. Pholofesf Gentlemen Prefer Hercules: Desire I Identification I Beefcake Robert A. Rushing Anyone Here for Love? One of the most memorable sequences in Howard Hawks's Gentle- men Prefer Blondes (US, 1953) is the musical number "Ain't There Anyone Here for Love?" Dorothy Shaw (Jane Russell) is accom- panying her friend Lorelei Lee (Marilyn Monroe) lo Piiris on a cruise across the Atlantic. While Lorelei is romantically involved with a wealthy young man, Dorothy is single—and lonely for some company. So she is only too happy to find tliiit the ship is filled with a team of handsome male athletes, bodybuilders, and gym- nasts. As Dorothy asks in an earlier scene, "The Olympic team? For me? Now wasn't thai thoughtful of somebody?" Her sense of tri- umph fades, iiouever, once the voyage is underway. The atbletes are in training and barely glance at her. The song's lyrics likewise revolve around this conflict between sports and sex: for instance, one stanza runs, "I'm apatbetic / and nonathletic / Can't keep up in a marathon / T need some shoulders to lean tipon / . Ain't there anyone here for love?" Love itself, oi course, is figured as a Camera Obicura 6g, Viilume 23, Number 3 IMII 10.1^15/02705346-2008-011 © 2008 hy Camera Oh.snuri Pulilishf d bv Duke Universitv Press '59 i()o .
    [Show full text]
  • Where Can I Find Italian Silent Cinema? Ivo Blom 317 Chapter 30 Cinema on Paper: Researching Non-Filmic Materials Luca Mazzei 325
    Italian Silent Cinema: AReader Edited by Giorgio Bertellini iv ITALIAN SILENT CINEMA: A READER British Library Cataloguing in Publication Data Italian Silent Cinema: A Reader A catalogue entry for this book is available from the British Library ISBN: 9780 86196 670 7 (Paperback) Cover: Leopoldo Metlicovitz’s poster for Il fuoco [The Fire, Itala Film, 1915], directed by Piero Fosco [Giovanni Pastrone], starring Pina Menichelli and Febo Mari. Courtesy of Museo Nazionale del Cinema (Turin). Credits Paolo Cherchi Usai’s essay, “A Brief Cultural History of Italian Film Archives (1980–2005)”, is a revised and translated version of “Crepa nitrato, tutto va bene”, that appeared in La Cineteca Italiana. Una storia Milanese ed. Francesco Casetti (Milan: Il Castoro, 2005), 11–22. Ivo Blom’s “All the Same or Strategies of Difference. Early Italian Comedy in International Perspective” is a revised version of the essay that was published with the same title in Il film e i suoi multipli/Film and Its Multiples, ed. Anna Antonini (Udine: Forum, 2003), 465–480. Sergio Raffaelli’s “On the Language of Italian Silent Films”, is a translation of “Sulla lingua dei film muti in Italia”, that was published in Scrittura e immagine. La didascalie nel cinema muto ed. Francesco Pitassio and Leonardo Quaresima (Udine: Forum, 1998), 187–198. These essays appear in this anthology by kind permission of their editors and publishers. Published by John Libbey Publishing Ltd, 3 Leicester Road, New Barnet, Herts EN5 5EW, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Direct orders (UK and Europe): [email protected] Distributed in N.
    [Show full text]
  • 9781474458139 Vampires in It
    VAMPIRES IN ITALIAN CINEMA, 1956–1975 66352_Guarneri.indd352_Guarneri.indd i 225/04/205/04/20 110:030:03 AAMM 66352_Guarneri.indd352_Guarneri.indd iiii 225/04/205/04/20 110:030:03 AAMM VAMPIRES IN ITALIAN CINEMA, 1956–1975 Michael Guarneri 66352_Guarneri.indd352_Guarneri.indd iiiiii 225/04/205/04/20 110:030:03 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Michael Guarneri, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5 pt Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5811 5 (hardback) ISBN 978 1 4744 5813 9 (webready PDF) ISBN 978 1 4744 5814 6 (epub) The right of Michael Guarneri to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66352_Guarneri.indd352_Guarneri.indd iivv 225/04/205/04/20 110:030:03 AAMM CONTENTS Figures and tables vi Acknowledgements viii Introduction 1 PART I THE INDUSTRIAL CONTEXT 1. The Italian fi lm industry (1945–1985) 23 2. Italian vampire cinema (1956–1975) 41 PART II VAMPIRE SEX AND VAMPIRE GENDER 3.
    [Show full text]
  • DIVAS, STARDOM, and CELEBRITY in MODERN ITALY Professor Allison Cooper ­ [email protected] ­ 207.798.4188 ­ Dudley Coe 207
    Spring, ‘18 ITAL/CINE 3077 Class meetings: Mondays, 6:30-9:25 pm in Mass Hall 105, McKeen Study Office hours: Mondays and Wednesdays, 3-4 pm and by appointment in Dudley Coe 207 DIVAS, STARDOM, AND CELEBRITY IN MODERN ITALY Professor Allison Cooper ­ [email protected] ­ 207.798.4188 ­ Dudley Coe 207 Before there was Beyoncé there was Borelli; before Clooney there was Mastroianni; before Trump there was Berlusconi. The diva derives from Italy’s nineteenth-century opera, silent film, and Catholic culture. Today, she has evolved into a secular alternative to traditional female religious icons such as the Madonna and the Magdalene. Alongside the figure of the diva is that of her historical male counterpart, the divo, initially a sort of demigod in early Italian cinema who has now come to reflect contemporary Italy’s crisis of masculinity. Beyond their origins and evolution, the diva, divo, and modern star can ultimately be defined as performers who know how to play any role while superimposing their own image onto a character. “Divas, Stardom, and Celebrity in Modern Italy” examines in detail the question of how those images have been constructed, transmitted, and received from the late nineteenth century to the present day. A number of related questions will inform the course: How do different genres and modes of Italian film, from silent film, talkies, fascist propaganda films, and neorealism to comedy Italian style, the spaghetti western, and the horror film construct stars differently? How does stardom depend upon publicity, promotion,
    [Show full text]
  • LE MÉPRIS, ULISSE, L'odissea Christian Pischel T
    “INCLUDE ME OUT” – ODYSSEUS ON THE MARGINS OF EUROPEAN GENRE CINEMA: LE MÉPRIS, ULISSE, L’ODISSEA Christian Pischel The Diagram Homer’s Odyssey is considered one of the founding documents of Euro- pean literature. As we know, the text intertwines the motifs of the odys- sey or epic voyage, the intended homecoming, which is constantly being delayed and prevented by temptations and perils, and a structurally analogous narrative. Just as Odysseus traverses the world several times in search of Ithaca, the epic poem unites several temporal levels, narrative voices, and points of view until his return home, where the narrative does not end but culminates in the renewed and condensed mirroring of the entire process, the texture in all its to and fro and back and forth: Athena extends the night so that the reunited couple may tell each other the story of their twenty-year separation. Theresia Birkenhauer writes:1 The Odyssey is as artfully told as the narration is emphatically addressed in the epic. The hero’s labyrinthine parcours through uncanny spaces finds expression in the equally varied forms of discours, of narrative. In what follows, the epic quality of the material will serve as a backdrop against which I will explore three cinematic adaptations of the Odyssey. The films are the major Italo-American co-production Ulisse (Ulysses, 1954) directed by Mario Camerini, which is remembered today mainly because it starred Kirk Douglas, Le Mépris (Contempt, 1963) by Jean-Luc Godard, and a lesser-known eight-part television miniseries from 1968 entitled L’Odissea directed by Franco Rossi.
    [Show full text]
  • 20 Million Miles to Earth (1957) 130 2001: a Space Odyssey (1968
    Index 20 Million Miles to Earth (1957) 130 Antoninus 87-8, 97, 98, Fig. 9 2001: A Space Odyssey (1968) 37 Apollonius of Rhodes 69, 131, 132 300(2007) 39, 103,115, 120, 193,219, 220, Apuleius 158, 170 236-7 arena 34, 184-6, 221-2, 226, 229-33, Figs 7, 300 (graphic novel) 237 20 and 21 300 Spartans, The (1962) 5, 39, 101-24, Argona utica, myth of 69, 72, 75, 131 Figs 10 and 11; Cold War politics 105-7; Arms for Venus (play) 151 depiction of Sparta 112-18; marketing Armstrong, Todd 128, 134, 135 137; set-design 6-7, Fig. 2; reception Army of Darkness (1993) 125, 140 107-8; treatment of women 103, 118-21 art cinema 146-50 300 Spartans, The (comic) 109 Art Deco 24 81 2 (It.: Otto e Mezzo, 1963) 153, 157, 163 art, classical 161-2, 208, 209 Artemisia 116, 118, 120-1, 122, 123 A Funny Thing Happened on the Way to Ascilto (Ascyltus) 151, 155, 158-60 the Fomm (1966) 172 At Lost the 1918 Show (television series) A Matter of Life and Death (1946) 126 177 Achilles (1995) 129, 215 Athena (1954) 72-3 Achilles 125, 173, 204, 215, 235 Athens 102, 103, 104, 106, 110, 116, 118, Actium, Battle of 21 124, 198 Adam's Rib (1923) 23 Atkinson, Rowan 182 Adventures of Robin Hood, The (1938) 178 Attila (1954) 63 Aeneid (Roman epic poem) 38, 130 Augustus Caesar (Octavian) 5, 21 , 27, 29, Aeschylus, Seuen against Thebes 75, 31, 69, 80, 184 Persians 148 Agora (2009) 80, 219 Bacchus, see Dionysus Aladdin (1992) 196-7, 201 Baldassare, Pasquali 167-8 Alcmene 163, 202, 213 Banton, Travis 25 Alexander (King of Macedon) 2, 20, 97-8, Ba ra, Theda 22 101, 104-5, 124 Barabbas
    [Show full text]
  • The Roman Salute
    The Roman Salute The Roman Salute Cinema, History, Ideology Martin M. Winkler THE OHIO STATE UNIVERSITY PREss COLUMBus Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Winkler, Martin M. The Roman salute : cinema, history, ideology / Martin M. Winkler. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-0864-9 (cloth : alk. paper) ISBN-10: 0-8142-0864-9 (cloth : alk. paper) 1. Rome—In motion pictures. 2. Rome—In art. 3. Rome—In literature. 4. Salutations. I. Title. PN1995.9.R68W56 2009 700'.45837 [22] 2008041124 This book is available in the following editions: Cloth (ISBN 978-0-8142-0864-9) CD-ROM (ISBN 978-0-8142-9194-8) Cover design by Laurence J. Nozik Text design by Juliet Williams Type set in Adobe Bembo Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the Ameri- can National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 contents Illustrations vii Acknowledgments xi Introduction 1 1. History and Ideology: Half-Truths and Untruths 1 2. Ideology and Spectacle: The Importance of Cinema 6 3. About This Book 11 One Saluting Gestures in Roman Art and Literature 17 Two Jacques-Louis David’s Oath of the Horatii 42 Three Raised-Arm Salutes in the United States before Fascism: From the Pledge of Allegiance to Ben-Hur on Stage 57 Four Early Cinema: American and European Epics 77 Five Cabiria: The Intersection of Cinema and Politics 94 1.
    [Show full text]
  • Steve Reeves, Sylvia Koscina, and Gabriele Anionini As Httriiles, Lou-, ;Iiid Ulysses in Frrotecui Trgiva Di Tjdin {Heriules Vitchained)
    .Steve Reeves, Sylvia Koscina, and Gabriele Anionini as HtTriiles, loU-, ;iiid Ulysses in FrrotecUi trgiva di tJdin {Heriules Vitchained). Note the "echoing effcci," as lolf and Ulyssts appear as ever more diminished and "itripertt-ci" versions of Hercules. Pbolofesf Gentlemen Prefer Hercules: Desire I Identification I Beefcake Robert A. Rushing Anyone Here for Love? One of the most memorable seqtiences in Howard Hawks's Gentle- men Prefer Blondes (US, 1953) is the musical number "Ain't There Anyone Here for Love?" Dorothy Shaw (Jane Russell) is accom- panying her friend Lorelei Lee (Marilyn Monroe) lo Paris on a cruise across the Atlantic. While Lorelei is romantically involved with a wealthy young man, Dorothy is single—and lonely for some company. So she is only too happy to find that the ship is filled with a team of handsome male athletes, bodybuilders, and gytn- nasts. As Dorothy asks in an earlier scene, "The Olympic team? For me? Now wasn't thai thoughtful of somebody?" Her sense of tri- umph fades, iiowever, once the voyage is underway. The athletes are in training and barely glance at her. The song's lyrics likewise revolve around this conflict between spot ts and sex: for instance, one stanza runs, "I'm apatbetic / and nonathletic / Can't keep tip in a marathon / I need some shoulders to lean iipon / . Ain't there anyotie here for love?" Love itself, of course, is figured as a Camera Obscura 6g. Viilume 23, Number 3 IMII 10.1^15/02705346-2008-011 © 2008 hy Camera Oh.snuri Ptibli.shf d bv Duke Universitv Press '59 i()o .
    [Show full text]