Prometheus, a Titan god, was exiled from Mount Olympus by Zeus because he stole fire from the gods and gave it to mankind. He was condemned, punished and chained to a rock while eagles ate at his liver. His name, in ancient Greek, means “forethinker “and literary history lauds him as a prophetic hero who rebels against his society to help man progress.
The musical version of little orphan Annie – as distinct from her original, cartoon incarnation – was born a fully formed ten-year-old in 1977, and she quickly became an icon of girlhood.
On the surface, the Lifetime channel’s special Women of the Bible tells a very different story than The Red Tent. The two-hour program which aired just prior to the miniseries premiere claims to read with the Bible rather than against it, suggesting that the text itself depicts strong and faithful women—no retelling necessary.
The Red Tent was perfect for the Lifetime channel. The network’s four-hour miniseries closely followed Anita Diamont’s 1997 novel, which gave voice—and agency—to the biblical character of Dinah.
Moses and Pharaoh are returning to the big screen in Ridley Scott’s seasonal blockbuster, Exodus: Gods and Kings. With a $200m budget and Christian Bale in the leading role, the British director will hope to replicate the success of Gladiator […]
Director Robert Altman made more than thirty feature films and dozens of television episodes over the course of his career. The Altman retrospective currently showing at MoMA is a treasure trove for rediscovering Altman’s best known films (M*A*S*H, Nashville, Gosford Park) as well as introducing unreleased shorts and his little-known early work as a writer.
There are plenty of operas about teenage girls—love-sick, obsessed, hysterical teenage girls who dance, scheme, and murder in a frenzy of musical passion. Disney Princess films are also about teenage girls—lonely, skinny, logical teenage girls who follow their hearts because the plot gives them no other option. The music Disney Princesses sing can be divided into three periods that correspond to distinct animation styles
In order to spread some festive cheer, Blackstone’s Policing has compiled a watchlist of some of the best criminal Christmas films. From a child inadvertently left home alone to a cop with a vested interest, and from a vigilante superhero to a degenerate pair of blaggers, it seems that (in Hollywood at least) there’s something about this time of year that calls for a special kind of policing. So let’s take a look at some of Tinseltown’s most arresting Christmas films.
Well known is music’s power to stir the emotions; less well known is that the stirring of specific emotions can result from the use of very simple but still characteristic music. Consider the music that accompanies this sweet, sorrowful conclusion of pop culture’s latest cinematic saga.
Seinfeld famously added a ton of terms to English, such as low talker, high talker, spongeworthy, and unshushables. It also made obscure terms into household words.
The riveting film, The Artist and the Model (L’Artiste et son Modèle) from Spain’s leading director, Fernando Trueba, focuses on a series of “one seconds” in the life of French sculptor Marc Cross.
One of the more interesting recent developments in film studies is the recognition that what have seemed to be separate histories—documentary filmmaking and avant-garde filmmaking—are, once again, converging.
In the Catholic tradition, purgatory is an afterlife destination reserved for souls who are ultimately bound for heaven. It is still a doctrine of the Catholic Church, despite confusion about its status.
From eighteenth century Gothic novels to contemporary popular culture, the tropes and sacred culture of Catholicism endure as themes in entertainment. OUP author Diana Walsh Pasulka sat down with The Conjuring (2013) screenwriters Chad Hayes and Carey Hayes to discuss their cinematic focus on “the Catholic Supernatural” and the enduring appeal of Catholic culture to moviegoers.
What is jihad? What do fundamentalists want? How will moderate Islamists react? These are questions that should be discussed. We may not have easy answers, but if we do not start a dialogue, we may miss an opportunity to curtail horror.
As an Africanist historian who has long been committed to reaching broader publics, I was thrilled when the research team for the BBC’s popular genealogy program Who Do You Think You Are? contacted me late last February about an episode they were working on that involved mixed race relationships in colonial Ghana.