This is a blog for IDS 101-16 (fall 2014) at Willamette University
Sunday, August 31, 2014
Antony Outside Cleopatra's Incomplete Tomb
The above scene depicts Marc Antony in Alexandria preparing for battle. As expected, the center-focal point is Antony. Based on the amount of background this still-shot shows, I would call this a long shot. Here Antony, is looking down as if to show great concentration and concern for the upcoming battle. This shot is shot in a way to show that while Antony is clearly in charge of the Romans, the Egyptians pay no attention to the Roman Consul. The Romans are clearly placed behind Antony in an order of rank. Starting at the center we see Antony walking alone and slightly isolated from the rest. Next we see his officer in-charge, or right-hand man. This man appears to be following Antony and focusing on his words. Behind the officer, we can see a lower-ranking officer who is turned slightly toward Antony while implying that he has devoted his attention to the women and construction of the tomb. The Egyptian women are clearly all servants of Cleopatra due to the single-file line they have formed outside the door to the tomb. We can also clearly see that there are Egyptian slaves bowing to signify presence of high authority. The lighting of this shot is coming from the top left corner. The colors portray the same division as the placement of characters: The division between the Romans and the Egyptians. The Roman soldiers are dressed in red and other bright colors whereas the Egyptians are in darker colors. To me this represents the importance of the different characters. For instance, Antony is dressed in a red cloak, and gold armor telling me that he is the most important person in the scene. This is shot with a slight upward angle to gather the full affect of Antony's gaze. His gaze is not one of weakness but one of strength and dedication.
Mark Antony meets Augustus's Army
This scene from "Cleopatra" is after Antony wakes up at his camp to find that his entire army has deserted, and that Augustus Caesar and his army is coming to meet him. I would say that the shot is an establishing/wide shot showing Augustus's army and how vast it is as the cavalry stretches back far behind in the distance and even going off screen. I would also say that this shot uses the 3-level technique (as was used in "Cabiria") because the viewer focus's on the front row of the cavalry then the second row behind on the hill and lastly, the last row of cavalry far off in the distance. The angle used for the scene would bird's eye view. It's bird's eye view because one can see the whole army stretching into the distance but at the same time the front row of the cavalry is the main focus. Looking at this from Antony's level, which would be eye level, the horses would be leering over you making one feel vulnerable and scared. The colors for this shot are bright and the horses used are mainly dark in order to contrast against the light colored sand. The sky has an ombre effect going on, where the edges of the sky are dark becoming light as it gets closer to the army's/ horses on the hill as if they are drawing the viewers attention to them to give them the impression that Caesar's army is big, powerful and strong.
Antony and Cleopatra's Dinner
This screen shot is from the scene where Cleopatra invited Antony on her boat to feast, making Antony come to her. Much like the moments leading up to this shot, this picture exemplifies the dynamic and power struggle between the two. Neither of them are in true center, rather, they both seem to be fighting for it. I think that Cleopatra's goblet gives the viewer a marker for where center is. The combination of a medium shot with a eye-level view gives the viewer a clear look at both Atony and Cleopatra's faces and body posture. Cleopatra is sitting up straight, looking at the entertainment, with her arms folded in front of her. Antony is slouching forward, his arms pushed out in front of him, while glancing off to the right. This, in addition with Cleopatra's put-up hair, makes Cleopatra look taller and more collected. Both are dressed opulently, but Antony is dressed in darker colors (the curtain behind him is also the same shade of blue). Cleopatra looks very composed in pale colors and make-up. Antony, by contrast, looks very red and sweaty, probably to signify that he is getting more drunk as the night goes on. The director used some side lighting, as there are shadows under both Antony and Cleopatra's chins. This shot lays out the idea of their relationship, and their constant fight with each other for control and power.
Egyptian Market
Caesar is front and center of this shot, with an entire legion of soldiers fully armed standing behind him giving the illusion he is bigger than he actually is. The two men on his left are looking at him listening and waiting for his instruction. He is standing tall and confidently looking out over the camera at an obstacle in his path, however the vibe he gives off in this picture indicates that he is not at all worried about the obstacle hindering his progress. The obstacle being the Egyptian market which he slides through with ease. The audience is a eye level with Caesar, demonstrating that in this instance the common people are equal to him. He even acts like a common person as he shops his way through the Egyptian market. The man to Caesar's right is looking out where Caesar is looking, as if they are both faced with the same problem and that this man is Caesar's right hand man.
Saturday, August 30, 2014
Cleopatra in the Tomb
This image portrays a middle shot in which Cleopatra is just off-center, her handmaiden taking the central place behind her. The audience is viewing this scene from an eye-level angle with Cleopatra, so that she remains the character we are most inclined to watch. Cleopatra is dressed in white and an off-gold color, colors she has often worn throughout the film and that typically symbolize wealth and royalty. However, unlike most of her outfits, this one is far more subdued in both its elaborateness and fanciness. Her hair is much the same. While still dressed and done up beautifully, she appears in this scene in a much more humble manner than was present previously. This demonstrates that she no longer cares for the power games she used to play and does not feel the need to put up a facade. The light in the scene directly hits Cleopatra, illuminating her and drawing the attention of the audience. The rest of the screenshot remains in shadow and so appears to be less important. Octavian's side is visible and he is clutching the hilt of his sword, demonstrating that he is ready to take action if the need arises. Through his positioning the audience is given a clear view of the ring on his hand- the ring of Cleopatra's son, Caesarion. This serves as a reminder of all that Cleopatra has lost, and that Octavian had a role in her tragedy. Still, by only being shown a portion of Octavian, the audience is not enraptured by him or his deeds. Their focus belongs solely to Cleopatra.
Sailing into Tarsus
This screenshot captures the moment Clepatra sails into Tarsus and conveys a lot about her without saying a word. She is placed in the middle of the image, symbolizing how she is, as queen, the center of Egypt, while her "royal blue" clothing is another reference to her status. The wing etchings on the pillar behind her, due to her position, are on either side of her face, giving the impression of divinity, in connection to her claim that she is Isis, which also links the cat statues next to her. Besides the fact that cats were revered in Egypt, the cat goddess Bastet was also, in one myth, "the personification of the soul of Isis" (Egyptianmyths.net). They also imply Cleopatra's cunning, decidedly feline nature, which is clearly displayed when she manipulates Marc Antony at the feast.
Friday, August 29, 2014
Ptolemy XIII
From the scene introducing Ptolemy XIII
This is a close-up shot, signifying the character's importance and the fact that he is the focus, as he is in the center of the shot. The angle is eye-level however to show us that this man is our equal, he is not a serious threat to Caesar. The men in the background actually expose his youth, shortness, and foolishness with their height. The color most present is Egyptian gold to show that this is the Pharaoh. The somewhat darker lighting demonstrates that this character may have malignant intent. His face is making a foolish expression and his "crown" resembles a jester's cap, which conveys that he is a foolish king with no real power, a puppet to be played with.
Blog Homework 2
Select a still photo/screen shot of a scene in "Cleopatra" (1963) that you liked and that we have not yet discussed in class.
Describe how the camera technique, angle, lighting, color, and mise-en-scène support the mood or message of the scene.
Comment on one of your classmates' posts! (Please avoid commenting on a post that already has more than one comment!)
Describe how the camera technique, angle, lighting, color, and mise-en-scène support the mood or message of the scene.
Comment on one of your classmates' posts! (Please avoid commenting on a post that already has more than one comment!)
Tuesday, August 26, 2014
John Martin's The Seventh Plague of Egypt
John Martin's The Seventh Plague of Egypt is an example of 19th Century fascination with classical Egypt. This piece of art, and many like it, gave 19th Century Americans and Europeans a gimps into the past, recreating the cities and people that were ancient Egypt. It fueled their imagination for what life was like back then. Now when they heard about ancient Egypt or watched a play that took place in ancient Egypt, 19th Century Americans and Europeans could visualize the location and atmosphere that was ancient Egypt. These dramatic paintings also served as inspiration for soon to come Hollywood epics, with booming special effects, armies of extras, and grand cities (Richards 14).
Paul Falconer Poole's The destruction of Pompeii (1835)
This painting was one of thirty five that were depicted scenes inspired by a novel by Bulwe-Lytton called The Last Days of Pompeii. Poole was a British self-taught artists who had two styles of art: idyllic and dramatic. I'm sure you can guess what type of painting this is. In this scene depicted in Poole's dramatic painting you can see the fear and feelings of despair through the use of the dark colors representing a dark time which the destruction of Pompeii certainly was. The use of lighter colors shows the intensity of the eruptions and explosions from the volcano that brought Pompeii to its destruction. The use of shading and color brings the focus onto certain areas to bring emotions to you that the people of that time were facing as they watched their home burn. This fits into the 19th century fad because it is certainly a dramatic piece. Although not entirely supported by actual facts due to the fact that discoveries about Pompeii were not made till much later it is still a striking and emotion evoking piece that fits in well with the fad of the 19th century.
Joseph Addison's Play Cato in 1713
The Shadow of Death (1873)
This biblical painting by William Holman Hunt, which was worked on from 1870-1873, expresses a rekindled interest in the classical movement of the 19th Century. This painting depicts Jesus stretching his arms out and they so happen to cast a shadow on the tool shelf behind him that reflects his death on the Cross, while the madam falls on her knees in praise and disbelief, bewildered by the shadow cast. The Bible made its way back into culture as it was revived in order to discredit the attacks made on it by modern scientists and to prove the words written inside it. This painting here reflects the increased focused on the historicity of Jesus, and the increased influence that the arts had over the first occurrences of the Bible in modern arts.
Androcles and the Lion
http://www.gutenberg.org/files/4003/4003-h/4003-h.htm
If you follow the link above you will find an online version of the full text of Androcles and the Lion by George Bernard Shaw.
Not only does this play literally fit the Victorian era's taste for all things foreign and old (as it is set in ancient times). But it also fits the era's flare for dramatics. The entire play is a mockery of the fad of the Toga play. This mockery is relevant because, through the overabundance, over exaggeration, and sometime complete lack of historical accuracy of toga plays the people of the Victorian era managed to mock much of Roman history. The Victorian people did not, of course, mock these years of history purposefully but mocked them subconsciously due to their sheer enthusiasm for the Roman time period. They embraced things of that era so much that they made very important historical occurrences almost trivial. Shaw mocks Victorian society through his play like Victorian society accidentally mocks Roman history but his mockery is on purpose and much more targeted. In a sense it is like the circle of life Rome is mocked by Victorian society and Victorian society is mocked by Shaw using the vehicle of Rome.
![]() |
"Androcles and the Lion" performed by students from the Willesden County Grammar School in 1947. |
Monday, August 25, 2014
"The Judgement of Paris" (1879)
Henry Peters Gray's painting depicts the prelude to the legend of Troy, when Paris, a shepherd, awards the golden apple to Aphrodite, the Greek goddess of love and beauty. She promised him the most beautiful mortal woman in the world if she won, and that woman was Helen, wife of Menelaus, the king of Troy. Their elopement would set off the Trojan War, one of the most important events in Greek mythology, and in the 19th century, one of the great questions was, "Did the Trojan War really happen?"
Archaeology provided the people of the Victorian era with both knowledge of the past, and the information to accurately portray the ancient world in works of art. Thus, if Troy could be found, it would be a very important find. Later in the Victorian era, the ruins of not just one Troy, but several incarnations of Troy were found, along with evidence that suggested the Trojan War actually happened.
Death of Caesar by Jean-Léon Gérôme
The painting above is called
"Death of Caesar” Jean-Léon Gérôme (1867) and was inspired by the 19th
century art fad based upon ancient Greece and Roman events. The painting
depicts the aftermath of the assassination of Caesar on the Ides of March
in the Theatre of Pompey. One can see in the Painting that Caesar is lying dead
upon the floor, while a group of conspirators are seen walking away out the
door holding their daggers and swords in the air triumphantly. Like Gérôme’s other
paintings in the 19th century fashion, the painting is bold and highly
exaggerated while still staying historically relevant.
To the people of
America, this painting could represent the overthrowing of a monarchy. For
example, when the United States finally broke off from the rule of England’s
over-bearing monarchy. This relates back to the assassination because the
people of Rome were becoming afraid that Caesar’s dictatorship was becoming
more like a monarchy and they were proud of the fact that Rome was considered a
republic.
The escape of Glaucus and Ione, with the blind girl Nydia from Pompeii (1861)
(Photograph of The escape of Glaucus and Ione, with the blind slave girl Nydia from Pompeii by Paul Falconer Poole circa 1861)
Edward Bulwer-Lytton's The Last Days of Pompeii was the primary influence for The escape of Glaucus and Ione, with the blind girl Nydia from Pompeii by Paul Falconer Poole according to Jeffrey Richard's Hollywood's Ancient Worlds. As Richards stated in his book, the novel's authentic depiction of the ancient culture and customs in relation to Lytton's understanding of the emotional workings of the heart provided Poole with the inspiration and insight needed for his work. The painting above demonstrates the 19th century's fad for all things classical in the way that it portrays the flight of Glaucus, Ione, and Nydia. Poole's delicate placement of Ione on Gluacus' shoulder coupled with the serene background gives the painting a light and fanciful feel while also demonstrating the time period's hallmarked use of romanticism and love for added drama. Being taken from an archaeologically accurate novel, as Richards noted, the painted scene exemplifies the era's infatuation with accuracy in its ancient representations.
Richards, Jeffrey. "The Ancient World: The Nineteenth-Century Context."
Hollywood's Ancient Worlds. London: Continuum, 2008. 8. Print.
Poole, Paul F. The Escape of Glaucus and Ione, with the Blind Slave Girl
Nydia from Pompeii. 1861. Bridgeman Art Library. Posterlounge. Web.
25 Aug. 2014.
Edward Bulwer-Lytton's The Last Days of Pompeii was the primary influence for The escape of Glaucus and Ione, with the blind girl Nydia from Pompeii by Paul Falconer Poole according to Jeffrey Richard's Hollywood's Ancient Worlds. As Richards stated in his book, the novel's authentic depiction of the ancient culture and customs in relation to Lytton's understanding of the emotional workings of the heart provided Poole with the inspiration and insight needed for his work. The painting above demonstrates the 19th century's fad for all things classical in the way that it portrays the flight of Glaucus, Ione, and Nydia. Poole's delicate placement of Ione on Gluacus' shoulder coupled with the serene background gives the painting a light and fanciful feel while also demonstrating the time period's hallmarked use of romanticism and love for added drama. Being taken from an archaeologically accurate novel, as Richards noted, the painted scene exemplifies the era's infatuation with accuracy in its ancient representations.
Richards, Jeffrey. "The Ancient World: The Nineteenth-Century Context."
Hollywood's Ancient Worlds. London: Continuum, 2008. 8. Print.
Poole, Paul F. The Escape of Glaucus and Ione, with the Blind Slave Girl
Nydia from Pompeii. 1861. Bridgeman Art Library. Posterlounge. Web.
25 Aug. 2014.
The Christian Martyrs' Last Prayer (1883)
Jean-Léon Gérôme's painting The Christian Martyrs' Last Prayer depicts a group of Christians closely gathered within the walls of the roman circus. They are deep in prayer as a lion emerges from the floor to prey on the blood of their beliefs. This work of art closely parallels the ideals of the British Empire during the 19th century, as Victorians learned from Rome's downfall what destroys empires. The Roman persecutions of the Catholics revealed that without the practice of Catholicism an empire will most certainly fail. Thus, the revival of Catholicism during the 19th century was so prominent in Britain.
Pollice Verso by Jean-Léon Gérôme
Gérôme's Pollice Verso (1872) shows a gladiator, standing over a man who he has just beaten, looking to the crowd for the thumbs up or thumbs down signal. According to Richards, Gérôme's art, like other artists of the time, was inspired by recent archeological excavations. This scene is meant to capture the imagination and attention of the 19th century viewer. The work that was put into specific parts of this painting, like the individual members of the crowd and the architecture of the arena, shows Gérôme's attention to detail. This was another trait that surfaced after archeological excavations gave artists more basis for the many details of their paintings, and also allowing their works to hold more historical accuracy.
In the painting The Last Days of Pompeii, by Russian artist Karl Pavlovich Bruillov, depicts a scene of chaos and destruction in the ancient city of Pompeii. Bruillov visited the site where Pompeii once stood in 1812 and sketched numerous scenes all depicting the eruption of Vesuvius in 79 AD. The painting inspired the novel The Last Days of Pompeii by Edward Bulwer-Lytton when he saw it in Rome. Due to this, the fashion for Roman based novels basically began with Lytton's novel of Glaucus and Ione in Pompeii and the destruction the city faced.
The painting fits into the nineteenth century's fad for all things classical because it portrays a romanticized scene of destruction and chaos as the citizens flee for their lives. The painting also shows two sides of civilization. In the light of the lightening that breaks the clouds are citizens who are fleeing for their lives, some of which are carrying away treasures, while those in the shadows are attempting to help others out of the city and protect their families. This can show how many people in the nineteenth century viewed the fall of Rome and that the main cause of the fall was due to the tyranny and corruption of the pagan empire. They believed that only Christianity could save the Romans or other empires like it. This painting expresses that through the light landing on those who are only helping themselves and stealing treasures from the streets as if the light of God has found them guilty, while those helping each other are in the shadows and out of the light of Gods wrath. The painting is likely romanticized for the viewers to show them an idealized golden age of an ancient world that closely mirrored many of the problems they found in their own society.
The painting fits into the nineteenth century's fad for all things classical because it portrays a romanticized scene of destruction and chaos as the citizens flee for their lives. The painting also shows two sides of civilization. In the light of the lightening that breaks the clouds are citizens who are fleeing for their lives, some of which are carrying away treasures, while those in the shadows are attempting to help others out of the city and protect their families. This can show how many people in the nineteenth century viewed the fall of Rome and that the main cause of the fall was due to the tyranny and corruption of the pagan empire. They believed that only Christianity could save the Romans or other empires like it. This painting expresses that through the light landing on those who are only helping themselves and stealing treasures from the streets as if the light of God has found them guilty, while those helping each other are in the shadows and out of the light of Gods wrath. The painting is likely romanticized for the viewers to show them an idealized golden age of an ancient world that closely mirrored many of the problems they found in their own society.
The Gladiator (1831)- Robert Montgomery Bird
The attached photo shows an American actor by the name of Edwin Forrest, portraying The Gladiator in an 1836 theatrical interpretation of the 1831 novel. While the play became much more famous, I am going to discuss the significance of the novel. The novel is telling of a Roman gladiator, Spartacus, and his revolt against the Roman tyrannical government. According to Richards, this novel shows the relationship between American colonists and the imperial rule the British Empire in the 19th Century. Based on the novel, the British Empire is portrayed by the Roman government, and Spartacus is the American revolutionaries. This relates to the classical ideals of the 19th Century by portraying strong nationalism and independence from an over-ruling empire. Americans viewed the characteristics of gladiators as an achievement of "physical force" which was conceived as the American foundation during the 19th Century. Even great Americans, such as George Washington, idealized the Roman gladiators.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpY_8fVp1g8UpsgPPwtW0ByHbdGcR5ssfVEBg81QGKLZ5jXVaRzdtutchXDVUV6pBneyGdik8bE3qWXVxvgmyTMwLwMaIEZwe3ldANCx5HK2jQXFABOvVfu6cUPoZLa4sTRfa53xIojbU/s1600/Slide20.jpg)
William Page, "Cupid and Psyche" (1843)
The above picture is a painting done by William Page in 1843 titled Cupid and Psyche. Its subjects are taken from the myth in which the god of love falls into a deep love and infatuation with the woman Psyche. During the early 19th century the epic and romanticized myths of the ancient civilizations were just as popular as the actual history and ruins of the civilizations themselves. Page paints his subjects in a very romantic and intimate way, demonstrating the epic and beautiful love associated with much of the classical era. This and other paintings of the time serve to show the influence of the ancient worlds in different aspects of culture during the 1800s; art in particular.
Nydia the Blind Girl of Pompeii a sculpture by Randolph Rogers
Nydia the blind girl is from the story "The Last Days of Pompeii" by Bulwer-Lytton. Nydia is the servant who falls in love with the main protagonist Glaucus. Glaucus, however, loves Ione, a high priestess, and after a volcanic eruption Nydia saves Glaucus and Ione and gives her own life in the process. The sculpture itself is very Roman-like with very detailed clothing and facial features. It is also made of marble, the same stone Romans used to sculpt statues. Randolph Rogers uses Roman artistic features in his sculpture that are hundreds of years old. The idea of the sculpture also came from a book about the Roman city Pompeii that also was heavily influenced by the Roman empire. It uses a Roman city and used Roman practices in trial and conflict within the story as well.
The Roses of Heliogabalus
![](http://uploads3.wikiart.org/images/alma-tadema-lawrence/the-roses-of-heliogabalus-1888.jpg)
The Roses of Heliogabalus By Sir Lawrence Alma-Tadema
Heliogabalus is widely considered one of Rome's worst emperors. He was foreign, disregarded Roman tradition, attempted to replace Jupiter, leading deity of the Roman pantheon, with his personal sun god, Elagabal, married a vestal virgin, and allegedly had dalliances with other men and would dress up like a woman. To people of the 19th century he would represent the pagan debauchery and poor leadership that would lead to the fall of the Roman Empire. As the book points out, Heliogabalus also has parallels to Oscar Wilde, a controversial writer of the time. The art represents that, however impressive or rewarding the pursuit of personal pleasure is, it can suffocate the modern world just as it did to ancient Rome.
Blog Homework 1
Search online for an image of a painting, sculpture, or play mentioned in chapter 1 of Jeffrey Richards. Post it to our blog (with "New Post") and describe how that image fits into the 19th century fad for all things classical.
Unknowns
If you show up as Unknown (so far we have three of these), sign in to your google account, then go to the 3x3 squares icon next to your email address in the upper right corner and click on it. Go to the bottom of the menu that opens, click on "More", then select "eblogger". This brings you to https://www.blogger.com/home. Go again to the upper right corner, click on the arrow next to the icon with your blogger name (Unknown), select "Blogger Profile", click on the orange button "Edit Profile". Scroll down a bit, if needed, and add a new "Display Name". If you go down a bit more, you have the opportunity to add a profile photo or other suitable avatar icon you prefer.
Wednesday, August 20, 2014
Welcome to IDS 101-16: Greece and Rome in the Movies
Hi everyone,
This blog is meant to facilitate our classroom discussions. Here you can, for example, post your impressions of the movies we watched, and your classmates will be able to comment on your contributions.
I am looking forward to meeting you all tomorrow,
Prof. Knorr
Just to whet your appetite, here are posters of all the great movies we'll watch and analyze.
Subscribe to:
Posts (Atom)