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Responses to Oliver Stone's Alexander: Film, History, and Cultural Studies

de Paul Cartledge (Editor), Fiona Rose Greenland (Editor)

Outros autores: Elizabeth D. Carney (Contribuinte), John F. Cherry (Contribuinte), Monica S. Cyrino (Contribuinte), Robin Lane Fox (Contribuinte), Thomas Harrison (Contribuinte)8 mais, Lloyd Llewellyn-Jones (Contribuinte), Joanna Paul (Contribuinte), Verity Platt (Contribuinte), Jeanne Reames (Contribuinte), Kim Shahabudin (Contribuinte), Marilyn B. Skinner (Contribuinte), Jon Solomon (Contribuinte), Oliver Stone (Posfácio)

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The charismatic Alexander the Great of Macedon (356-323 B.C.E.) was one of the most successful military commanders in history, conquering Asia Minor, Egypt, Persia, central Asia, and the lands beyond as far as Pakistan and India. Alexander has been, over the course of two millennia since his death at the age of thirty-two, the central figure in histories, legends, songs, novels, biographies, and, most recently, films. In 2004 director Oliver Stone's epic film ""Alexander"" generated a renewed interest in Alexander the Great and his companions, surroundings, and accomplishments, but the critical response to the film offers a fascinating lesson in the contentious dialogue between historiography and modern entertainment. This volume brings together an intriguing mix of leading scholars in Macedonian and Greek history, Persian culture, film studies, classical literature, and archaeology - including some who were advisors for the film - and includes an afterword by Oliver Stone discussing the challenges he faced in putting Alexander's life on the big screen. The contributors scrutinize Stone's project from its inception and design to its production and reception, considering such questions as: Can a film about Alexander (and similar figures from history) be both entertaining and historically sound? How do the goals of screenwriters and directors differ from those of historians? How do Alexander's personal relationships - with his mother Olympias, his wife Roxane, his lover Hephaistion, and others - affect modern perceptions of Alexander? Several of the contributors also explore reasons behind the film's tepid response at the box office and subsequent controversies.… (mais)
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A disparate collection. If you have an interest in any aspect of the subject, no doubt, like me, you’ll find one or two fascinating, one or two exasperating, one or two irrelevant to you.

For instance, I had an interest in how you can shape biography into a story: unlike, say, Gladiator, he had to deal with the shape of a historical life, and the difficulties of that are meditated upon.

I’d have to say I found at least three of these essays bad-tempered; one from a film person, impatient with historians who don’t understand creatives; the others from historians, irritated with fictional license. A couple of these qualify as excoriation. On the other hand, I came away with a few tips as to the intelligence of Stone’s film – things I hadn’t noticed for myself.

Oliver Stone’s afterword was good stuff. ‘Humble’ he calls it, but he also stands up for his vision.

A main focus was on why the film became an official failure – in the English-language world, headed by the US. I can’t say I know why, at the end of the book; contributors tended to think it was because of the failing they cared about: Angelina Jolie and Oliver Stone’s mother (that essay got a bit personal. He’s eloquent on his Olympias in the afterword); or the harem (which he admits he misconstrued). Or the Alexander the Gay furore. Nobody knows why a film flops, I suppose; as I write this review I fear I am watching a similar fate overtake John Fusco’s Marco Polo, killed in the cradle by this mysterious popularity contest-contagion that goes on. These guys only have theories. Most of them like to quote the film: ‘his failures were more spectacular than other people’s successes’ or words to that effect. Stone’s Alexander was an interesting project, worthy of a book of this sort. I am sore that Gladiator, Troy and 300 -- less ambitious, less historical -- were commercial and in part critical successes, while this was not. Life isn’t fair and neither is art. ( )
1 vote Jakujin | Apr 6, 2015 |
A collection of essays written in the aftermath of Oliver Stone's film about Alexander the Great (2004) that look at various aspects of the film, its reception and its relationships with history and two earlier stage and film versions of Alexander's life, with an afterword by Stone. I enjoyed reading most of the essays (Marilyn Skinner on sexuality seemed by far the weakest to me—yes we have most evidence about Athens and that evidence from Athens is the most likely frame of reference for contemporary viewers but might it not have been worth asking in considerably more depth to what extent any of that has much relevance to Alexander or Macedon?); but more specifically, Joanna Paul discussing the film in relation to Hollywood historical epic as genre, Jon Solomon writing about the film's reception, Elizabeth Carney on the weakness of the characterisation of Olympias (to which Stone tries to respond to in his Afterword, but I'm with Carney here), Jeanne Reames on Hephaistion, Lloyd Llewellyn-Jones on Persian royal women and how Orientalising their depictions are, and John F Cherry on museum exhibitions on Alexander/Macedon during the past thirty years or so. ( )
1 vote queen_ypolita | Apr 8, 2012 |
Exibindo 2 de 2

» Adicionar outros autores

Nome do autorFunçãoTipo de autorObra?Status
Cartledge, PaulEditorautor principaltodas as ediçõesconfirmado
Greenland, Fiona RoseEditorautor principaltodas as ediçõesconfirmado
Carney, Elizabeth D.Contribuinteautor secundáriotodas as ediçõesconfirmado
Cherry, John F.Contribuinteautor secundáriotodas as ediçõesconfirmado
Cyrino, Monica S.Contribuinteautor secundáriotodas as ediçõesconfirmado
Fox, Robin LaneContribuinteautor secundáriotodas as ediçõesconfirmado
Harrison, ThomasContribuinteautor secundáriotodas as ediçõesconfirmado
Llewellyn-Jones, LloydContribuinteautor secundáriotodas as ediçõesconfirmado
Paul, JoannaContribuinteautor secundáriotodas as ediçõesconfirmado
Platt, VerityContribuinteautor secundáriotodas as ediçõesconfirmado
Reames, JeanneContribuinteautor secundáriotodas as ediçõesconfirmado
Shahabudin, KimContribuinteautor secundáriotodas as ediçõesconfirmado
Skinner, Marilyn B.Contribuinteautor secundáriotodas as ediçõesconfirmado
Solomon, JonContribuinteautor secundáriotodas as ediçõesconfirmado
Stone, OliverPosfácioautor secundáriotodas as ediçõesconfirmado

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The charismatic Alexander the Great of Macedon (356-323 B.C.E.) was one of the most successful military commanders in history, conquering Asia Minor, Egypt, Persia, central Asia, and the lands beyond as far as Pakistan and India. Alexander has been, over the course of two millennia since his death at the age of thirty-two, the central figure in histories, legends, songs, novels, biographies, and, most recently, films. In 2004 director Oliver Stone's epic film ""Alexander"" generated a renewed interest in Alexander the Great and his companions, surroundings, and accomplishments, but the critical response to the film offers a fascinating lesson in the contentious dialogue between historiography and modern entertainment. This volume brings together an intriguing mix of leading scholars in Macedonian and Greek history, Persian culture, film studies, classical literature, and archaeology - including some who were advisors for the film - and includes an afterword by Oliver Stone discussing the challenges he faced in putting Alexander's life on the big screen. The contributors scrutinize Stone's project from its inception and design to its production and reception, considering such questions as: Can a film about Alexander (and similar figures from history) be both entertaining and historically sound? How do the goals of screenwriters and directors differ from those of historians? How do Alexander's personal relationships - with his mother Olympias, his wife Roxane, his lover Hephaistion, and others - affect modern perceptions of Alexander? Several of the contributors also explore reasons behind the film's tepid response at the box office and subsequent controversies.

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