Cinema Of Swords

Cinema of Swords is a history, guide, and love letter to over four hundred movies and television shows featuring swashbucklers: knights, pirates, samurai, Vikings, gladiators, outlaw heroes like Zorro and Robin Hood, and anyone else who lives by the blade and solves their problems with the point of a sword. Though swordplay thrives as a mainstay of current pop culture—whether Game of Thrones or Lord of the Rings or Star Wars—swashbuckling was if anything even more ubiquitous during Hollywood’s classic period, from its foundations in the Silent Era up through the savage bursts of fantasy films in the ‘80s. With this huge cinematic backlist of classics now available online and on-demand, Cinema of Swords traces the roots and branches of this unruly genre, highlighting classics of the form and pointing fans toward thrilling new gems they never knew existed. With wry summaries and criticism from swordplay expert Lawrence Ellsworth, this comprehensive guidebook is perfect as a reference work or as a dazzling Hollywood history to be read end-to-end.

The battles and sieges of the Classical world have been a rich source of inspiration to film makers since the beginning of cinema and the 60s and 70s saw the golden age of the 'swords and sandals' epic, with films such as Spartacus. Ridley Scott's Gladiator led a modern revival that has continued with the release of films like 300, The Eagle and Centurion and HBO's mini-series Rome. While Hollywood interpetations of Classical battle continue to spark interest in ancient warfare, to casual viewers and serious enthusiasts alike they also spark a host of questions about authenticity. What does Hollywood get right and wrong about weapons, organization, tactics and the experience of combat? Did the Spartans really fight clad only in their underpants and did the Persians have mysterious, silver-masked assassins in their armies? This original book discusses the merits of battle scenes in selected movies and along the way gives the reader an interesting overview of ancient battle. It should appeal to the serious student of ancient warfare, movie buffs and everyone in between.

For the first time in English in over a century, a new translation of the forgotten sequel to Dumas’s The Three Musketeers, continuing the dramatic tale of Cardinal Richelieu and his implacable enemies. In 1844, Alexandre Dumas published The Three Musketeers, a novel so famous and still so popular today that it scarcely needs introduction. Shortly thereafter he wrote a sequel, Twenty Years After, that resumed the adventures of his swashbuckling heroes. Later, toward the end of his career, Dumas wrote The Red Sphinx, another direct sequel to The Three Musketeers that begins, not twenty years later, but a mere twenty days afterward. The Red Sphinx picks up right where the The Three Musketeers left off, continuing the stories of Cardinal Richelieu, Queen Anne, and King Louis XIII—and introducing a charming new hero, the Comte de Moret, a real historical figure from the period. A young cavalier newly arrived in Paris, Moret is an illegitimate son of the former king, and thus half-brother to King Louis. The French Court seethes with intrigue as king, queen, and cardinal all vie for power, and young Moret soon finds himself up to his handsome neck in conspiracy, danger—and passionate romance! Dumas wrote seventy-five chapters of The Red Sphinx, all for serial publication, but he never quite finished it, and so the novel languished for almost a century before its first book publication in France in 1946. While Dumas never completed the book, he had earlier written a separate novella, The Dove, that recounted the final adventures of Moret and Cardinal Richelieu. Now for the first time, in one cohesive narrative, The Red Sphinx and The Dove make a complete and satisfying storyline—a rip-roaring novel of historical adventure, heretofore unknown to English-language readers, by the great Alexandre Dumas, king of the swashbucklers.

This is the first comprehensive, fully-researched account of the historical and contemporary development of the traditional martial arts genre in the Chinese cinema known as wuxia (literal translation: martial chivalry) - a genre which audiences around the world became familiar with through the phenomenal 'crossover' hit Crouching Tiger, Hidden Dragon (2000). The book unveils rich layers of the wuxia tradition as it developed in the early Shanghai cinema in the late 1920s, and from the 1950s onwards, in the Hong Kong and Taiwan film industries. Key attractions of the book are analyses of:*The history of the tradition as it began in the Shanghai cinema, its rise and popularity as a serialized form in the silent cinema of the late 1920s, and its eventual prohibition by the government in 1931.*The fantastic characteristics of the genre, their relationship with folklore, myth and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema.*The protagonists and heroes of the genre, in particular the figure of the female knight-errant.*The chief personalities and masterpieces of the genre - directors such as King Hu, Chu Yuan, Zhang Che, Ang Lee, Zhang Yimou, and films such as Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), and Curse of the Golden Flower (2006).

Bible and Cinema: An Introduction is a comprehensive examination of how the Bible has been used and represented in mainstream cinema to develop its plots, characters, and themes. The book considers two general types of films: Bible movies that retell biblical stories, such as the Exodus and the life of Jesus, and Bible-related movies that make use of biblical books, stories, verses, and figures, and Bibles themselves to tell non-biblical, often fictional, narratives. Topics covered include: the contribution of Bible and Bible-related movies to the history of the Bible’s reception; the ways in which filmmakers make use of scripture to address and reflect their own time and place; the Bible as a vehicle through which films can address social and political issues, reflect human experiences and emotions, explore existential issues such as evil and death, and express themes such as destruction and redemption; the role of the Bible as a source of ethics and morality, and how this role is both perpetuated and undermined in a range of contemporary Hollywood films; and film as a medium for experiences of transcendence, and the role of the Bible in creating such experiences. This thoroughly updated second edition includes insightful analysis of films such as Noah, Gods and Men, Mary Magdalene, and The Shawshank Redemption, paying attention to visual and aural elements as well as plot, character, and dialogue. The book also includes pedagogical resources including discussions of film theory, as well as key words and discussion questions. Teachers, students, and anyone interested in the intersection of Bible and cinema will find this an invaluable guide to a growing field.

Women and Gender in Chinese Martial Arts Films of the New Millennium, by Ya-chen Chen, examines underexposed gender issues in more recent films, focusing on the contradictory feminism in the film narratives. Through the lens of Chinese martial arts films, Chen delves into "Chinese cinematic martial arts feminism," highlighting the glass ceiling which marks the maximal exercise of feminism which the patriarchal order is willing to accept.

The classical, the modern, and Japanese cinema in the global system. -- Yasujiro Ozu : a short history of the home drama. -- Kenji Mizoguchi and his women. -- Men with swords and men with suits : the cinema of Akira Kurosawa. -- Mikio Naruse : a Japanese woman's cinema. -- Remembering the war : three postwar war films.