Dulce et decorum est pro patria mori? Classical Literature in the War Film.
This essay examines occurrences of classical literature in selected American and European films about twentieth-century war. Homer's Iliad and Horace's line from Odes 3.2 quoted in the title provide the starting point for an analysis of the influence of the ancient code of heroism on modern educatio...
| Publicado en: | International Journal of the Classical Tradition Vol. 7; no. 2; pp. 177 - 215 |
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| Autor principal: | |
| Formato: | Film/TV Criticism and Review |
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Springer Nature
Fall2000
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=5376397&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 5376397 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10730508 IJC jtl: International Journal of the Classical Tradition issn: 10730508 maglogo: N pubinfo: dt: Fall2000 vid: 7 iid: 2 pid: 237 pub: Springer Nature artinfo: ui: 5376397 10.1007/BF02691396 ppf: 177 ppct: 38 formats: fmt: @attributes: type: P size: 5.1MB tig: atl: Dulce et decorum est pro patria mori? Classical Literature in the War Film. aug: au: Winkler, Martin M. su: War films Film adaptations Themes in classical literature All Quiet on the Western Front (Film : 1930) Dawn Patrol, The (Film) Grand Illusion (Film) sug: subj: War films Film adaptations Themes in classical literature All Quiet on the Western Front (Film : 1930) Dawn Patrol, The (Film) Grand Illusion (Film) ab: This essay examines occurrences of classical literature in selected American and European films about twentieth-century war. Homer's Iliad and Horace's line from Odes 3.2 quoted in the title provide the starting point for an analysis of the influence of the ancient code of heroism on modern education and on attitudes toward war. In the films chosen for discussion, classical models appear as justification for and exhortation to military service or, by contrast, as a means to question blind patriotism and to criticize military irresponsibility. All Quiet on the Western Front (1930), rightly regarded as the greatest of all anti-war films, shows the common view of Horace's dulce et decorum to be false, not only in the story it tells but also through quotations from Homer, Ovid, and the Gesta Romanorum. The Dawn Patrol (1930) and Grand Illusion (1937) deal with the end of chivalrous heroism in World War I. Simonides' epitaph on the Spartan dead at Thermopylae is the starting point for an examination of the traditional heroism of World War I in Tell England (1931) and King and Country (1964) and of the American involvement in Vietnam in Go Tell the Spartans (1974). The Thin Red Line (1998), set in World War II, refers to Homer to criticize military elitism and incompetence. But the greatest variety of the use of antiquity in the war film, both verbal and visually, occurs in Patton (1970), illustrating the continuity from ancient to modern warfare. Briefer discussions of classical maxims in connection with two films by Stanley Kubrick (Barry Lyndon, 1975; Full Metal Jacket, 1987) round off the paper. All these films show that, to varying degrees, antiquity is a constant point of reference in the cinema. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: International Journal of the Classical Tradition is a copyright of Springer, 2000. All Rights Reserved. item: International Journal of the Classical Tradition holder: Springer Nature dt: @attributes: year: 2000 holdings: @attributes: islocal: N |
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