Titlebook: Classical Masculinity and the Spectacular Body on Film; The Mighty Sons of H Daniel O’Brien Book 2014 Palgrave Macmillan, a division of Mac

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在前面

創(chuàng)造性

Hercules Reformedms in terms of academic debates in this field. From its initial reception onwards, the film’s representation of Hercules has been identified as substantially and significantly different from that embodied by Steve Reeves in . and . (Francisci, 1959). I am interested in the nature of this difference,

膽小鬼

Hercules Diminishede film is linked to the Italian-produced . films on various levels: chronological, thematic, industrial and economic. It was financed and distributed by Hollywood major Columbia Pictures and filmed in 1961, the mid-point of the . cycle and shortly after the US release of . in 1960. Very few American

MUTED

Hercules Rebootednd television, as with . (Arthur A. Seidelman, 1969), a low-budget comedy starring Arnold Schwarzenegger as an immature, arrogant demigod. The US-Italian co-production . (Luigi Cozzi, 1983), starring bodybuilder Lou Ferrigno, revived the hero as a sword-and-sorcery protagonist whose bulky physique s

resistant

I’m Spartacus!st-classical, Christian male forms (lithe and lean) as illustrated by the Hercules figure versus the figure of Christ on the cross. While not all Greco-Roman forms of masculinity are as enlarged as the Herculean model, classical action films, . or otherwise, may purposely posit the two forms in oppo

resistant

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全能

Fight Like a Manah in . (Francisci, 1963). Though clad in armour and carrying weapons, they do not engage in actual combat, whether against men or other women. . (Leonviola, 1963) depicts women fighting for the entertainment of their queen, inflicting both wounds and fatalities on each other. While individual skill

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