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03 NOVEMBER 2012

Immortals: visual effects spectacular epic

Immortals is a "2011 3D action–adventure fantasy film directed by Tarsem Singh and starring Henry Cavill, Freida Pinto, and Mickey Rourke. The film was previously named Dawn of War and War of the Gods before being officially named Immortals and is loosely based on the Greek myth of Theseus and the Minotaur and the Titanomachy."

(movieclipsTRAILERS, 17 August 2011, YouTube)



2011action-adventure • Ares • Athenacostume designCrete • Daniel Sharman • Dawn of War • Demeter • digital 3D • Eiko Ishioka • epic spectacular • Epirus Bow • fantasticfantasy filmfictional worldfilm • Freida Pinto • gods • Greek myth • green screen • Henry Cavill • Heracles • Hyperion • Immortals • Immortals (film) • Isabel Lucas • John Hurt • legendary weapon • Mickey Rourke • Minotaur • mythmythologicalmythological being • Olympians • oracle • Phaedra • Poseidon • RealD 3D • Relativity Media • revengeSFXspecial effectsspectacular • Stephen Dorff • Tarsem Singh • Tartarus • Theseus • Titan Hyperion • Titanomachy • Titans • Universal Pictures • VFXvisual effectsvisual spectaclevisual spectacularvisual spectacular epic • War of the Gods • world of the storyZeus


Simon Perkins
08 APRIL 2011

The Aesthetic Movement: Art for Arts Sake

Exhibition: The Cult of Beauty: The Aesthetic Movement is at the Victoria & Albert Museum, London SW7 from 2 April to 17 July 2011.

"The movement started in a small way in the 1860s in the studios and houses of a radical group of artists and designers, including William Morris and Dante Gabriel Rossetti. These were angry young reformers who explored new ways of living in defiance of the horrendous design standards of the age as revealed in the 1851 Great Exhibition.

Over the next two decades aestheticism burgeoned, drawing in architects and craftworkers, poets, critics and philosophers to create a movement dedicated to pure beauty. The aesthetic movement stood in stark and sometimes shocking contrast to the crass materialism of Britain in the 19th century. "Art for art's sake" was its battle cry, a slogan that originated with the French poet Théophile Gautier."

(Fiona MacCarthy, 26 March 2011, The Guardian)










1860s187719th centuryAesthetic Movementaestheticisationaestheticism • Albert Moore • angular aesthetic • architecture • art fabrics • art for arts sake • art furniture • art historyart movement • Arthur Liberty • Aubrey Beardsley • beautyceramic tile • Christopher Dresser • colour • Cult of Beauty (exhibition) • Dante RossettiDe Stijldecadencedecordecorationdecorative artsdepartment stores • design standards • eclectic mixEdward Burne-Jones • Edward William Godwin • excessexhibitionexoticfine art • Frederic Leighton • Frederick Leyland • frieze • furniture design • George Du Maurier • George Frederic Watts • Gerrit Rietveld • Green Dining Room (1865) • Grosvenor Gallery • interior decorationinterior designJames McNeill Whistler • Japonism • Kate Vaughan • Libertys (department store) • lifestyleLondon • Maurice Maeterlinck • Oscar Wildeoutlandish • painted panels • Patience (1881)peacockperformance art • provincial towns • Punch (cartoon) • pure beauty • Queen Anne style • radical art movement • sensuality • shabby chic • silliness • South Kensington Museum • spectacularstained glass • tenebrous house • The Great Exhibition (1851)The Guardian • Theophile Gautier • turquoise • Victoria and Albert MuseumVictorian artvisual style • Walter Crane • Walter Pater • western art • Whistlers Peacock Room • William Morris


Simon Perkins
08 DECEMBER 2009

The Illusion of Magnitude: Adapting the Epic from Film to Television

"When Giuseppe de Liguoro's Homer's Odyssey (1910) was released in the U.S. in 1912, a review in The Moving Picture World praised it for beginning 'a new epoch in the history of the motion picture as a factor in education' (1). The ambitious claim was made amid the author's desire to see moving pictures adapt Classic sources in such a way to both 'entertain and instruct the average moving picture audience' (2). This aspiration was repeated in the reviews of early U.S. television, which broadcast its own modest 'epics' in the 1950s and '60s in response to the revival of the cinematic epic. Although constrained by limited budgets and an even more limited screen size, television's version of the epic during the 1950s and '60s was applauded for bringing both spectacle and the high–cultural status of Classical works to this often–maligned medium. Focusing on contemporary reviews, this article argues that adaptations of myth were used to promote (and contest) the legitimacy of early television in the United States. (3)"

(Djoymi Baker)

1. W. Stephen Bush, "Homer's Odyssey. Three Reels. (Milano Films.)", The Moving Picture World, Vol. 11, No. 11, 16 March 1912, p. 941.

Fig.1 Francesco Bertolini, Adolfo Padovan and Giuseppe de Liguoro, 1911. 'Homer's Odyssey'



1911 • adaptation • Adolfo Padovan • cinema • classic • Classicalclassicsepicepic spectacularfilmfilm adaptation • Francesco Bertolini • Giuseppe de Liguoro • history • Homer • mediummini-series • Moving Picture World (magazine) • mythologicalmythologyodysseySenses of Cinema (journal)spectaclespectaculartelevisionvisual communicationvisual spectacular epic


Simon Perkins

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