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Which clippings match 'Odyssey' keyword pg.1 of 1
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
13 JANUARY 2004

Ultima X: Odyssey Multiplayer Online World

You'll never have to wander around looking for adventures –– adventure will be looking for you. [...] In UXO you will encounter two types of adventures: Quests and Missions.The Avatar delved into celestial mysteries you and I could never fathom in this lifetime. When we had lost our way, only he could become the beacon to lead us home. But in that journey home, we did have loss. Our Avatar was gone, ascended. The greatest wizards next to him became as children next to some titanic celestial deity.In time, we learned the many threats he vanquished were mere chapters in a larger tale. As the Avatar became our shining beacon of Virtue, a Guardian of Evil festered in the shadows.

On–line adventure game set in a world called Alucinor where players accept quests, battle evil forces and chat with other players. Player's characters develop histories of experience that contribute to the 'personality' of each character.



adventurechatgame • multiplayer • odyssey • online world • quest • Ultima • UXO
01 JANUARY 2004

Pioneer 10: betraying assumed and privileged cultural codes

"We have sent several inscribed messages into space. The two Voyager probes each carry a long–playing record of 'The Sounds of Earth' and both Pioneer craft, the first manmade objects to leave our Solar System, bear plaques charting their route, along with a picture of naked humans waving a greeting. A similar alien salutation could be waiting on Earth for us, says Rose"
(Mark Peplow, Nature News)

Rose C. & Wright G. Nature, 431. 47 – 49(2004).

[On the 3rd of March 1972 NASA launched the Pioneer 10 interstellar probe (spacecraft) into deep space. Attached to it was a plaque designed to communicate something of what it meant to be from Earth. It attempted to present a generalised view of humanity stripped of all cultural and social difference (a normative view). Despite this noble aim the plaque couldn't help but betray its assumed (and privileged) cultural codes. Its focus on Terrestrial life was unmistakably: Human; ethnically Anglo–Saxon (logically North American); heterosexual and 1960s – 70s.]





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