Kirk Freudenburg is Brooks and Suzanne Ragen Professor of Classics at Yale University. His previous publications include Satires of Rome: Threatening Poses from Lucilius to Juvenal and, as editor, The Cambridge Companion to Roman Satire.

Like the best films, [Virgil's Cinematic Art] is well paced, beautifully shot and scripted, action-packed and leaves you wanting more.... This short book punches well above its weight and is written with infectious panache and exciting appreciation of the visual and verbal magic on show in this poem. It deserves an Oscar.

• IntroductionSeeing with Eyes Tightly Shut Two Worlds in Dialogue: Film Analysis and Classic Narratology Chapter One: Introducing SutureTracking Turnus: Visual Pursuit Watching Paris: Hatred at First Sight Sightings, First and Last: the Insect Similes of the Aeneid Chapter Two: Precedents in Earlier Roman Poetry Getting High with Lucretius Vertical Relations The Grammar of Angles Taken The Other Side of High: Positioning Pathos Chapter Three: Seeing as TellingThe Temple Ecphrasis of Aeneid 1 Aeneas the Neoteric Duces Feminae: Fade to Dido Image Pairs: the Catullan Background Caving in to Desire: Dido's Wedding Parade Chapter Four: Imagery as UnderstoryDido's Visual Feast Picturing Virgil's Words: Dido in the Middle Golden Dido On Keeping Dido Unfathomable Girl on Fire Chapter Five: Imagery as Counternarrative in the Death of CamillaImagining Camilla Tracking Prey with Camilla Dressed to Kill: Clothing as Fire-starter, Again The Death of Camilla as a Life Fully Lived One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes' Appendix of Classic Film Edits Works Cited Index

Kirk Freudenburg is Brooks and Suzanne Ragen Professor of Classics at Yale University. His previous publications include Satires of Rome: Threatening Poses from Lucilius to Juvenal and, as editor, The Cambridge Companion to Roman Satire.

Like the best films, [Virgil's Cinematic Art] is well paced, beautifully shot and scripted, action-packed and leaves you wanting more.... This short book punches well above its weight and is written with infectious panache and exciting appreciation of the visual and verbal magic on show in this poem. It deserves an Oscar.

• IntroductionSeeing with Eyes Tightly Shut Two Worlds in Dialogue: Film Analysis and Classic Narratology Chapter One: Introducing SutureTracking Turnus: Visual Pursuit Watching Paris: Hatred at First Sight Sightings, First and Last: the Insect Similes of the Aeneid Chapter Two: Precedents in Earlier Roman Poetry Getting High with Lucretius Vertical Relations The Grammar of Angles Taken The Other Side of High: Positioning Pathos Chapter Three: Seeing as TellingThe Temple Ecphrasis of Aeneid 1 Aeneas the Neoteric Duces Feminae: Fade to Dido Image Pairs: the Catullan Background Caving in to Desire: Dido's Wedding Parade Chapter Four: Imagery as UnderstoryDido's Visual Feast Picturing Virgil's Words: Dido in the Middle Golden Dido On Keeping Dido Unfathomable Girl on Fire Chapter Five: Imagery as Counternarrative in the Death of CamillaImagining Camilla Tracking Prey with Camilla Dressed to Kill: Clothing as Fire-starter, Again The Death of Camilla as a Life Fully Lived One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes' Appendix of Classic Film Edits Works Cited Index

Kirk Freudenburg is Brooks and Suzanne Ragen Professor of Classics at Yale University. His previous publications include Satires of Rome: Threatening Poses from Lucilius to Juvenal and, as editor, The Cambridge Companion to Roman Satire.

Like the best films, [Virgil's Cinematic Art] is well paced, beautifully shot and scripted, action-packed and leaves you wanting more.... This short book punches well above its weight and is written with infectious panache and exciting appreciation of the visual and verbal magic on show in this poem. It deserves an Oscar.

• IntroductionSeeing with Eyes Tightly Shut Two Worlds in Dialogue: Film Analysis and Classic Narratology Chapter One: Introducing SutureTracking Turnus: Visual Pursuit Watching Paris: Hatred at First Sight Sightings, First and Last: the Insect Similes of the Aeneid Chapter Two: Precedents in Earlier Roman Poetry Getting High with Lucretius Vertical Relations The Grammar of Angles Taken The Other Side of High: Positioning Pathos Chapter Three: Seeing as TellingThe Temple Ecphrasis of Aeneid 1 Aeneas the Neoteric Duces Feminae: Fade to Dido Image Pairs: the Catullan Background Caving in to Desire: Dido's Wedding Parade Chapter Four: Imagery as UnderstoryDido's Visual Feast Picturing Virgil's Words: Dido in the Middle Golden Dido On Keeping Dido Unfathomable Girl on Fire Chapter Five: Imagery as Counternarrative in the Death of CamillaImagining Camilla Tracking Prey with Camilla Dressed to Kill: Clothing as Fire-starter, Again The Death of Camilla as a Life Fully Lived One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes' Appendix of Classic Film Edits Works Cited Index