Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television. Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television.

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• Introduction: The Return of the Epic, Andrew B.R. Elliott; Part I: Epics and Ancient History; Sir Ridley Scott and the Rebirth of the Epic, Jeffrey Richards; The Decline and Fall of the Roman Empire and America since the Second World War: Some Cinematic Parallels, Kevin J. Harty; There’s Nothing So Wrong with a Hollywood Script that a Bunch of Giant CGI Scorpions Can’t Solve: Politics, Computer Generated Images and Camp in the Critical Reception of the Post-Gladiator Historical Epics: Mark Jancovich; Popcorn and Circus: An Audience Expects, Robert Stow; Part II: Epic Aesthetics and Genre; Colour in the Epic Film: Alexander and Hero, Robert Burgoyne; Defining the Epic: Medieval and Fantasy Epics, Paul Sturtevant; Special Effects, Reality, and the New Epic, Andrew B.R. Elliott; Part III: Epic Films and the Canon; Pass the Ammunition: A Short Etymology of Blockbuster, Sheldon Hall; Epic Stumbling Blocks, Saër Maty Bâ; The Greatest Epic of the 21st Century?, Deborah Bridge; Ramayana and Sita in Films and Popular Media: The Repositioning of a Globalised Version, Aarttee Kaul Dhar.

Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television. Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television.

Select Guide Rating

• Introduction: The Return of the Epic, Andrew B.R. Elliott; Part I: Epics and Ancient History; Sir Ridley Scott and the Rebirth of the Epic, Jeffrey Richards; The Decline and Fall of the Roman Empire and America since the Second World War: Some Cinematic Parallels, Kevin J. Harty; There’s Nothing So Wrong with a Hollywood Script that a Bunch of Giant CGI Scorpions Can’t Solve: Politics, Computer Generated Images and Camp in the Critical Reception of the Post-Gladiator Historical Epics: Mark Jancovich; Popcorn and Circus: An Audience Expects, Robert Stow; Part II: Epic Aesthetics and Genre; Colour in the Epic Film: Alexander and Hero, Robert Burgoyne; Defining the Epic: Medieval and Fantasy Epics, Paul Sturtevant; Special Effects, Reality, and the New Epic, Andrew B.R. Elliott; Part III: Epic Films and the Canon; Pass the Ammunition: A Short Etymology of Blockbuster, Sheldon Hall; Epic Stumbling Blocks, Saër Maty Bâ; The Greatest Epic of the 21st Century?, Deborah Bridge; Ramayana and Sita in Films and Popular Media: The Repositioning of a Globalised Version, Aarttee Kaul Dhar.

Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television. Andrew B.R. Elliott is a Senior Lecturer at the University of Lincoln, UK, where he works on the depiction of history in popular culture. In addition to his work on epics, he has written on the use of the Middle Ages, Robin Hood, Vikings, and Classical Antiquity in film, as well as the depiction of the past in video games and television.

Select Guide Rating

• Introduction: The Return of the Epic, Andrew B.R. Elliott; Part I: Epics and Ancient History; Sir Ridley Scott and the Rebirth of the Epic, Jeffrey Richards; The Decline and Fall of the Roman Empire and America since the Second World War: Some Cinematic Parallels, Kevin J. Harty; There’s Nothing So Wrong with a Hollywood Script that a Bunch of Giant CGI Scorpions Can’t Solve: Politics, Computer Generated Images and Camp in the Critical Reception of the Post-Gladiator Historical Epics: Mark Jancovich; Popcorn and Circus: An Audience Expects, Robert Stow; Part II: Epic Aesthetics and Genre; Colour in the Epic Film: Alexander and Hero, Robert Burgoyne; Defining the Epic: Medieval and Fantasy Epics, Paul Sturtevant; Special Effects, Reality, and the New Epic, Andrew B.R. Elliott; Part III: Epic Films and the Canon; Pass the Ammunition: A Short Etymology of Blockbuster, Sheldon Hall; Epic Stumbling Blocks, Saër Maty Bâ; The Greatest Epic of the 21st Century?, Deborah Bridge; Ramayana and Sita in Films and Popular Media: The Repositioning of a Globalised Version, Aarttee Kaul Dhar.