Sylvie Magerstädt – författare

This book is the first systematic study examining depictions of Roman Britain in fictional film and television, exploring the varying interpretations of the rich history and myths that emerge from the clash of cultures between Romans and Britons.The book proceeds chronologically through four hundred years of Roman occupation, starting with the Claudian invasion in ad 43 as featured in the television drama Britannia, before examining numerous works on Boudica’s rebellion (Warrior Queen; Boudica: Warrior Queen and Boudica: Queen of War). It then investigates the period of settlement and Northern conflicts in the second century ad as reflected in the comedy show Chelmsford 123 and the recent films Centurion and The Eagle. The final chapter considers Rome’s influence on the most enduring of British myths – Arthurian legend – as illustrated in films like King Arthur, The Last Legion, Arthur & Merlin: Knights of Camelot and other recent works. On its route through history, the book examines how these works have interwoven contemporary concerns into their ancient worlds. As the book demonstrates, Roman Britain has left lasting traces in our culture. Exploring its representation on screen offers valuable insights into these traces and addresses questions about national identity, colonialism, multiculturalism and the mythologising of history.This volume provides a fascinating study of Roman Britain on screen, of interest to students and scholars of classical reception, film and television, and history, as well as those with an interest in representation and the cultural significance and contemporary relevance of early colonial narratives.

This book is the first systematic study examining depictions of Roman Britain in fictional film and television, exploring the varying interpretations of the rich history and myths that emerge from the clash of cultures between Romans and Britons.The book proceeds chronologically through four hundred years of Roman occupation, starting with the Claudian invasion in ad 43 as featured in the television drama Britannia, before examining numerous works on Boudica’s rebellion (Warrior Queen; Boudica: Warrior Queen and Boudica: Queen of War). It then investigates the period of settlement and Northern conflicts in the second century ad as reflected in the comedy show Chelmsford 123 and the recent films Centurion and The Eagle. The final chapter considers Rome’s influence on the most enduring of British myths – Arthurian legend – as illustrated in films like King Arthur, The Last Legion, Arthur & Merlin: Knights of Camelot and other recent works. On its route through history, the book examines how these works have interwoven contemporary concerns into their ancient worlds. As the book demonstrates, Roman Britain has left lasting traces in our culture. Exploring its representation on screen offers valuable insights into these traces and addresses questions about national identity, colonialism, multiculturalism and the mythologising of history.This volume provides a fascinating study of Roman Britain on screen, of interest to students and scholars of classical reception, film and television, and history, as well as those with an interest in representation and the cultural significance and contemporary relevance of early colonial narratives.

Philosophy, Myth and Epic Cinema looks at the power of cinema in creating ideas that inspire our culture. Sylvie Magerstädt discusses the relationship between art, illusion and reality, a theme that has been part of philosophical debate for centuries. She argues that with the increase in use of digital technologies in modern cinema, this debate has entered a new phase. She discusses the notion of illusions as a system of stories and values that inspire a culture similar to other grand narratives, such as mythology or religion. Cinema thus becomes the postmodern “mythmaking machine” par excellence in a world that finds it increasingly difficult to create unifying concepts and positive illusions that can inspire and give hope.The author draws on the work of Friedrich Nietzsche, Siegfried Kracauer, and Gilles Deleuze to demonstrate the relevance of continental philosophy to a reading of mainstream Hollywood cinema. The book argues that our longing for illusion is particularly strong in times of crisis, illustrated through an exploration of the recent revival of historic and epic myths in Hollywood cinema, including films such as Troy, The Lord of the Rings Trilogy, and Clash of the Titans.

Philosophy, Myth and Epic Cinema looks at the power of cinema in creating ideas that inspire our culture. Sylvie Magerstädt discusses the relationship between art, illusion and reality, a theme that has been part of philosophical debate for centuries. She argues that with the increase in use of digital technologies in modern cinema, this debate has entered a new phase. She discusses the notion of illusions as a system of stories and values that inspire a culture similar to other grand narratives, such as mythology or religion. Cinema thus becomes the postmodern “mythmaking machine” par excellence in a world that finds it increasingly difficult to create unifying concepts and positive illusions that can inspire and give hope.The author draws on the work of Friedrich Nietzsche, Siegfried Kracauer, and Gilles Deleuze to demonstrate the relevance of continental philosophy to a reading of mainstream Hollywood cinema. The book argues that our longing for illusion is particularly strong in times of crisis, illustrated through an exploration of the recent revival of historic and epic myths in Hollywood cinema, including films such as Troy, The Lord of the Rings Trilogy, and Clash of the Titans.

TV antiquity explores representations of ancient Greece and Rome throughout television history. The first comprehensive overview of the ‘swords and sandals’ genre on the small screen, it argues that these shows offer a distinct perspective on the ancient world. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 1960s to the most recent digital spectacles. One of its key insights is that the structure of serial television is at times better suited to exploring the complex mythic and historic plots of antiquity. Featuring a range of case studies, from popular serials like I, Claudius (1976) and Rome (2005–8) to lesser known works like The Caesars (1968) and The Eagle of the Ninth (1976), the book illustrates how broader cultural, political and economic issues have over time influenced the representation of antiquity on television.