Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

Twenty years ago some biblical scholars at the University of Copenhagen were denounced as being nihilists and a threat to western civilization. What was their crime? They had exposed the fallacies of traditional historical-critical biblical scholarship, which was neither historical nor critical. Although the historical-critical interpretation of the Bible had developed over a period of more than a hundred years, it had ended up, with the help of a rationalistic paraphrase of the stories of the Old Testament, creating a society out of this world called biblical Israel. Israel was like no other society in the ancient world, and scarcely a real historic society at all. It was structured like a house of cards. Therefore, when some scholars began to question the historical content of the construction of ancient Israel, as it was usually called, the edifice broke down, first in bits and then totally. This study addresses the development of 'Minimalism' from its roots in the historical-critical paradigm and outlines an alternative theory which exposes and explains the intention behind the fallacy of using a story found in the Old Testament to simply invent the biblical concept of Israel.

Twenty years ago some biblical scholars at the University of Copenhagen were denounced as being nihilists and a threat to western civilization. What was their crime? They had exposed the fallacies of traditional historical-critical biblical scholarship, which was neither historical nor critical. Although the historical-critical interpretation of the Bible had developed over a period of more than a hundred years, it had ended up, with the help of a rationalistic paraphrase of the stories of the Old Testament, creating a society out of this world called biblical Israel. Israel was like no other society in the ancient world, and scarcely a real historic society at all. It was structured like a house of cards. Therefore, when some scholars began to question the historical content of the construction of ancient Israel, as it was usually called, the edifice broke down, first in bits and then totally. This study addresses the development of 'Minimalism' from its roots in the historical-critical paradigm and outlines an alternative theory which exposes and explains the intention behind the fallacy of using a story found in the Old Testament to simply invent the biblical concept of Israel.

This selection of articles – never before published in English – reflects the author’s position that the basic realization of minimalism has always been evident: that the Old Testament is not, exclusively, a book about history but is dominated by interests in theology both as literature and as an expression of the community in which biblical writings originated. It serves as a companion volume to his 2022 book Back to Reason: Minimalism in Biblical Studies and both gives an impression of the progress of biblical studies over the last generation or two but also presents a series of new ideas about subjects such as cultural memory, the redaction of Psalms, the importance of prophetic literature also for Christian theology and much more.

This selection of articles – never before published in English – reflects the author’s position that the basic realization of minimalism has always been evident: that the Old Testament is not, exclusively, a book about history but is dominated by interests in theology both as literature and as an expression of the community in which biblical writings originated. It serves as a companion volume to his 2022 book Back to Reason: Minimalism in Biblical Studies and both gives an impression of the progress of biblical studies over the last generation or two but also presents a series of new ideas about subjects such as cultural memory, the redaction of Psalms, the importance of prophetic literature also for Christian theology and much more.

Although Community (or Public) Archaeology originated in western countries, it has now spread all over the world. It integrates the archaeological past with living peoples in new and unique ways. It is however, a rather loosely-defined field; to some it means an attitude and a theoretical concept, which is, or should be, valid for archaeology as a whole and for every archaeologist. For others it is a certain practice or sub-field of archaeology, which by now has its own experts – that is, community archaeologists.It is perhaps not surprising that in Israel/Palestine Community Archaeology touches heavily upon the present, perhaps more than upon the past. No archaeology in this region is ‘neutral’ and the living communities are part of the heated, on-going political, social and religious conflicts that have shaped the past, and are shaping this land for over more than a hundred years. The question is whether archaeology, including Community Archaeology, strive to neutrality? Can Community Archaeology free us from the hegemonic position of the archaeologies of nations and states?This is the first volume dedicated to Community Archaeology in Israel/Palestine or the Southern Levant in general. Chapters in the book challenge (in several ways, though not always explicitly) the traditional “Biblical Archaeology” approach to the archaeology of Israel/Palestine. They present their individual concepts and ideas about Community Archaeology in Israel/Palestine, bringing different questions and treating different case studies, and also reaching different though not unrelated conclusions. The volume gives a first, refreshing look of a new archaeology in an old land.

Although Community (or Public) Archaeology originated in western countries, it has now spread all over the world. It integrates the archaeological past with living peoples in new and unique ways. It is however, a rather loosely-defined field; to some it means an attitude and a theoretical concept, which is, or should be, valid for archaeology as a whole and for every archaeologist. For others it is a certain practice or sub-field of archaeology, which by now has its own experts – that is, community archaeologists.It is perhaps not surprising that in Israel/Palestine Community Archaeology touches heavily upon the present, perhaps more than upon the past. No archaeology in this region is ‘neutral’ and the living communities are part of the heated, on-going political, social and religious conflicts that have shaped the past, and are shaping this land for over more than a hundred years. The question is whether archaeology, including Community Archaeology, strive to neutrality? Can Community Archaeology free us from the hegemonic position of the archaeologies of nations and states?This is the first volume dedicated to Community Archaeology in Israel/Palestine or the Southern Levant in general. Chapters in the book challenge (in several ways, though not always explicitly) the traditional “Biblical Archaeology” approach to the archaeology of Israel/Palestine. They present their individual concepts and ideas about Community Archaeology in Israel/Palestine, bringing different questions and treating different case studies, and also reaching different though not unrelated conclusions. The volume gives a first, refreshing look of a new archaeology in an old land.

The Reception of Archaeology in Film is an appraisal of how the profession of archaeology and its related fields are presented in Hollywood cinema.Using the Indiana Jones series as a jumping off point, McGeough explores how these movies inspire the public’s interest in the past but simultaneously complicate that interest. The Reception of Archaeology in Film shows how the stories told about the profession are often more entangled with the history of film than the history of the cultures the cinematic characters are exploring.Concentrating on the social meanings that are constructed through these films rather than critiquing the accuracy of archaeological techniques depicted, the book examines how the repetition of tropes about the past and its relationships to different communities informs contemporary arguments. Issues of imperialism and colonialism tie into larger questions that the field of archaeology grapples with. Other issues, such as the ubiquity of violence in these movies and the reframing of antiquities as powerful weapons point to other social tensions. The treatment of the past as something to be rescued, as something to be fought for, and as something that can be translated into financial gain all impact contemporary policies about heritage. Lines are drawn in these films between which kinds of conduct toward the past are heroic, which are evil, which are criminal, and which are ethical, and these impact viewer perceptions in powerful but not necessarily readily apparent ways.Aimed at students and scholars, this book is suitable for those well familiar with movies, archaeology, and critical theory, and those who want an introduction to the subject.

Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

Twenty years ago some biblical scholars at the University of Copenhagen were denounced as being nihilists and a threat to western civilization. What was their crime? They had exposed the fallacies of traditional historical-critical biblical scholarship, which was neither historical nor critical. Although the historical-critical interpretation of the Bible had developed over a period of more than a hundred years, it had ended up, with the help of a rationalistic paraphrase of the stories of the Old Testament, creating a society out of this world called biblical Israel. Israel was like no other society in the ancient world, and scarcely a real historic society at all. It was structured like a house of cards. Therefore, when some scholars began to question the historical content of the construction of ancient Israel, as it was usually called, the edifice broke down, first in bits and then totally. This study addresses the development of 'Minimalism' from its roots in the historical-critical paradigm and outlines an alternative theory which exposes and explains the intention behind the fallacy of using a story found in the Old Testament to simply invent the biblical concept of Israel.

Twenty years ago some biblical scholars at the University of Copenhagen were denounced as being nihilists and a threat to western civilization. What was their crime? They had exposed the fallacies of traditional historical-critical biblical scholarship, which was neither historical nor critical. Although the historical-critical interpretation of the Bible had developed over a period of more than a hundred years, it had ended up, with the help of a rationalistic paraphrase of the stories of the Old Testament, creating a society out of this world called biblical Israel. Israel was like no other society in the ancient world, and scarcely a real historic society at all. It was structured like a house of cards. Therefore, when some scholars began to question the historical content of the construction of ancient Israel, as it was usually called, the edifice broke down, first in bits and then totally. This study addresses the development of 'Minimalism' from its roots in the historical-critical paradigm and outlines an alternative theory which exposes and explains the intention behind the fallacy of using a story found in the Old Testament to simply invent the biblical concept of Israel.

This selection of articles – never before published in English – reflects the author’s position that the basic realization of minimalism has always been evident: that the Old Testament is not, exclusively, a book about history but is dominated by interests in theology both as literature and as an expression of the community in which biblical writings originated. It serves as a companion volume to his 2022 book Back to Reason: Minimalism in Biblical Studies and both gives an impression of the progress of biblical studies over the last generation or two but also presents a series of new ideas about subjects such as cultural memory, the redaction of Psalms, the importance of prophetic literature also for Christian theology and much more.

This selection of articles – never before published in English – reflects the author’s position that the basic realization of minimalism has always been evident: that the Old Testament is not, exclusively, a book about history but is dominated by interests in theology both as literature and as an expression of the community in which biblical writings originated. It serves as a companion volume to his 2022 book Back to Reason: Minimalism in Biblical Studies and both gives an impression of the progress of biblical studies over the last generation or two but also presents a series of new ideas about subjects such as cultural memory, the redaction of Psalms, the importance of prophetic literature also for Christian theology and much more.

Although Community (or Public) Archaeology originated in western countries, it has now spread all over the world. It integrates the archaeological past with living peoples in new and unique ways. It is however, a rather loosely-defined field; to some it means an attitude and a theoretical concept, which is, or should be, valid for archaeology as a whole and for every archaeologist. For others it is a certain practice or sub-field of archaeology, which by now has its own experts – that is, community archaeologists.It is perhaps not surprising that in Israel/Palestine Community Archaeology touches heavily upon the present, perhaps more than upon the past. No archaeology in this region is ‘neutral’ and the living communities are part of the heated, on-going political, social and religious conflicts that have shaped the past, and are shaping this land for over more than a hundred years. The question is whether archaeology, including Community Archaeology, strive to neutrality? Can Community Archaeology free us from the hegemonic position of the archaeologies of nations and states?This is the first volume dedicated to Community Archaeology in Israel/Palestine or the Southern Levant in general. Chapters in the book challenge (in several ways, though not always explicitly) the traditional “Biblical Archaeology” approach to the archaeology of Israel/Palestine. They present their individual concepts and ideas about Community Archaeology in Israel/Palestine, bringing different questions and treating different case studies, and also reaching different though not unrelated conclusions. The volume gives a first, refreshing look of a new archaeology in an old land.

Although Community (or Public) Archaeology originated in western countries, it has now spread all over the world. It integrates the archaeological past with living peoples in new and unique ways. It is however, a rather loosely-defined field; to some it means an attitude and a theoretical concept, which is, or should be, valid for archaeology as a whole and for every archaeologist. For others it is a certain practice or sub-field of archaeology, which by now has its own experts – that is, community archaeologists.It is perhaps not surprising that in Israel/Palestine Community Archaeology touches heavily upon the present, perhaps more than upon the past. No archaeology in this region is ‘neutral’ and the living communities are part of the heated, on-going political, social and religious conflicts that have shaped the past, and are shaping this land for over more than a hundred years. The question is whether archaeology, including Community Archaeology, strive to neutrality? Can Community Archaeology free us from the hegemonic position of the archaeologies of nations and states?This is the first volume dedicated to Community Archaeology in Israel/Palestine or the Southern Levant in general. Chapters in the book challenge (in several ways, though not always explicitly) the traditional “Biblical Archaeology” approach to the archaeology of Israel/Palestine. They present their individual concepts and ideas about Community Archaeology in Israel/Palestine, bringing different questions and treating different case studies, and also reaching different though not unrelated conclusions. The volume gives a first, refreshing look of a new archaeology in an old land.

The Reception of Archaeology in Film is an appraisal of how the profession of archaeology and its related fields are presented in Hollywood cinema.Using the Indiana Jones series as a jumping off point, McGeough explores how these movies inspire the public’s interest in the past but simultaneously complicate that interest. The Reception of Archaeology in Film shows how the stories told about the profession are often more entangled with the history of film than the history of the cultures the cinematic characters are exploring.Concentrating on the social meanings that are constructed through these films rather than critiquing the accuracy of archaeological techniques depicted, the book examines how the repetition of tropes about the past and its relationships to different communities informs contemporary arguments. Issues of imperialism and colonialism tie into larger questions that the field of archaeology grapples with. Other issues, such as the ubiquity of violence in these movies and the reframing of antiquities as powerful weapons point to other social tensions. The treatment of the past as something to be rescued, as something to be fought for, and as something that can be translated into financial gain all impact contemporary policies about heritage. Lines are drawn in these films between which kinds of conduct toward the past are heroic, which are evil, which are criminal, and which are ethical, and these impact viewer perceptions in powerful but not necessarily readily apparent ways.Aimed at students and scholars, this book is suitable for those well familiar with movies, archaeology, and critical theory, and those who want an introduction to the subject.