The balcony perspective’s sensory palette is largely confined to the visual, but this is nevertheless an avenue of experience through which a film can communicate an ancient city’s aura of authenticity. our physical, sensory experience of a vivid recreation of the past (pp. ![]() The watching of historical film, according to this model, becomes a mode of our ‘being-in-history’, or of embodied history i.e. Thus, rather than encounter urban spaces on screen as distanced objects of our static gaze from a balcony, we are invited to experience them as visitors, traveling in and through them. In their introduction, editors Marta García Morcillo and Pauline Hanesworth situate the volume’s critical coordinates in the transition from Roland Barthes’s cinematic ‘balcony of history’ to a phenomenological model of viewership. This book is not only a scrupulously documented bridge to the substantial body of film that touches on the topic as well as the scholarship devoted to it, it is also a fresh starting line for work in the area. ![]() ![]() Imagining Ancient Cities in Film is the first edited volume wholly devoted to the cinematic ancient cities of the Mediterranean.
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