Maurice is up to date, including, for example, 2018’s Troy: Fall of a City. Some of the most discussed fantasy/mythological texts include Jason and the Argonauts (1963), Clash of the Titans (1981), Disney’s Hercules (1997), Percy Jackson and the Lightning Thief (2010), Clash of the Titans (2010), Immortals (2011) religious/biblical films include The Ten Commandments (1956), King of Kings (1961), The Greatest Story Ever Told(1965), Jesus of Nazareth (1977), The Last Temptation of Christ (1988), Exodus: Gods and Kings (2014), Noah (2014). reception studies), and limits for example, Islam is omitted, and the majority of screen texts considered, while a mix of mainstream and lesser known ones, are mostly in English and date from the mid-twentieth century and later. She further analyzes how the two types of films affect each other’s representations and interpretations and considers them within the contemporary context of their productions.Ĭhapter 1 (“Screening Divinity: Introduction”) briefly sets out the scope of the work, its methodology (e.g. She looks for similarities and links between the two larger categories of, on the one hand, mythological or fantasy films, and, on the other, religious or biblical epic films and biopics, including what constitutes divinity (from multiple viewpoints) and the nature of divine-human relations. As Maurice notes, “No matter what the name of the deity on screen, the film makers are all presenting the divine, and we are all ‘god-watching’, when viewing these films, which I would suggest are a genre all of their own, which might be termed ‘divinity movies’” (3). Lisa Maurice’s Screening Divinity, the latest volume in Edinburgh University Press’ relatively new Screening Antiquityseries, which examines the reception of classical antiquity in film and television, is novel in that she discusses both mythological (ancient Greek) and biblical (Judeo-Christian) divinities and divine-like figures from film and television, usually treated separately, in one work.