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accents: Irish vs. English, 18, 219, 232; and Jolie’s portrayal of Olympias, 37, 40, 50n4, 154–55, 164n80; as sign of “Otherness,” 154–55, 163n78, 164n80, 269–70 Achilles: Alexander identified with, 6–7, 26, 129–30, 144, 150–51, 289–90, 347; relationship with Patroclus, 9, 119, 120, 126–27, 129–30, 132n13, 164n88, 179, 290, 342–43; Stone’s use of figure of, 26, 48, 67, 150–51, 221, 289–90, 342–43, 347; in Troy, 9, 119, 178–79 Adea Eurydice, 137, 160n41 Adventure Story (Rattigan), 9; audience reception of, 58, 59; characterizations in (see under specific characters); compared and contrasted with Alexander, 60, 61– 64, 69–70; critical reception of, 59–60, 88, 89; homosexual themes avoided or elided in, 59, 62–63; imperialism and, 71; intergenerational struggle as parallel story in, 87–88; maternal figures in, 84, 87; mythologizing of Alexander and, 67–68; and Plutarch as source, 61, 74–75, 78, 80, 83; The Pythia and visit to Delphi in, 63–66, 70–71, 76; sources for, 61–64, 84–85; style and language in, 60–61, 84 advertising. See marketing and promotion Aeschylus, 48, 61, 126–27, 228 Ahuramazda, 237n58, 248–49, 348 Alexander (2004 theatrical release), 12n4, 12n8,20,30n14,31n29,36,42,43,50n15, 119, 140, 186, 208n15, 244, 253, 256, 301n23, 341; commentary on DVD release , 152, 154, 158n11, 159n24, 160n38, 161n47,164n83,293.SeealsoAlexander: Director’sCut; AlexanderRevisited:The Final Cut Alexander: Director’s Cut (2005 DVD release ), 12n8, 12n9; commentary on, 144, 151, 155, 158n4, 158n16, 159n28, 164n80; narrative changes and, 70, 207n12,208;sexualscenesandthemes revised in, 18, 132n16, 147, 164n85, 176, 179, 186–87 Alexander, Stone’s characterization of: as amalgam of mythological figures, 342; “eastern narrative” as essential to, 245–47; as heroic figure, 26–27, 85–86; historiography and, 219–20, 232–33; asidealist,26–27,224–25,234; motives and, 339–40, 350; as psychologically unsatisfying for audience, 232–34; sexuality and, 16–18, 86–87, 145, 147, 148, 174–77; as socially inclusive and multicultural, 21, 38, 102, 155, 270–72, 288; Stone on complexity of Alexander’s personality, 340; violence and, 223–24, 233. See also Farrell, Colin; homosexuality Alexander III, King of Macedon: and civilizing mission, 67, 187, 220–21, 223, 236n39, 315, 348; as historical figure, 5–6, 27–28, 41; as literary figure, 6–8; in modern scholarship, 66; Rattigan’s 357 Index Alexander III (continued) characterization of, 60–62, 65, 67–68, 85; Rossen’s casting and characterization of, 92, 106, 109; in Stone’s film (see Alexander, Stone’s characterization of); Tarn on historical, 64–66; as transgressive figure, 11–12 Alexander Mosaic, 107, 109, 288 Alexander Revisited: The Final Cut (2007 DVD release), 12n8, 70, 73, 186, 341–42 Alexander Romance: and mythologizing of Alexander’s biography, 105; Olympias in, 143; Rossen’s Alexander the Great and, 100 Alexander the Great (Lane Fox), 306 Alexander the Great (Rossen), 9, 23, 28; audience reception of, 94–98; biographicalapproachtonarrativein ,92–93;box office receipts for, 94; casting for, 104– 5; characterizations in, 97–98; credits for, 106–7; critical reception of, 94–95, 97; DVD release in 2004, 173; and historical accuracy, 97, 108–11; intergenerational conflict in, 93, 98–100; modern politics as context for, 101; mythologizing themes in, 100–101; political contextsand ,102–5;productiondesignfor, 97; sources and, 106–7; as subversion of “Hollywood epic” conventions, 96– 97, 104–5 Alexander the Great (television series pilot), 113n1, 135, 188–89 Amazons, 155 Anabasis Alexandrou (Arrian), 7, 63, 75, 86, 105, 106, 107, 110, 129, 132n17, 137–38, 140, 146, 150, 191 animals and animal imagery: birds, 49, 291–95, 348 (see also eagles under this heading); eagles, 49, 292–95, 344, 348, 351; Homeric similes deployed by Stoneinfilm,49;horses(Bucephalas), 83; lions, 49, 100; war-elephants in battle scene, 6, 25, 55, 62 Any Given Sunday (Stone), 47 The Arabian Nights Entertainments (Redman ), 252 archaeology: as influence on Stone’s film, 47, 141, 293; Macedonian sites linked to Alexander III, 312, 314; popular interest in, 314; as quest, 312–13; recent Macedonian finds, 316, 327 Aristotle: as authoritative source, 68; Greek social code and sexual norms as formulatedby,43,121–22,125,187, 208n14; Hephaestion as student of, 189–90; letter of advice to Alexander, 69–70; in Macedonia, 189; and the mythologizing of Alexander, 67–68; Poeticsandthenarrativeideal,28,348; Rattigan’s characterization of, 67–68, 81; Rossen’s characterization of, 93, 101; on social...

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