Abstract
Dan Curley’s chapter on spatial projections discusses the use of space in Troy (2004) and Agora (2009). Curley argues that epic film, like the ancient epic, requires sufficient space to cover not only the subject matter of kings, heroes and battles, but also intimate relationships, and the widescreen format of epic film can stand in for the long verse form of the dactylic hexameter used in epic poetry. This widescreen format also offers viewers the epic scale synonymous with the genre of the epic film, with its sweeping views of landscapes and cityscapes. However, just as important are the views of intimate spaces, where character development takes place: epic film offers us both the exterior view, where battles and journeys are staged, and the interior view, where our protagonists plot, debate and make love.
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