Abstract
Hercules Conquers Atlantis (Gottafavi, 1961) both acknowledges and departs from the depiction of Herculean masculinity in the 1958 Hercules. It is also one of the most discussed peplum films in terms of academic debates in this field. From its initial reception onwards, the film’s representation of Hercules has been identified as substantially and significantly different from that embodied by Steve Reeves in Hercules and Hercules Unchained (Francisci, 1959). I am interested in the nature of this difference, how it has been presented in previous commentary and what if may reflect of wider debates during the early 1960s, both in Italy and elsewhere.
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© 2014 Daniel O’Brien
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O’Brien, D. (2014). Hercules Reformed. In: Classical Masculinity and the Spectacular Body on Film. Palgrave Macmillan, London. https://doi.org/10.1057/9781137384713_3
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DOI: https://doi.org/10.1057/9781137384713_3
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-48102-6
Online ISBN: 978-1-137-38471-3
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