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The Battle of Artemisium, or Battle of Artemision, was a series of naval engagements over three .. and Syria, , Egypt, , Cyprus, Cilicia, , Ionia,   Greek city-states‎: ‎Persian Empire.
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The Athenians, who saved Greece at sea, fought a different kind of war.

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Ships and seamanship, rather than brawn, proved decisive. And when brains rule, women can rise to the challenge. In fact, the two naval battles saw the participation of probably the first female admiral in history—Artemisia, queen of Halicarnassus.

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Though half-Greek, she fought for the Persians. Instead, it makes Artemisia into the stunning and deadly leader of the Persians, rendering the Persian king, Xerxes, as a figurehead.


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In the charismatic French actress Eva Green, Artemisia is entirely credible. She is a masterful killer, equally at home with swords and sex as weapons—not a surprising role for Green, who has portrayed a Crusader queen, a Parisian pleasure-lover, and a James Bond girl. Themistocles, leader of the Greek fleet, played by the muscular Australian Sullivan Stapleton, is no figurehead, but he fades in comparison with Artemisia.

In the big-screen telling of Salamis, another woman comes to the rescue: Gorgo, widow of Leonidas, the fallen king, who brings the Spartan fleet with her to polish off the enemy. Played by English actress Lena Headey, Gorgo is gorgeous but all business, a cold but still-inspiring leader.

300: Artemisium

The real-life Gorgo stayed home; the celluloid version saves Greece. As anyone who remembers Helen of Troy knows, men have marched to war throughout history under the banner of women. Bloomsbury Publishing , 21 thg 3, - trang.

Following the release of Ridley Scott's Gladiator in the ancient world epic has experienced a revival in studio and audience interest. Building on existing scholarship on the Cold War epics of the ss, including Ben-Hur , Spartacus and The Robe , this original study explores the current cycle of ancient world epics in cinema within the social and political climate created by September 11th Examining films produced against the backdrop of the War on Terror and subsequent invasions of Iraq and Afghanistan, this book assesses the relationship between mainstream cinema and American society through depictions of the ancient world, conflict and faith.

Davies explores how these films evoke depictions of the Second World War, the Vietnam War and the Western in portraying warfare in the ancient world, as well as discussing the influence of genre hybridisation, narration and reception theory.


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He questions the extent to which ancient world epics utilise allegory, analogy and allusion to parallel past and present in an industry often dictated by market forces.