Glass, Leanne2022-06-102022-06-102014Glass, L. (2014). 300 and Fellini-Satyricon: Film theory in the tertiary classroom. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. 1(1). http://journaldialogue.org/issues/issue-1/300-and-fellini-satyricon-film-theory-in-the-tertiary-classroom/2378-23232378-2331http://journaldialogue.org/issues/issue-1/300-and-fellini-satyricon-film-theory-in-the-tertiary-classroom/http://nur.nu.edu.kz/handle/123456789/6204Pedagogical practices in Reception-based courses on ancient Greece and Rome in film often focus on an individual film’s connections to its historical themes and meta-narrative. In contrast, courses based on Film Studies often focus pedagogical discourses on filmic techniques or the filmmaking process per se. Regularly, the two approaches remain discrete and discipline-based. In view of this disjuncture in teaching approaches and foci, the intention of this paper is to explore the benefits of film theory, including its consideration of film technique, within Classical Reception courses. Therefore, the suggestion offered herein is that more emphasis on the pedagogies of Film Studies would provide an enhanced or richer understanding of cinematic interpretations and possibilities for the student of Classical Reception and film. To illustrate this pedagogical suggestion, a discussion of mainstream, Hollywood-style cinema as depicted by Zack Snyder’s 300 (2007), in contrast to the independent auteur-driven film, Federico Fellini’s Fellini-Satyricon (1969), is the focus. These two films provide the tertiary instructor with a variety of theoretical and technical considerations that are important learning components in a course on ancient Greece and Rome in film. Not only do the films enable the instructor to discuss concepts such as the auteur but also to introduce students to topics such as art-house and Hollywood studio filmmaking, which further introduces subjects such as “high” art versus popular culture. Additionally, focusing on two different styles of filmmaking and including an acknowledgment of each filmmaker’s objectives enables the tertiary instructor to explore other fields of inquiry that cover broader cultural issues such as class, race, gender, and sexuality. This, in turn, allows for a more informed interaction on specific cultural themes between the ancient and modern worlds as interpreted by the filmmakers.enAttribution-NonCommercial-ShareAlike 3.0 United StatesType of access: Open AccessArticle