• Dumont, Henri, ‘Filmografie’, in: Claude Aziza (ed), Le péplum. L’antiquite au cinéma (Paris 1998) 129-180
• Smith, Gary A., Epic films: cast, credits and commentary on over 250 historical spectacle movies, Jefferson, NC 1991
• Smith, Gary A., Epic films: cast, credits and commentary on over 350 historical spectacle movies, Jefferson, NC 2004 

• Elley, Derek, The epic film: myth and history, cinema and society, London 1984
• Fritze, Christoph, Georg Seesslen & Claudius Weil, Der Abenteurer. Geschichte und Mythologie des Abenteuer-Films, Reinbeck 1983
• Schenk, Imbert, Der italienische Historienfilm von 1905 bis 1914, Bremen 1991
• Schenk, Imbert, ‘Il “peplum” italiano. Perché il film storico-monumentale fu “inventato” in Italia, ovvero: Da Cabiria a Mussolini’ =  http://www.muspe.unibo.it/period/fotogen/num045/04SCHENCK.htm
• Searles, Baird, Epic! History of the big screen, New York 1990

• Aubert, Natacha, ‘Antiquité et cinéma’ = http://www.unine.ch/antic/cinenat.html
• Aziza, Claude (ed), Le péplum. L’antiquite au cinéma, Paris 1998 (= CinémAction 89)
• Aziza, Claude, ‘La répétition ou l’amour puni? Réflexions sur le péplum des origines’, CinémAction 53 (1989) 33-36
• Aziza, Claude, ‘Le péplum’, CinémAction 68 (1993) 150-153
• Chapman, David, Retro stud. Muscle movie posters from around the world, Portland 2002
• Dall’Asta, Monica, Un cinéma musclé. Le surhomme dans le cinéma muet italien (1913-1926), Crisnée (B) 1992
• Della Casa, S. & C. Piazza, B.C. – Before Conan. Essai d’étude sur le péplum / Saggi di documentazione sul cinema storico-mitologico, Torino 1983
• Eloy, Michel, ‘La vision critique du péplum’, Dossiers d’archéologie 216, 52-57
• Eloy, Michel, ‘Architecture et péplum: la cité antique’, CinémAction 75 (1995) 17-24
• Esposito, R., ‘Héroïc-fantasy et péplum en Italie’, Ecran fantastique 51 (1983)
• Garel, Alain, ‘Le péplum’, Image et son 305 (Avril 1976) 32-45
• Graitson, Jean-Marie (ed), Péplum. L’antiquité dans le roman, la BD et le cinéma. Actes du 2e colloque international des paralittératures de Chaudfontaine consacré à l’aventure (2e volume), 11-13 novembre 1988, Liège 1993 (Les cahiers des paralittératures 5)
• Lagny, Michèle, ‘Popular taste: the peplum’, in: R. Dyer & G. Vincendeau (edd), Popular European cinema (1992) 163-180
• Legrand, Gérard, ‘Le péplum et la cape’, Positif. Revue de cinéma 50-52 (1963) 170-179
• Luciano, Patrick, With fire and sword: Italian spectacles on American screens 1958-1968, Metuchen, N.J. 1994
• Martinelli, Vittorio & Mario Quargnolo, Maciste & Co. I giganti buoni del muto italiano, Gemona (La Cineteca del Friuli) 1981
• Moullet, Luc, ‘La victoire d’Ercole’, Cahiers du Cinéma 22, nr 131 (1962) 39-42
• Siclier, Jacques, ‘L’age du péplum’, Cahiers du Cinéma 22, nr 131 (1962) 26-38
• Torok, Jean-Paul, ‘Le Maciste ne passera pas’, Midi-Minuit Fantastique Juin 1963) 81-83

• Verreth, Herbert, De oudheid in film, 1995 (Mimemata. Leuvense bijdragen over de oudheid 1) (2003 versie on-line: http://www.arts.kuleuven.be/ALO/klassieke/film.htm)

• Aziza, Claude, ‘Mussolini and Carthage. Glorification of Roman History through Italian cinema’, Histoire 157 (1992) 37-37
• Blom, Ivo, ‘Quo Vadis? From painting to cinema and everything in between’, in: Leonardo Quaresima & Laura Vinchi (edd), La decima Musa. Il cinema e le altri arti / The tenth Muse. Cinema and the other arts (Udine 2001) 281-292 (een Nederlandse versie: ‘Gérôme en Quo vadis? Pictorale invloeden in de film’, Jong Holland 17.4 (2001) 19-28)
• Chalkias, Chrestos, ‘O archeos kosmos sto diethni kinematografo’, Archeolojia 37 (1990) 6-33
• Collognat, Annie, ‘L’antiquité au cinéma’, Bulletin de l’Association Guillaume Budé (1994-1995) 332-351
• Goudeles, Thasos, ‘Ellinikos kinematografos ke istoria: mia skiagrafisi’, Archeolojia 37 (1990) 34-46
• Junkelmann, Marcus, Hollywoods Traum von Rom. Gladiator und die Tradition des ‘Monumentalfilms’, München 2004
• Lindner, Ruth, ‘“Sandalenfilme” und der archäologische Blick. Protokoll eines Versuchs’, Thetis. Mannheimer Beiträge zur klassischen Archäologie und Geschichte Griechenlands und Zyperns 5/6 (1999) 519-536
• Martin, Frédéric, L’antiquité au cinéma, Paris 2002
• Mayer, David (ed), Playing out the Empire. Ben-Hur and other toga plays and films, 1883-1908. A critical anthology, edited with an introduction and notes by David Mayer and an essay on the incidental music for toga dramas by Katherine Preston, Oxford 1994
• Michaud, P.A., ‘The persistance of myths: The image of antiquity in cinema’, Oeil – Magazine International D’Art 521 (Nov 2000) 68
• Solomon, Jon, ‘In the wake of Cleopatra. Rome and Greece, filmography: the Ancient World in the cinema since 1963’, Classical Journal 91 (1996) 113-140
• Solomon, Jon, The ancient world in the cinema, New Haven 2001
• Wieber-Scariot, Anja, ‘Film’, in: Der Neue Pauly 13 (1999) 1133-1141
• Winkler, Martin M. (ed), ‘Classics and cinema’, Bucknell Review 35.1 (1991)

• Campbell, R.H. & M.R. Pitts, The Bible on film, a checklist 1897-1980, London 1981

• Babington, Bruce & Peter Williams Evans, Biblical epics. Sacred narrative in the Hollywood cinema, Manchester 1993
• Christianson, E.S., P. Francis & W.R. Telford (edd), Cinéma divinité: religion, theology and the Bible in film, London 2005
• Eloy, Michel, ‘L’Égypte au cinéma’, in: Michel Thiébaut (ed), Histoire et bandes dessinées. Images de l’Égypte ancienne (Besançon 1987) 73-95
• Fössmeier, Christine, ‘“Ich bin Ägypten”. Selbstinszenierung und Fremdstilisierung der Kleopatra im Film’, Antike Welt. Zeitschrift für Archäologie und Kulturgeschichte 32 (2001) 285-288
• Forshey, Gerald E., American religion and biblical spectaculars, Westport, Conn. 1992
  behandelt ook non-biblical spectaculars als Quo vadis, The Robe en Ben-Hur
• Kuchenbuch, Thomas, ‘Bibel und Geschichte: zum religiösen Film: Die Zehn Gebote (The Ten Commandments)’, in: W. Faulstich & H. Korte (edd), Fischer Filmgeschichte 3 (1990) 299-330
• Prigent, Pierre, Jésus au cinéma, Genève 1997 (Entrée libre 37)
• Une invention du diable? Cinéma des premiers temps et religion / An invention of the devil? Religion and early cinema, Actes du 1er collocque international de Domitor, Juin 1990, Lausanne 1992
• Wenzel, D., Kleopatra im Film. Eine Königin Ägyptens als Sinnbild für orientalische Kultur, Remscheid 2005

• Dumont, Henri, ‘Filmografie’, in: Claude Aziza (ed), Le péplum. L’antiquite au cinéma (Paris 1998) 129-180
• Verreth, Herbert, De oudheid in film, 1995 (zie boven)

• Athanasopoulos, Nikos, ‘O kinematografos ke i archei Ellenes: istoria’, Ikonografimini 394 (2001) 123-
• Nisbet, Gideon, Ancient Greece in film and popular culture, 2005 (nog te verschijnen)
• Verreth, Herbert, ‘De Griekse oudheid in film’, Kleio 25.1 (1995) 29-44

• Bertini, Ferruccio (ed), Il mito classico e il cinema, Genova 1997
• Clauss, James J., ‘A course on classical mythology in film’, Classical Journal 91 (1996) 287-295
• Eigler, U. (ed), Bewegte Antike. Antike Themen im modernen Film, Stuttgart 2002
  • Anja Wieber, ‘Auf Sandalen durch die Jahrtausende – eine Einführung in den Themenkreis “Antike und Film”’, 4-40
  • Matthias Brütsch & Therese Fuhrer, ‘Annäherung an eine fremde Welt: Fellini-Satyricon im Spannungsfeld von klassisichem Antikenfilm und literarischer Vorlage’, 41-54
  • Bernhard Zimmermann, ‘Fremde Antike? P.P. Pasolini’s Medea’, 55-66
  • Achim Forst, ‘Leidende Rächerin: Lars von Triers Medea’, 67-79
  • Peter Riemer, ‘Der sophokleische Ödipus im Spiegel von Pasolinis Edipo Re’, 80-87
• Fusillo, Massimo, ‘Antigone sullo schermo’, Maia 54 (2002) 515-526
• McDonald, Marianne, Euripides in cinema: the heart made visible, Boston 1991 (oorspronkelijke uitgave 1983)
• McDonald, Marianne, ‘Cacoyannis vs. Euripides: from tragedy to melodrama’, Drama. Beiträge zum antiken Drama und seiner Rezeption 2 (1993) 222-234
• MacKinnon, Kenneth, Greek tragedy into film, Rutherford 1986
• Schulze-Gattermann, Silke, Das Erbe des Odysseus: antike Tragödie und mainstream-Film, 2000
• Winkler, Martin M. (ed), Classical myth and culture in the cinema, New York 2001
  • M.M. Winkler, ‘Introduction’
  • E.B. Hotsmark, ‘The katabasis theme in modern cinema’
  • H.M. Roisman, ‘Verbal Odysseus: narrative strategies in the Odyssey and in The Usual Suspects’
  • M. McDonald & M.M. Winkler, ‘Michael Cacoyannis and Irene Papas on Greek tragedy’
  • M. McDonald, ‘Eye of the camera, eye of the victim: Iphigenia by Euripides and Cacoyannis’
  • M.M. Winkler, ‘Tragic features in John Ford’s The Searchers’
  • M.-K. Gamel, ‘An American tragedy: Chinatown’
  • J.R. Baron, ‘Tricksters and typists: 9 to 5 as Aristophanic comedy’
  • J.K. Newman, ‘Ancient poetics and Eisenstein’s films’
  • F. Mench, ‘Film sense in the Aeneid’
  • J.F. Siegel, ‘Peter Greenaway’s The Cook, the Thief, His Wife and Her Lover: a Cockney Procne’
  • J.P. Sullivan, ‘The social ambience of Petronius’ Satyricon and Fellini Satyricon’
  • M.M. Winkler, ‘Star wars and the Roman empire’
  • P.W. Rose, ‘Teaching classical myth and confronting contemporary myths’
  • J. Solomon, ‘The sounds of cinematic Antiquity’

  en zie de titels onder nr 6 inzake Edipo Re en Medea

• Dumont, Henri, ‘Filmografie’, in: Claude Aziza (ed), Le péplum. L’antiquite au cinéma (Paris 1998) 129-180
• Verreth, Herbert, De oudheid in film, 1995 (zie boven)

• Cyrino, Monica Silveira, Big screen Rome, Oxford 2005
  • Quo vadis? (1951)
  • The Robe (1953)
  • Ben-Hur (1959)
  • Spartacus (1960)
  • Cleopatra (1963)
  • A funny thing happened on the way to the forum (1966)
  • Monty Python’s Life of Brian (1979)
  • History of the world, part I: the Roman Empire sequence (1981)
  • Gladiator (2000)
• Joshel, Sandra R., Margaret Malamud & Donald T. McGuire, Jr. (edd), Imperial projections. Ancient Rome and modern popular culture, Baltimore 2001
  • Introduction
  • W. Fitzgerald, ‘Oppositions, anxieties, and ambiguities in the toga movie’
  • M.M. Winkler, ‘The Roman Empire in American cinema after 1945’
  • A. Futrell, ‘Seeing red: Spartacus as domestic economist’
  • S.R. Joshel, ‘I Claudius: Projection and imperial soap opera’
  • N.J. Cull, ‘“Infamy, infamy! They’ve all got it in for me!”: Carry on Cleo and the British camp comedies of ancient Rome’
  • M. Malamud, ‘Brooklyn-on-the-Tiber: Roman comedy of Broadway and in film’
  • M. Malamud, ‘Serial Romans’
  • M. Wyke, ‘Shared sexualities: Roman soldiers, Derek Jarman’s Sebastiane, and British homosexuality’
  • M. Malamud & Donald T. McGuire, ‘Living like Romans in Las Vegas: The Roman world at Caesar’s Palace’
• Malamud, Margaret, ‘An American immigrant in Imperial Caesar’s court: Romans in 1930s films’, Arion 3^rd s., 12.2 (Fall 2004) 127-159
• Winkler, Martin M., ‘Cinema and the fall of Rome’, Transcations of the American Philological Association 125 (1995) 135-154
• Winkler, Martin M., ‘The Roman Empire in American cinema after 1945’, Classical Journal 93 (1998) 167-196
• Wyke, Maria, Projecting the past. Ancient Rome, cinema and history, New York 1997
  bevat vier case studies over de volgende thema’s (in totaal 19 films):
  • Spartacus
  • Cleopatra
  • Nero
  • Pompeii

Edipo Re

• Bonanno, Maria Grazia, ‘Pasolini e l’Orestea’, Dioniso 63 (1993) 135-154
• Ector, Jef, ‘Moderne visies op het Oidipoes-thema’, Kleio 3.2 (1973) 1-54
• Riemer, Peter, ‘Der sophokleische Ödipus im Spiegel von Pasolinis Edipo Re’,  in: U. Eigler (ed), Bewegte Antike. Antike Themen im modernen Film  ( Stuttgart 2002) 80-87
• True, Martina, ‘Coefore. Appunti per un’Orestiade italiana di Eschilo secondo Pasolini’, Studi Italiani di Filologia Classica 18 (2000) 119-131
• White, R.J., ‘Myth and mise-en-scène: Pasolini’s Edipo Re’, Literature/Film Quarterly 5.1 (1977) 30-37

          en zie onder Medea

Fellini Satyricon

• Bondanella, Peter, The cinema of Federico Fellini, Princeton 1992
• Bondanella, Peter, The eternal city: Roman images in the modern world, Chapel Hill 1987
• Brütsch, Matthias & Therese Fuhrer, ‘Annäherung an eine fremde Welt: Fellini-Satyricon im Spannungsfeld von klassischem Antikenfilm und literarischer Vorlage’, in: U. Eigler (ed), Bewegte Antike. Antike Themen im modernen Film (Stuttgart 2002) 41-54
• Sullivan, J.P., ‘The social ambience of Petronius’ Satyricon and Fellini Satyricon’, in: Martin M. Winkler (ed), Classical myth and culture in the cinema (New York 2001)

Gladiator

• Cyrino, Monica Silveira, Big screen Rome, Oxford 2005
• Junkelmann, Marcus, Hollywoods Traum von Rom. Gladiator und die Tradition des ‘Monumentalfilms’, München 2004
• Winkler, Martin M. (ed), Gladiator. Film and history, London 2004

  I, Claudius

• Fisser, Caroline, ‘Let all the poisons that lurk in the mud hatch out’: Robert Graves’ TV-serie I Claudius didactisch bekeken, in: C.A.C.M. Fisser et al. (edd), Receptie van de klassieken IV: vier voordrachten (Amsterdam 1991 = 1992) 71-87
• Joshel, Sandra R., ‘I Claudius: Projection and imperial soap opera’, in: Sandra R. Joshel, Margaret Malamud & Donald T. McGuire, Jr. (edd), Imperial projections. Ancient Rome and modern popular culture ( Baltimore 2001)

  Medea

• Hall, Edith, Fiona Macintosh & Oliver Taplin (edd), Medea in performance 1500-2000, Oxford 2000
• Zimmermann, B., ‘Fremde Antike? P.P. Pasolini’s Medea’, in: U. Eigler (ed), Bewegte Antike. Antike Themen im modernen Film (Stuttgart 2002) 55-66
• Aubert, Jean-Paul, ‘Pasolini entre ruines et terrains vagues’, CinémAction 75 (1995) 168-175
• Dimópoulos, Michális & Achilléas Kiriakídis (edd), Pier Paolo Pasolini, Thessaloniki 1997
• Feichtinger, Barbara, ‘Medea sehen. Pier Paolo Pasolinis Film “Medea” im Unterricht’, Der altsprachliche Unterricht 40.4-5 (1997) 107-119
• Fusillo, Massimo, La Grecia secondo Paolini. Mito e cinema, Firenze 1996
• Greene, Naomi, Pier Paolo Pasolini. Cinema as heresy, Princeton 1990
• Michelakis, P., ‘Greece according to Pasolini: Myth and cinema’, Classical Review 50 (2000) 377-378
• Todini, U. (ed), Pasolini e l’antico: i doni della ragione, Napoli 1995

  The Passion of the Christ

• Arenas, Amelia, ‘Between pleasure and horror: watching Mell Gibson’s The Passion of the Christ’, Arion 3^rd s., 12.1 (Spring/Summer 2004) 1-15
• Berlin, Andrea & Jodi Magness, ‘Two archaeologists comment on The Passion of the Christ’ = http://www.archaeological.org/pdfs/papers/Comments_on_The_Passion.pdf

  Spartacus

• Cyrino, Monica Silveira, Big screen Rome, Oxford 2005
• Futrell, A., ‘Seeing red: Spartacus as domestic economist’, in: Sandra R. Joshel, Margaret Malamud & Donald T. McGuire, Jr. (edd), Imperial projections. Ancient Rome and modern popular culture ( Baltimore 2001)
• Hooff, Anton J.L. van, De vonk van Spartacus. Het voortleven van een antieke rebel, Nijmegen 1993
• Wyke, Maria, Projecting the past. Ancient Rome, cinema and history, New York 1997

  The Ten Commandments

• Higashi, Sumiko, ‘Antimodernism as historical representation in a consumer culture. Cecil B. de Mille’s The Ten Commandments 1923, 1956, 1993’, in: Vivian Sobchack (ed), The Persistence of History: Cinema, Television and the Modern Event (New York 1996) 91-112
• Kuchenbuch, Thomas, ‘Bibel und Geschichte: zum religiösen Film: Die Zehn Gebote (The Ten Commandments)’, in: W. Faulstich & H. Korte (edd), Fischer Filmgeschichte 3 (1990) 299-330

  Troy

• Eggers, Fem, Tazuko van Berkel & Michel den Uijl, ‘[Recensies van Wolfgang Petersen, Troy]’, Frons 24.3 (juni 2004)
• Green, Peter, ‘Heroic hype, new style: Hollywood pitted against Homer [Review of Wolfgang Petersen, Troy]’, Arion 3^rd s., 12.1 (Spring/Summer 2004) 171-187
• Winkler, M.M. (ed), Troy: From Homer's Iliad to Hollywood epic, Oxford 2006