The `epic' genre is a very suitable place to begin the debate about the
masculine spectacle in films. Typically, the epic involves a single male in
combat with some form of patriarchal authority (usually over several hours of
film). The three films discussed here are: David Lynch's Dune (1984); David
Lean's Lawrence of Arabia (1962); and Stanley Kubrick's Spartacus (1960). All
three films relate to each other, in that they resonate intertextually. Each of
them has suffered the fate of being `cut' in some point of their histories. In
relation to this, the author-ity of the male directors will be discussed. As
well as portraying the struggles of individual male heroes, these films also
address their opponents. The question to be asked is why these villains (Baron
Harkonnen, the Turkish Bey, and Crassus), are presented as homosexuals. However,
the main concern of this essay is Dune. Of the three, Dune has undoubtedly been
regarded as the worst failure (with only Lawrence regarded as a masterpiece).
Despite the comments of such critics as Alejandro Jodorowski (1), Dune is
admirably suited for the purposes of this essay. As John Alexander writes, `Dune
is concerned with male politics, male militarism and male powerplays' (2).
DUNE
One needs to be quite cautious of employing Freudian or Lacanian
psychoanalysis in relation to Dune. This is due to Frank Herbert's use of Greek
myth in the fashioning of his novel. Indeed, in the subsequent books, Paul goes
blind and exiles himself to the desert. The Oedipus analogy would have been made
even more explicit if Ridley Scott had made the film: `He opted for a personal
interpretation - Alia was the result of an incestuous relationship between Paul
and Jessica' (3). The `Atreides' are doomed by their very name, recalling how
Agamemnon, son of Atreus, was murdered by Clytaemnestra, his concubine (4).
This is not quite the tragedy of Duke Leto. It is his desire for a
son (Paul), which leads to his death. `In the Lynch world desire induces
suffering, ` John Alexander writes. Duke Leto Atreides does not marry his
concubine, Jessica, due to his ambition to become Emperor. He must remain
available for a political marriage. Leto becomes `a single character staring
into a sepulchral recess in search of unimaginable horrors' (5), something which
Sean French ascribes to many of Lynch's characters. The Duke does literally meet
his fate by curiously going down a dark stairway -to encounter a `hunter-seeker'
controlled by the traitor Yueh.
Thus Paul's oedipal complex does not directly
relate to his father - rather to Emperor Shaddam's attempt to extinguish the
Atreide line.
Yet Paul must also overcome the Law of the Mother, as
well as the Law of the Father. As John Alexander writes, it is the women in Dune
who wield psychic powers with their `weirding way'. Indeed, the Latin phrase
`bene gesserit' has long had a place in English legal terminology, providing
security of tenure for judges. It is a Bene Gesserit plot to produce a female
superbeing - the Kwisatz Haderach - which Jessica usurps by bearing a son for
Leto. Paul uses feminine powers in his battle against the Emperor. This is
decided when Jessica shames the Fremen leader, Stilgar, by overcoming him: `If
you can do this to the strongest of us, you're worth ten times your weight of
water' (6).
The vilest of Paul's enemies is the Baron Vladimir Harkonnen. He
shares a resemblance with one of Vlad the Impaler's ancestors: Count Dracula. As
Barabara Creed writes, `Dracula's need to replace his blood at periodic
intervals suggests he experiences a form of menstrual cycle' (7). The Baron
drinks the blood of young boys. He also represents the female body in being
`penetrable' (8) - he is killed by a prick from Alia's gom jabbar. Paul must
therefore reject this mixture of masculine and feminine for a more positive one.
This he achieves by taking the `water of life'. It is symptomatic of
his `womb envy'. He undergoes the ritual of 'couvade' in the desert, his
audience aptly provided by his bodyguard. In David Cronenberg's film, 'Dead
Ringers', Eliot Mantle yearns for a time when reproduction could be performed
without the need for contact between the sexes, an operation which can only be
accomplished by fish underwater. As Helen Robbins writes:
`the nostalgia for the phylogenetlc past of life underwater conceals
a nostalgia for the ontogenetic past of life in the womb, for it is the female
body that "internalizes the water" through the amniotic fluid that supports
prenatal. . . "oceanic" existence' (9).
By drinking the water of life, Paul is able to enter that place where no
woman can go, as he warns the Bene Gesserit Reverend Mother: `Try looking into
that place where you dare not look and you'll find me there staring back at you'
(10). So Paul therefore commands the look, the `idea of looking (staring) as
power and being looked at as powerlessness' (11). The theme of womb envy is
continued in Dune Messiah, Frank Herbert's sequel. In that novel, Paul
resurrects his friend, Duncan Idaho, as a clone. Like Victor Frankenstein, Paul
plays at being a mother. So, although Duncan is killed very early in the film,
his is the only character which survives the sequence of novels, long outlasting
Paul.
Duncan's role is a casualty of the cuts which occurred between the
theatrical and video releases. Another whose role is eclipsed is that of the
Imperial Ecologist, Dr. Liet Kynes (most importantly as the father of Paul's
concubine, Chani). In one of his scenes which remains, there is
5
revealed a taboo against touch. As he attempts to check the stillsuit of
the new ruler of Arrakis, Kynes is warned back by Gurney Halleck. In response to
Kynes' being physically checked, his Fremen bodyguard react likewise, ready to
fight those who had touched their master. As Lynne Segal sees it, such an army
as the Fremen must be on constant guard against effeminate behaviour, especially
in themselves (12). This might explain why the Baron is quite so odious to them.
Paul therefore has to prove that he is a man. The rite of passage provided by
them is that Paul must ride the Shai Halud, the Great worm. Segal reports the
views of Ray Raphael:
`Such initiations always work, since, if they make the grade, men
invariably know they are real men. All males thereby secure an enhanced sense of
self-worth in traditional initiations' (13).
However, there is a danger in such homophobia: namely, that it is only
misogyny in disguise (14).
This can be countered by the fact that women are prevalent in the
Fremen army. They are even present in the Atreide army, something which is
missed by John Alexander in his discussion of gender roles on Caladan (15). At
first sight too, the sandworms could just be seen as huge phallic symbols,
However, a sandworm does provide the means of disposing with the Baron. The
phallic is combined here with `the toothed vagina - a recurring motif in
primitive mythologies; the vagina that castrates' (16). Paul's other weapon is
the
6
`weirding module', a sonic weapon which can rip apart the Emperor's
Sardaukar supertroops. This technology is directly related to the `Voice', the
main weapon of the Bene Gesserit, taught to Paul by his mother, Jessica. Paul's
use of this feminine device becomes so powerful that he can kill with just
words. Thus the chaos caused by fall of the house Atreides is vanquished, for
Paul is `a symbiosis of the two opposites' - masculine and feminine - `his
wholeness is the means by which harmony can be restored' (17).
7
LAWRENCE OF ARABIA
Dune owes a great deal to Lawrence of Arabia (and to Spartacus). To some
extent, Dune is a postmodernist film. For instance, David Lynch's habitual
alter ego, Jack Nance of Eraserhead fame, plays a character called Nefud.
Lawrence provides Prince Feisal's miracle by crossing the Nefud desert and
attacking Akaba. It may even be that Herbert's original novel was influenced by
David Lean's film. Alexander states that Herbert researched the Bedouin
extensively in his creation of the Fremen (18a). One of the reasons why there is
such reliance on the Bene Gesserit and the `human computer' Mentats in Dune is
due to the Butlerian jihad which destroyed mankind's reliance on computers and
machines (18b). Throughout Lawrence, it is constantly emphasized that the
Bedouin have a disliking of modern technology. Indeed, their inability to cope
with generators and telephones leads to the destruction of the United Arab
Council. Fate drives Lawrence to death on a machine.
It would be very difficult to apply Laura Mulvey's methods in a
discussion of Lawrence, due to the fact that there is an almost complete absence
of women in this film. The Bedouin women are hidden behind barriers of cloth.
Indeed, the only women who actively draw attention to themselves are the nurses
from the Red Cross. Ironically, it is there in the Turkish military hospital,
that Lawrence finally achieves
8
his desire to become invisible. Only this is a rather palpable defeat
for Lawrence. It is
`an anatomy of modern male womb envy, laying bare its origins in men's
anxieties about creativity, and especially about controlling, keeping, and
getting credit for their productions' (19).
Lawrence plays at being a mother. It is his desire to give birth to a whole
nation. Yet he is all that is left of the Arab Council in the Turkish hospital.
The council has responsibility for the hospital, so Lawrence tries to run it by
himself. Compared with the efficiency of the nurses, Lawrence's efforts are in
vain.
Like Paul Atreides, Lawrence is illegitimate. As Alain Silver writes,
`For the Bedouin such a lack of heritage is tantamount to a lack of being' (20).
This seems unimportant in Paul's universe, where much emphasis is placed on the
possession of the ducal ring in the role of securing legitimacy. Both Paul and
Lawrence, like Saul on the road to Damascus, are reborn by being renamed. Sherif
Ali recommends El Aurens (surely a metaphor of the sun), to Lawrence. Stilgar
gives Paul the name of Usul, which signifies strength. Paul then chooses his
manhood name. Unusually, he identifies with the moon, which is traditionally
associated with women - Muad'Dib is the mouse shadow on the second moon of
Arrakis. By doing this, Paul acknowledges his feminine side (and mice have been
known to scare women - the Bene Gesserit). It is symptomatic of Lawrence's
tragedy that he
9
chooses a masculine name.
Lawrence and Paul have an important symbolic relationship with the
moon. As Barabara Creed writes, `A number of myths from ancient cultures
associate woman's monthly bleeding with the full moon' (21). There is a full
moon on the night that Lawrence receives a savage beating in the Turkish
garrison. The only time that Paul bleeds is after drinking the water of life,
which strengthens him, as he is finally able to secure all feminine powers.
Lawrence cannot cope with his weakness:
`So while the feminine may be dispatched in the insouciant bravado of
masculine endeavour, it will always return to haunt the conquering hero'
(22).
It is Lawrence's fatal flaw that he chooses to battle with the femininity
within himself.
Lawrence very much resembles Creed's conception of the
werewolf:
'Once transformed he feeds on the blood and flesh of others - presumably to
replace his own blood which is at a low ebb. Like the woman with her menstrual
cycle, the werewolf replenishes his blood monthly and is reborn monthly'
(23).
Thus, like Saul, Lawrence goes mad on the road to Damascus. Unlike Saul
though, Lawrence spreads evil as he massacres the retreating Turkish column. In
a curious juxtaposition, Lynch reveals a jubilant Alia on the final battlefield
of Arrakis. It is no accident that Lawrence chooses the Turk as an enemy. They
symbolize femininity for Lawrence. That is why he can spare no sympathy for the
Turks facing an onslaught
10
from the explicitly phallic British artillery guns. Creed also notes that
another motif for the werewolf (along with the moon), is the pentagram, an
Egyptian symbol representing `the underground womb' (23b). Both moon and
pentagram are present on the Turkish flag, bathed in the red of blood. As
Lawrence himself says, `Didn't you know? They can only kill me with a golden
bullet'.
In Spartacus, Claudia and Helena select the gladiators in `a parodic
reversal of the many movie scenes in which a group of men ogle... women on
display' (24). A similar scene is presented in a much more perverse way in
Lawrence of Arabia. Lawrence is feminized by the look of another man, the
Turkish Bey. In a further twist, the mouth of the Turkish Bey appears as a
fetish, just as it is pouting with desire. Lawrence feels he has no option but
to lash out, for he believes that the Turk has seen the creature that Lawrence
despises within him. Of the three heroes discussed in this essay, Lawrence is
the only homosexual - something which he feels is incompatible with his status
as a military hero. In the words of Colin MacInnes, he sees it as `a crippled
state of being' (25). `The perfect body is never exhibited unclothed' (26); the
Turkish Bey strips Lawrence to reveal his abject flesh wound -
`The imperfect body bleeds. .. Within the imperfect body dwells the
irrational man; unpredictable and imbued with feeling' (27).
11
Dryden of the Arab Bureau warns Lawrence that `only gods and Bedouin
get fun out of the desert' However, Dryden is contradicted by Prince Feisal: `No
Arab loves the desert'. It is fortunate for Paul Atreides that he becomes a
god. Lawrence, on the other hand, continuously blasphemes. He believes
that he can break the Law of the Father with impunity: `Nothing is written'. Not
even after he has been proved wrong, when he is forced to execute the man he
rescued from the Nefud desert, does Lawrence stop his blasphemy. Everything Paul
does is supported by the Law of the Father, as Stilgar notes when Paul rides the
Shai Halud: `Usul has called a big one. Again it is the legend'. At the end,
Lawrence is reborn as an English Colonel. Yet he is introduced here as an
inverted reflection on General Allenby's desk. This could be Lawrence's
epitaph:
`In Lacan's view, the ego's mastery of the environment is always an
illusory mastery, as a result of the way it is formed at the mirror stage, and
the human subject will continue throughout life to look for an imaginary
wholeness and unity' (28).
As Feisal says, referring to the newspaper headline of Lawrence's last
victory: `Illusions can be very powerful'. Lawrence takes the road away from
Damascus, his automobile pushing Bedouin off the road in the process. Ominously,
he is overtaken by a speeding motorcyclist.
12
SPARTACUS
In Spartacus, the hero asks `Are we animals or Romans?' The same binary
opposition is present in Dune. Paul is most offended when threatened by a
poisoned gom jabbar: `Are you suggesting that a duke's son is an animal?' he
asks of the Reverend Mother. With The Beast Rabban, the Harkonnen are explicitly
presented as animals. The Atreide and Harkonnen are also divided in the way that
they treat animals: Rabban eats the raw flesh from a cow, whilst Gurney Halleck
goes to the trouble of saving Leto's dog during the Harkonnen assault on
Arrakis. The Harkonnen control the look of the inhabitants of their home planet,
Geidi Prime. Those in the immediate vicinity of the Baron are often blinded, and
have their ears removed. Geidi Prime is symbolized by a huge feminine icon. This
is the Moloch imagined by the hero of Metropolis, signifying that all within are
far more animal than human (such as the Morlocks in Wells' The Time Machine). It
is nothing less than the Sphinx with whom the hero must battle.
The fighting rituals in Dune and Spartacus are worthy of comparison.
Indeed, Paul's training in arms on Caladan does bear a remarkable resemblance to
that undergone by the gladiators at Capua, with `enough phallic weaponry to send
Freudians into sensory overload' (29). When the gladiators fight in the arena,
they are denied subjectivity: `The gladiators have no score to settle. . . their
combat has no
13
narrative point for them' (30). Thus Spartacus is able to achieve what
Lawrence could not: invisibility. Crassus desires to discover the identity of
Spartacus, unaware that he has already seen him. Indeed, Crassus perversely
displays very little interest in the contest between Spartacus and Draba. The
gladiators are eroticized by their lack of clothing. They are a spectacle to be
looked down upon from the audience which is placed above them. In contrast, Paul
is never eroticized as feminine in his knife fights; he remains fully clothed.
His main opponent is Feyd Harkonnen, who seems fated to lose because he has
already been eroticized in an earlier shower scene. Feyd almost condemns
himself to death by his fetish for rubber/leather. The one knife fight which
does contain a narrative point for Spartacus is the one he has with Antoninus.
In Ina Rae Hark's discussion of masculinity in Spartacus, she
conjectures that Spartacus `distrusts. . . masculine power' (31). Spartacus thus
turns to Antoninus as a role model of non destructive masculinity. However,
Antoninus sees his talents as magician and poet as a sign of feminine weakness;
hence his attempt to become a warrior. Antoninus does not completely succeed,
for Spartacus is able to overcome him to spare him from the cross. To kill for
such a reason proves that Spartacus is no longer an animal (neither combatant
are is eroticized here). However, as Hark
14
notes, `While Spartacus allows its protagonists to oscillate among all
these positions, it cannot imagine a space in which such binarism collapses'
(32). Of these three films, Dune is the only one in which such binarism does
collapse.
Indeed, Hark answers her own question:
`What might this alternative masculine space look like? It would be a place
where Antoninus could sing his songs without forfeiting his manhood and his
life' (33).
Such a place is provided for Gurney Halleck in Dune. He is first introduced
on Caladan carrying a musical instrument, signifying his role as Paul's music
master. Gurney is comfortable in his sexuality, and is able to oscillate between
his masculine and feminine sides whenever the situation demands it. Gurney
explicitly demonstrates this when Paul shows a lack of interest in being tested:
`Not in the mood?! Mood's a thing for cattle and love play... not fighting'. In
a direct comparison with Spartacus' and Antoninus' fight, it can be seen how
each combatant is penetrated. Antoninus wounds Spartacus, but Spartacus kills
his musician friend. At first, it appears that Paul has similarly defeated
Gurney by penetrating his shield. However, unbeknown to Paul, Gurney has also
penetrated his shield, and almost threatens to castrate him. Due to Gurney's
masculine/feminine equilibrium, he is the only one of the Atreides' attendants
to survive. By doing so, Gurney provides an invaluable role model for Paul, who
must also
15
acknowledge the feminine within himself.
There is a more direct
comparison between Paul and Spartacus:
`Because the script wants to maintain Spartacus's purity, his character
never achieves a convincing sexual identity, which means that the pregnancy of
Varinia borders on an immaculate conception' (34).
Paul and Chani's relationship is dealt with even more briefly, especially
in the video release of Dune. Hark notes that Varinia `makes Spartacus her new
master' (35). This is puzzling, for one would have thought that Varinia would
want to release herself from bondage, from being treated as a commodity to be
bought or sold. The fact that she decides who to sell herself too is not really
all that liberating. Although, at the end of the film, Crassus resumes ownership
of her, yet refuses to violate her: `I don't want to take you. I want you to
give. I want your love Varinia'. Varinia has become a person in Crassus' eyes as
she is indissolubly linked with the signifier Spartacus. Crassus is not immune
to the kind of masochism which Nancy Friday found in her survey of men's sexual
fantasies (36). Crassus' masochism even extends to his homosexual desire for
men, seen in the infamous snails and oysters seduction of Antoninus (who has a
similar reaction to Lawrence).
The gladiators are feminized in their
role as commodities. Indeed, Hark postulates that Spartacus was probably raped
by
16
his Roman masters (37). Segal writes that `Lacan draws upon Levi-Strauss'
analysis of kinship in which women are defined as objects of exchange' (38).
Thus Lawrence deliberately offends his greatest ally, Sherif Ali, by offering
him money to participate in the attack on Damascus. Spartacus is betrayed by the
Silesian pirates when they accept Crassus' bribe. Lacanian psychoanalysis also
illuminates Spartacus' rebellion and defines his aims: `Human subjectivity and
human sexual identity... are produced simultaneously, as the child enters
language:the symbolic order' (39). The slave rebellion begins when Marcellus
forbids Spartacus to talk in the kitchen. Crassus fears Spartacus due to his
attainment of the symbolic order. By refusing to reveal Spartacus' identity, the
defeated slaves signify that they are ready to die in the name of man, rather
than any abstract notion, such as Rome. Muad'Dib is a name which comes to haunt
Emperor Shaddam. It is this Muad'Dib who will take his daughter, Irulan, as wife
in a loveless political marriage (with all Paul's desire reserved for his
concubine, Chani). With this ritual exchange of women, the story of Dune
ends
(40).
17
CONCLUSION
There is another dimension to the masculinity of these films, and that is
related to their male directors. Robbins compares the production of a film with
the birth of a child, thus making these men prone to womb envy (41). This could
be why the directors insisted on a final cut to their films (despite the little
difference it would make according to Roland Barthes). Those who do not get the
final cut (opportunity to castrate?), tend to disown their films, as Lynch did
with Dune, and Kubrick with Spartacus. However, the Director's Cut of Lawrence
was not initiated by Sir David Lean, but by Martin Scorsese and Steven
Spielberg. Perhaps Scorsese and Spielberg were motivated by a sense of lack. In
order to gain mastery over the world, men feel obliged to fill in the gaps: `the
visibility of the phallus predominates over the black hole of the female
genitals' (42). Unlike Paul and Lawrence, Spartacus is not symbolized by the
moon; rather, he wants to know how the moon orbits the Earth.
It is a matter of opinion as to whether Lynch failed as a director in
regards to Dune. The film does have its admirers though, shown by the fact that
a Dune computer game was released eight years after the film (and has been
joined by a sequel). Perhaps one day, if such games
18
become the art form of the next century, they too may attain a place in
Cultural Studies (what happens when you go beyond identifying with a character,
to actually playing their role?). Perhaps we are not able to cope with the story
of Paul Atreides, with its idea of the perfect equilibrium of the masculine and
feminine within us, with the blurring of their attendent binary oppositions.
And, beyond film studies, there is the question of how men are presented in real
life. One could, for instance, explore other binaries such as these:
Paul/Saddam versus Shaddam/Bush, with oil in the place of the spice
melange. Perhaps we in the West are not ready to stomach such a story. For
us, it's quite impossible to see Saddam as hero.
19
FOOTNOTES
(1) Alexander, John, 'The Films Of David Lynch',
(London,1993)
p.75.
(2) Alexander, 'David Lynch',
p.76.
(3) Alexander, 'David Lynch', p.77.
(4) Rieu, E.V. (ed.),
'The Iliad', (London,1985) p.461.
(5) French, Sean, `The Heart of the
Caven', Sight and Sound,
(Spring 1987 Vol.56)
p.101.
(6) Stilgar.
(7) Creed, Barabara, `Dark Desires',
Screening the Male,
(London, 1993) p.123.
(8) Creed, `Dark
Desires', p.118.
(9) Robbins, Helen W., `More Human than I am
alone',
Screening the Male, (London, 1993) pp.
139-140.
(10) Paul.
(11) Dyer, Richard, `Don't look now',
Screen, (23,3-4,1982)
p.5.
(12) Segal, Lynne, 'Slow Motion:
Changing Masculinities,
Changing Men', (London, 1990)
pp.18-19.
(13) Segal, 'Slow Motion', p.131.
(14) Segal,
'Slow_Motion', p.16.
(15) Alexander, 'David Lynch',
p.82.
(16) Alexander, 'David Lynch', p.86.
(17) Alexander,
'David Lynch', p.83.
(18a) Alexander, 'David Lynch',
p.85.
(18b) Alexander, 'David Lynch', p.80.
(19) Robbins, `More
Human', p.136.
(20) Silver, Alain and Ursini, James, 'David Lean and his
Films', (London,1974) p.177.
(21) Creed, `Dark Desires',
p.123.
(22) Segal, 'Slow Motion', p.114.
(23a) Creed, `Dark
Desires', p.125.
(23b) Creed, `Dark Desires', p.124.
(24) Hark,
Ina Rae, `Animals or Romans', Screening the Male,
(London,1993)
p.154.
(25) Segal, 'Slow Motion', p.17.
(26) Alexander, 'David
Lynch' p24.
(27) Alexander, 'David Lynch', p.24.
(28) Segal,
'Slow Motion', p.86.
(29) Hark, `Animals or Romans',
p.153.
(30) Hark, `Animals or Romans', p.155.
(31) Hark,
`Animals or Romans', p.162.
(32) Hark, `Animals or Romans', p.169.
20
(33) Hark, `Animals or Romans', p.169.
(34) Nelson, Thomas
Allen, 'Kubrick: Inside a Film Artist's Head', (Indiana,1982)
p.57.
(35) Hark, `Animals or Romans', p.162.
(36) Segal, 'Slow
Motion', p.213.
(37) Hark, `Animals or Romans',
p.162.
(38) Segal, 'Slow Motion', p.85.
(39) Segal, 'Slow
Motion', p.84.
(40) Cut from Video Release.
(41) Robbins, `More
Human', p.136.
(42) Segal, 'Slow Motion', p.85.
21
Bibliography
FILMS
Dune, David Lynch 1984.
Lawrence of Arabia, David Lean 1962.
Spartacus, Stanley Kubrick 1960.
AND:
Metropolis, Fritz Lang 1924.
The Time Machine George Pal 1960.
ARTICLES
Dyer, Richard, `Don't Look Now', Screen, 23 (1982).
French, Sean, `The Heart of the Cavern', Sight and Sound, 56 (1987).
Mulvey, Laura, `Visual Pleasure and Narrative Cinema', Screen, 16
(1975).
BOOKS
Alexander, John, 'The Films of David Lynch', London, 1993.
Barthes, Roland, 'Image - Music - Text', London, 1977.
Bulloch, John and Morris, Harvey, 'Saddam's War', London, 1991.
Cohen, Steven and Hark, Ina Rae (ed.s), 'Screening The Male', London,
1993.
22
Coyle, Wallace, 'Stanley Kubrick' Boston, 1980.
Felcien Productions, 'Dune: Official Collectors Edition', Norwalk,
1984.
Herbert, Frank, 'Dune Messiah', London, 1985.
Nelson, Thomas Allen, 'Kubrick: Inside a Film Artist's Head', Indiana,
1982.
Pratley, Gerald, 'The Cinema of David Lean', London, 1974.
Rieu, E.V. (ed.), 'The Iliad', London, 1985.
Segal, Lynne, 'Slow Motion: Changing Masculinities, Changing Men', London,
1990.
Silver, Alain and Ursini, James, 'David Lean and his Films', London,
1974.
SOFTWARE
Dune, Virgin Interactive Entertainment, 1992.
Dune II: The Battle for Arrakis, Virgin Games, 1992.
