With a flash of garish colour and the blaring of an ’80s rock track we are on Mount Olympus, home to the pantheon of ancient Greek gods and goddesses.

But its not the Mount Olympus you’d normally think of. It’s an opulent house with large-screen TVs and gold watches. Overseeing it all is mighty Zeus, the king of the gods, played by Jeff Goldblum.

Netflix’s new six-part series, KAOS, is a brilliant reimagining of classical mythology for the 21st century. Created by Charlie Covell, writer on The End of the F***ing World (2017–19), the series follows six humans who learn they are part of a larger prophecy – their fates at the mercy and whims of the Olympian gods.

Narrated by Prometheus (Stephen Dillane), the series is darkly comedic in its exploration of themes from the original myths, such as power and abuse, gender politics and life after death.

Goldblum’s take on Zeus is mercurial. Powerful, but petulant and selfish, his Zeus is insecure. It’s a fascinating take on the god. “My character is complicated and charismatic, not to mention cruel,” the actor revealed in an interview.

The ancient Greeks themselves were ambiguous about Zeus. He could be a fearful figure or a humorous one. He ended up with dozens of epithets, ranging from Areius (“warlike”) to Zygius (“presider over marriage”), and most commonly Olympios and Panhellenios to signify his divine power over gods and humans alike.

Hollywood has similarly found a variety of ways to present Zeus, but usually in supporting roles (unlike in KAOS, where Zeus takes centre stage). In fact, one early cinematic appearance of the god was at the birth of filmmaking itself, in Georges Méliès’ silent film Jupiter’s Thunderballs (1903).

Zeus the powerful and vengeful god

Zeus (and his Roman equivalent Jupiter) was the god of sky and thunder in the Greek pantheon on Mount Olympus, and the father of many heroes and demigods of classical mythology. His main visual attribute was the lightning bolt, which is hinted at cleverly in a number of scenes in Goldblum’s performance.

The most common portrayal of Zeus in film and television is that of a vengeful and wrathful god who interferes with and manipulates the activities of others.

In Clash of the Titans (1981), a retelling of the myth of Perseus, Zeus (Laurence Olivier) manipulates the gods to support Perseus.

And this continues in the 2010 remake and its sequel, Wrath of the Titans (2012), in which Zeus (Liam Neeson) is an active participant in a plot centred on the struggle against Hades.

In the film Immortals (2011), although Zeus is often detached from the plot and merely observes, he is ultimately roused to action by anger.

Similarly, in the Percy Jackson films and TV series (based on Rick Riordan’s books), Zeus is characterised by his anger directed at Percy as he accuses him of stealing his lightning bolt.

Zeus the lustful abuser

Zeus was, well… there is no other way of saying it… horny. Incredibly horny. Despite the long-suffering protestations of his wife (and sister), Hera, Zeus would go on to father innumerable gods and demigods in the original myths.

His affairs with both divine and mortal women were almost always non-consensual and always ended badly for the seduced woman, who would either immediately die upon seeing Zeus in divine form or suffer the inventive vengeance of Hera. As Susie Donkin explained in the title of her 2020 book: Zeus is a Dick.

Unlike many filmed portrayals of Zeus, KAOS does not shy away from this aspect of his behaviour. But it is perhaps best represented in the adult animated series Blood of Zeus (2020-), in which much of the plot is driven by the aftermath of Zeus’ sexual proclivities.

Zeus the father figure

Hercules (Herakles in Greek) is one of the most filmed characters of all time, so the appearance of Zeus as his father is expected.

Perhaps most fondly remembered by all is Disney’s film Hercules (1997), in which Zeus (voiced by Rip Torn) is a warm and wise father. “For a true hero isn’t measured by the size of his strength, but by the strength of his heart,” he advises his son.

Hercules in New York (1970) is a cult film best known as Arnold Schwarzenegger’s first (dubbed) role as the titular strongman in contemporary New York. Here, Zeus (Ernest Graves) is responsible for Hercules’ exile – angry, but wanting the best for his son.

Anthony Quinn played Zeus in the TV movie The Circle of Fire (1994), which kick-started the TV series Hercules: The Legendary Journeys (1995–99) and its spin-off Xena: Warrior Princess (1995-2001). Zeus appeared periodically in both. Although Hercules in the series often referred to the neglectfulness of his father, Zeus is still presented as a loving parent in each appearance.

Zeus the comical

Zeus is also perfect to poke fun at. The ancients did it; in Aristophanes’ comedic play The Birds, for example, Zeus’ all-seeing vision is blocked by merely a raised parasol.

Perhaps the best example of this in modern cinema is Russell Crowe’s depiction in the Marvel movie Thor: Love and Thunder (2022). In this campy take, Zeus is all lightning bolts, with a toga that hides very little, and a controversial Greek accent.

But there was also a poignancy in Crowe’s Zeus, such as when he states:

It used to be that being a god, it meant something. People would whisper your name, before sharing their deepest hopes and dreams. They begged you for mercy, without ever knowing if you were actually listening. Now, when they look to the sky, they don’t ask us for lightning, they don’t ask us for rain, they just want to see one of their so-called superheroes. When did we become the joke?

Just as the ancient Greeks had many versions of Zeus, so does the modern world. And Jeff Goldblum’s brilliant performance suggests we certainly haven’t seen the last of Zeus’ thunderbolts onscreen.

Legendary filmmaker Stanley Kubrick spent a lifetime trying to make his final film, Eyes Wide Shut, a reality. He had been struggling to make it from the moment he began making feature films, some 75 years ago. When he finally did, 25 years ago in 1999, it killed him.

The plot centres on a physician (Tom Cruise) whose wife (Nicole Kidman) reveals that she had contemplated having an affair a year earlier. He becomes obsessed with having his own sexual encounter. When he discovers an underground sex group, he attends one of their masked orgies.

Having not made a film in 12 years since Full Metal Jacket in 1987, Eyes Wide Shut was hotly anticipated. Titillated by juicy rumours in the British tabloids, critics and fans who were expecting a steamy X-rated psychological thriller were inevitably disappointed. “Eyes Wide Shut turns out to be the dirtiest movie of 1958,” quipped one critic. Wait 12 years for anything and it won’t turn out to be quite so good as you imagined.

But where English speaking audiences panned it, the film was warmly received in Latin and Mediterranean countries. And in the long term, those audiences proved to be right and the film has grown in stature since. Not everyone might agree that, as Kubrick claimed, it was his best work but they certainly should see its merits today.

Kubrick adored the work of Arthur Schnitzler, the Austrian author of the 1926 text, Traumnovelle (translated into Dream Story in English), which became his source material. Once described as the greatest portrayer of adultery in German-language literature, Schnitzler wrote about themes of sex, marriage, betrayal and above all, jealousy. He even, it is rumoured, kept a diary of every orgasm he ever experienced.

Given that Kubrick discovered Traumnovelle in the early 1950s, it influenced almost every film he made. Consider the rapes in Fear and Desire (1952) and Killer’s Kiss (1955), the adultery and jealousy in The Killing (1956) and the attraction to younger women in Lolita (1962). Consider also the sexual violence in A Clockwork Orange (1971), the adultery in Barry Lyndon (1975), the marital troubles of The Shining (1980) and the toxic masculinity of Full Metal Jacket. They all culminated in Eyes Wide Shut.

This extends to the films Kubrick didn’t make too. The Freudian tale of Burning Secret written by Schnitzler’s contemporary, Stefan Zweig, that was abandoned in 1956 through to Napoleon, a figure that intrigued Kubrick partly because he had, in his own words, a sex life worthy of Arthur Schnitzler.

Kubrick returned to Eyes Wide Shut time and again during his career. But it took until the mid-1990s, when Kubrick was in his 60s, before he was able to execute it.

He struggled with adapting the source material. How does a director who spent his career putting big themes like nuclear war, the space race and Vietnam on the big screen put the tiny intimate moments of marriage on there?

His wife, Christiane, kept stopping him, telling him they were too young. Or maybe it was because Kubrick was legendary for his pre-production research, so only with four decades of marriage under his belt did he feel he really understood the topic.

By the time it was eventually made, Kubrick was in a poor state of health. Already a ponderous filmmaker, he was slowing up. The production was long, arduous and still holds the record for the longest continuous shoot in cinema history.

When it finally wrapped on June 17 1998, he was exhausted. Eyes Wide Shut had been filmed over 294 days, spread over 579 calendar days, including 19 for re-shooting with actress Marie Richardson, totalling slightly over a year and seven months. And post-production would last for a further nine months, only brought to a halt by Kubrick’s death.

Not around to influence the marketing, the film suffered from a poor critical reception. The result was a disappointed audience, looking for salaciousness where none existed. That, in turn, influenced their response and the initial commercial failure of the film in the US.

Many US and British critics felt the film was too long, the acting was unconvincing, the New York sets looked fake, the ideas were weak and the eagerly anticipated orgy scene was ridiculous. They thought it was hermetic, too ordered and too closed off.

In the end, ironically, it was the highest grosser of any Kubrick film. It cost US$65 million (£40 million) to make with another US$30 million in publicity costs and eventually grossed US$162 million worldwide.

Influence

Similar to The Shining, Eyes Wide Shut became the source of any number
of conspiracy theories. It has even been seen as a warning to the predations of convicted US sex offenders, Harvey Weinstein and Jeffrey Epstein.

Now, it is regarded as a classic, maybe not Kubrick’s best film, but one with enough layers to reward repeated viewing. And its influence is felt in wider popular culture.

Consider the explicit reference in Jordan Peele’s 2017 film Get Out, a director much influenced by Kubrick’s style, when one character says: “You in some Eyes Wide Shut situation. Leave, motherfucker.”

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Read more:
Stanley Kubrick redefined: recent research challenges myths to reveal the man behind the legend

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Todd Field, who played Nick Nightingale in Eyes Wide Shut, showed a Kubrickian influence in the image making, pacing and almost dreamlike atmosphere of the film Tár which he directed in 2022. Jonathan Glazer’s Birth (2004) owes a huge debt to Eyes Wide Shut also.

In the final analysis, anyone who refuses to engage with Eyes Wide Shut is refusing to understand Kubrick as a filmmaker. He wanted to make it at the very point he began making feature films. It lurks behind every film he made.

Twenty-four hours after the release of Macklemore’s pro-Palestine protest song Hind’s Hall on social media on May 7, the video had already notched up over 24 million views.

In two minutes and 49 seconds, the music video uses found footage gleaned from social media feeds intercut with the songs lyrics in white text on a black background.

Much of the footage is of pro-Palestine encampments unfolding on the grounds of US universities. We also see images of popular Palestinian journalists Bisan Owed, Motaz Azaiza and Wael Al Dahdouh, footage from the Israeli bombing in Gaza, and older footage, such as N.W.A.’s Fuk Da Police (1988).

Much of the imagery is illustrative of the lyrics and polemic in messaging.

This use of found, gleaned and archival footage is a continuation of a long tradition in video art where artists have used existing footage to comment on and amplify social, political and environmental issues.

What is found footage?

Found footage filmmaking is a strategy used by artists and filmmakers who take audiovisual material from its original source and re-contextualise it.

Removed from its original context, this footage allows the artists to create new associations and critical perspectives on the material, culture and circulation of meaning. This process is also called remediation.

Prior to the proliferation of digital media, found footage artists found inspiration in newsreels, films and archives. Tracey Moffat worked with editor Gary Hillberg from 1999–2017 in creating a series of films call Montages, which reflect on tropes in Hollywood films.

Christian Marclay’s The Clock (2010) was a 24-hour video installation compiled from hundreds of films with scenes of clocks, watches and other timepieces.

Adam Curtis’ feature films draw on the vast BBC archives, which meditate on politics, power and psychology.

The advent – and plethora – of user-generated content on social media has given rise to new possibilities for video content.

With an endless flow of images and information through social media scrolls, the question of how to interrogate this material underpins how video artists approach found footage today.

Amplifying truths – and misinformation

The launch of YouTube in 2005 brought the ability to participate in the creation and sharing en masse of self-made video content.

Artist Natalie Bookchin saw this outpouring and sharing of personal testimonies through vlogs as an opportunity to reflect on the the contemporary social, cultural and political landscape in the United States.

Editing these vlogs, Bookchin created choral-like multiscreen video installations. Bookchin’s 2009 work Testament, a three-chapter multi-screen video installation, meditates on the shared vulnerability, isolation and collective experience of prescription medication, job loss and sexual identity.

Surrounded by the multiple voices in the gallery, the individual voices become a collective outpouring, giving voice to feelings of doubt, shame, anger and resignation. The multitude of voices transform an individual experience into one that reflects the impact of social and political pressures.

Bookchin’s follow-up work, Now he’s out in public and everyone can see (2012), similarly uses YouTube vlogs – but this time focused on the perception of African American men as threats.

Originally an 18-screen installation, the video excerpts speculate and comment on incidents involving famous African American men. This creates a collective narrative where there is always contradiction and never a singular agreed-upon truth.

In doing so, this work comments on how social media circulates and reinforces rumours, stereotypes and misinformation.

Montage and juxtaposition

Political commentary can also be made through juxtaposing unexpected images and sound. Montage editing is a technique first used by Soviet-era filmmakers in the 1920s through which the “collision” of images creates a new meaning.

American artist and filmmaker Arthur Jafa uses this technique to great effect in Love is the Message and the Message is Death (2016).

In this eight-minute video, Jafa takes up the question of the representation of African Americans through the 20th century through montages of found footage from film, music video, sports broadcasts and vlogs to the soundtrack of Kanye West’s Ultralight Beam.

The video oscillates between the hopes, dreams and great creative and sporting successes of Black Americans, undercut by the pervasive threat of systemic violence and white supremacy.

Long sequences of music, dance and sporting prowess, backed by West’s melodic anthem, are suddenly replaced by sounds and images captured on a mobile phone.

This footage feels familiar whether we have seen it or not. A scene taken from inside a car of a Black woman being pulled over by the police crying out for her children sits between that of gospel singing and the civil rights movement, demanding us to question what progress has been made.

While Macklemore’s found footage practice might seem unsubtle, given his platform, that’s also the point. Accompanied by unambiguous lyrics, re-presenting these images to a broad audience aims for maximum impact in a screen environment where attention is in constant demand.

Found footage gives video artists strategies to challenge dominant ways of thinking and reflecting on socio-political issues. When we see footage we know from social media, the news or films, we are given the opportunity to bring disparate ideas together, and challenged to see the world anew.