In this chapter we find that Homer’s extraordinary vividness (cf. Chapter 4) is completely missing in a crucial scene of the Odyssey: Odysseus’ shot through twelve axes — through, not across, in-between, or anything else. Scholars have proposed several solutions to a textual problem that still resists any conclusive explanation. Screenwriters and film directors, too, have tackled it. The chapter first outlines the problem in the text and examines the major theories that commentators and translators have advanced to solve it, then analyzes all screen versions from the silent era until the age of computer videos. None other than T. E. Lawrence (“Lawrence of Arabia”), himself a translator of the Odyssey, concluded that “a cinema” (i.e. a film) is required to understand Homer’s scene. Several onscreen arrangements of the axes and the manner of Odysseus’ shot are surprisingly close to scholars’ theories.

Ecphrasis, as we saw in Chapter 4, is a characteristic feature of the enargeia of epic, but there is one case in which an expected ecphrasis is conspicuous for its absence. The Argonautica of Apollonius of Rhodes tells the myth of Jason, Medea, and the Argonauts, already encountered in Chapter 2. The Golden Fleece, one of the most famous supernatural objects in all mythology, calls for a detailed description, but Apollonius does not provide one. Films that retell the myth must, however, show it. Hence the concept of neo-mythologism, a useful term coined by director Vittorio Cottafavi: an original work based on myth must be changed for its visual adaptation. The chapter reviews and interprets the different appearances of the Golden Fleece in romantic adventure films (Hercules, The Giants of Thessaly, Jason and the Argonauts), art-house cinema (Medea, The Golden Thing), Ray Harryhausen’s stop-motion animation, and computer-generated images.