Constantine Santas encourages us to wonder why film critics have so routinely dismissed the epic film. In The Epic in Film , he argues that "blockbuster" and "artistic" are not mutually exclusive terms, and, perhaps more importantly, epic film is an inherently profound genre in its ability to tap into a nation's, and sometimes humanity's, dreams and fears. Why do we see dozens and dozens of films based on the King Arthur legend? Why would a presidential-hopeful borrow a phrase, "Read my lips," from Clint Eastwood's Dirty Harry ? Why do war epics proliferate in times of war or national crisis? Why are epics as a whole the most popular movie genre? Start with an individual quest of some kind undertaken by an attractive hero or heroine, add the weight of a nation, and perhaps humanity, into that character's struggle, sprinkle some awe-inspiring special effects and a general sense of largesse, and don't forget the happy ending; and there you have a recipe for a film that can contain the deepest emotions--fear, hope, insecurity, pride--of a nation, and, sometimes, a world. Whether you love Gone with the Wind and hate Troy ; find Akira Kurosawa's films brilliant; or marvel over the depth of the Matrix trilogy, film buffs will want to read this first book-length treatment of the epic, a wildly popular, infinitely fascinating, and critically underappreciated genre.