ABSTRACT
The day before the release of the first official trailer for Darren Aronofsky's Noah on November 14, 2013, Paramount accompanied the teaser for the trailer with its first poster for the film. This chapter seeks to compare and contrast the ways in which 'spectacle' is articulated in filmic traditions of Noah separated by roughly a century, during which time both the art and technology of the cinema have evolved considerably. If configuring his Noah film as a childhood dream licenses Melbourne-Cooper to produce something more surrealistic even than the biblical tradition itself, it is also worth noting that this same structure allows him to safely attribute the fantastical quality of his spectacle to the imagination of a child. There can be little doubt that Melbourne-Cooper's Noah's Ark was long forgotten even in Britain by the late 1920s when the famed Michael Curtiz was given an opportunity to direct a film of the same name but on a quite different scale.
