Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity
In this article we will study the 2009 Alejandro Amenábar’s superproduction “Ágora”. This film was a response to have an historical view of the end of the Antiquity. It is focused on one of the main female figures of Philosophy, “Hypatia”. She was one of the latest female teachers in Alexandria and...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Estudios Históricos Profesor Carlos S. A. Segreti
2016
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21992 |
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I10-R307-article-219922021-06-01T21:54:24Z Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity Ágora de Alejandro Amenábar: nuevo uso cinematográfico del fin de la Antigüedad Duce Pastor, Elena Hipatia cristianimo filosofía cine recepción Hypatia christianism philosophy cinema reception In this article we will study the 2009 Alejandro Amenábar’s superproduction “Ágora”. This film was a response to have an historical view of the end of the Antiquity. It is focused on one of the main female figures of Philosophy, “Hypatia”. She was one of the latest female teachers in Alexandria and died dramatically because of her affinity to the power. Her life is presented as a conflict of cultures in Alexandria. Political power is continuously fighting with the new religion: Christianity. The message is clear to the public because they are trying to take care of creating an understandable situation of an Ancient City. Amenabar used some topics that have its origins from 50’s Peplum films and also the innovations after Snyder’s 300. Hypatya is a female character, full of energy and speaks like a feminist. This discourse may be obsolete and anachronic to Antiquity but it is useful in mass media. In spite of some problems of interpretation the general public has a general view of the conflict. We are in the face of a story of the end of the Antiquity understandable for the public. En este artículo estudiaremos la superproducción de Alejandro Amenábar de 2009 Ágora, como un intento de mostrar el fin de la Antigüedad desde un punto de vista histórico. Centrada en una de las grandes figuras de la filosofía Antigua, Hipatia, que murió dramáticamente por su afinidad al poder reinante. Su propia vida es un ejemplo del conflicto de culturas en la Alejandría del momento, cuando el poder político está en pleno conflicto con la nueva religión: el cristianismo. Lo que hace de ágora una película especialmente apta para un estudio científico es como se cuida en mensaje en torno a una visualidad heredada de la estética del péplum de los años 50 más las novedades del cine ambientado en la Antigüedad inaugurada por 300 de Snyder. Ágora nos presenta una Hipatia con fuerza, como símbolo de la Antigüedad y comportándose como una feminista que lucha por los intereses de sus creencias científicas. A pesar de que el discurso pueda estar un tanto desfasado y sea anacrónico consigue dar al espectador una idea bastante aproximada del conflicto. Estamos ante un éxito de taquilla que acerca al espectador una historia de la Antigüedad. Centro de Estudios Históricos Profesor Carlos S. A. Segreti 2016-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21992 10.52885/2683-9164.v0.n16.21992 Anuario del Centro de Estudios Históricos Profesor Carlos S. A. Segreti; Núm. 16 (2016); 15-31 2683-9164 1666-6836 10.52885/2683-9164.v0.n16 spa https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21992/21727 Derechos de autor 2016 Elena Duce Pastor |
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Universidad Nacional de Córdoba |
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I-10 |
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R-307 |
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Anuario del Centro de Estudios Históricos Profesor Carlos S. A. Segreti |
| language |
Español |
| format |
Artículo revista |
| topic |
Hipatia cristianimo filosofía cine recepción Hypatia christianism philosophy cinema reception |
| spellingShingle |
Hipatia cristianimo filosofía cine recepción Hypatia christianism philosophy cinema reception Duce Pastor, Elena Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| topic_facet |
Hipatia cristianimo filosofía cine recepción Hypatia christianism philosophy cinema reception |
| author |
Duce Pastor, Elena |
| author_facet |
Duce Pastor, Elena |
| author_sort |
Duce Pastor, Elena |
| title |
Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| title_short |
Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| title_full |
Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| title_fullStr |
Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| title_full_unstemmed |
Alejandro Amenábar's Agora: A New Cinematographic Use of the End of Antiquity |
| title_sort |
alejandro amenábar's agora: a new cinematographic use of the end of antiquity |
| description |
In this article we will study the 2009 Alejandro Amenábar’s superproduction “Ágora”. This film was a response to have an historical view of the end of the Antiquity. It is focused on one of the main female figures of Philosophy, “Hypatia”. She was one of the latest female teachers in Alexandria and died dramatically because of her affinity to the power. Her life is presented as a conflict of cultures in Alexandria. Political power is continuously fighting with the new religion: Christianity. The message is clear to the public because they are trying to take care of creating an understandable situation of an Ancient City. Amenabar used some topics that have its origins from 50’s Peplum films and also the innovations after Snyder’s 300. Hypatya is a female character, full of energy and speaks like a feminist. This discourse may be obsolete and anachronic to Antiquity but it is useful in mass media. In spite of some problems of interpretation the general public has a general view of the conflict. We are in the face of a story of the end of the Antiquity understandable for the public. |
| publisher |
Centro de Estudios Históricos Profesor Carlos S. A. Segreti |
| publishDate |
2016 |
| url |
https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21992 |
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2024-09-03T20:25:25Z |
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