The aim of this paper is to bring Alejandro Amenábar’s Agora into a wider reflection on the reason why contemporary cinema often turns to ancient history and myth, in a broad sense, with a particular focus on the promises of visibility that the narratives of the Ancient World seem to make to the cinema.
Avezzu', G., «E i mondi ancora si volgono sotto i suoi piedi bianchi». Ipazia e Agora di Alejandro Amenábar, <<DIONYSUS EX MACHINA>>, 2010; 2010 (1): 334-346 [http://hdl.handle.net/10807/16913]
«E i mondi ancora si volgono sotto i suoi piedi bianchi». Ipazia e Agora di Alejandro Amenábar
Avezzu', Giorgio
2010
Abstract
The aim of this paper is to bring Alejandro Amenábar’s Agora into a wider reflection on the reason why contemporary cinema often turns to ancient history and myth, in a broad sense, with a particular focus on the promises of visibility that the narratives of the Ancient World seem to make to the cinema.
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