Reception of Mesopotamia on Film. Maria de Fatima Rosa
target="_blank" rel="nofollow" href="#ulink_977a0dc3-63e9-5da2-a8cd-7344437ade90">27 Idem, ibidem.
28 28 Rood 2013, p. 200.
29 29 Staiger 2000, p. 1.
30 30 Idem, p. 3.
31 31 Mayne 1993, p. 3.
32 32 Apud, Wyke 1997, p. 37.
33 33 Barta 1998, p. 13. About this question, vide also De España 2013, p. 45.
34 34 Biltereyst and Meers 2018, p. 22.
35 35 Aziza 2009, p. 81.
36 36 Hewak 1991, p. 122.
37 37 About Humberto Eco’s thoughts on the visual sign, vide idem, p. 79 and ff.
38 38 Hansen 1991, p. 17.
39 39 Winkler 2009, p. 11.
40 40 Idem, p. 13.
41 41 Idem, p. 14.
42 42 Idem, p. 20.
43 43 Rosenstone 1988, p. 31.
44 44 Subscriptions increased during the first months of 2020 due to the pandemic outbreak and the confinement of many households. This aspect proves the importance of films and television series as the main means of entertainment and historical dissemination. The New York Times, “Everyone You Know Just Signed Up for Netflix:” https://www.nytimes.com/2020/04/21/business/media/netflix-q1-2020-earnings-nflx.html (accessed on 10 November 2020).
45 45 Rosenstone 1988, p. 32.
46 46 Idem, pp. 37 and 40.
47 47 Michelakis and Wyke 2013a, p. 12.
48 48 We will analyze the films considered most important for the themes in question. Thus, the priority is not to present a detailed list of movies on Mesopotamia, but to mention and study those that may be more symptomatic of the idea contemporaneity had of the land between the rivers.
49 49 As, for instance, Hatifa – Abenteuer einer sklavin (1960), produced in the German Democratic Republic.
50 50 For instance, The Mole People (1956), which explores Sumerian culture.
51 51 An example is the Italian film I sopravvissuti della città morta (1984), which presents the temple of the god Gilgamesh, and the sarcophagus in which he would have been buried.
52 52 For instance, Alexander (2004) or The Egyptian (1954).
53 53 Babel (2004) and The Exorcist (1973) are two examples. They constitute two distinct references: the first one collects for its title an image of confusion and dispersion transversal to Judeo-Christian thought, although the film has nothing to do with ancient Babel/Babylon; the other uses Mesopotamian antiquity, more specifically its daemon Pazuzu, to explore the devil that takes possession of the child on which the film focuses, although it does not center on this civilization.
54 54 Evil Dead’s (1981) chaos is caused by the recitation of ancient Sumerian enchantments.
55 55 Such as Metropolis (1927) that takes place in a future time, in the year 2026.
56 56 As is the case with the Iraqi film Nabokodnassar (1962) or the Turkish Nemrud (1979).
57 57 Although other countries have produced films regarding Mesopotamia, such as England, Germany, or Austria, their productions were not so many and their importance in the early days of cinema is not comparable to that of the other industries. As so, we choose to focus on these three.
58 58 Although Noah’s Ark (1928) is actually a sound movie, the only exception in the group.
59 59 A subdivision close to the one presented by Reinhartz 2013a regarding the Bible.
60 60 Lanzoni 2002, p. 42.
61 61 And with the Italian political context. Vide Part II, Chapter 6.
62 62 About the third golden age of peplum, vide Éloy 2013, p. 61.
63 63 With his magnus opus Orientalism (Said 1978).
64 64 Sanmartín and Serrano 2003, p. 9.
65 65 Matthews 2003, p. 6.
66 66 Bahrani 1998, p. 165.
67 67 Idem, ibidem.
68 68 Finkelstein 1962, p. 73.
69 69 Idem, p. 74.
70 70 Matthews 2003, p. 5.
71 71 Curiously, even the very concepts of universalism and imperialism, which Europe would be fond of during its era of expansionism were, in their genesis, eastern (Pagden 2008, p. 11).
72 72 Parpola 2000b, p.