Reception of Mesopotamia on Film

Introduction: reception of Mesopotamia and the cinema lens reception studies and cinema studies on reception of antiquity are relatively recent. Charles Martindale first included reception theory in the field of Classical Studies in 1993 with Redeeming the Text: Latin poetry and the hermeneutics of reception. The Professor of Latin from the University of Bristol was inspired by the research line inaugurated by the Constance School, with scholars such as Wolfgang Iser and especially Hans Robert Jauss, who, in the 1960s, boosted the field named Aesthetic of Reception. Jauss postulated that the observer of a work of art should be given an active role. In broad terms, he considered that the work of art was not a static or timeless phenomenon . In his own words, A literary work is not an object that stands by itself and that offers the same view to each reader in each period. It is not a monument that monologically reveals its timeless essence. It is much more like an orchestration that strikes ever new resonances among its readers and that frees the text from the material of the words and brings it to a contemporary existence" . Martindale thus resorted to this seminal work to introduce new conceptions in the study of Classics, claiming, like Jauss before him, that an author has no control over his work since it does not have an immutable meaning, always depending on the interpretations made about it and hence subjected to the cognitive role of the observer / reader, the "active principle" "--