La Pompeya cinematográfica¿Una aproximación real al yacimiento?

Abstract

From the moment the film screenings began performing in December 1895 conducted by the Lumière brothers, what we know as cinema and all the elements that this concept involves, has been transformed into an audiovisual medium that has allowed bring the public great stories, real or fictitious and promote through them the knowledge thereof. Audiovisual productions encompass all possible themes and inside them are a large number of films that are set in classical antiquity. The same applies with regard to the subject of Archaeology, but not many films deal about the work of professionals in the archaeological sites and the history of these places, but on a general rule, focus on the adventures and misadventures crossing by paradigmatic archaeologists. Focusing on the Pompeian case, it is fair to say that natural disasters have always served as inspiration for film. There are many movies and series that are based in the moments before the disaster in the Roman city of Pompeii in AD 79. Although these films or television productions are quite numerous. We will focus on examining the following Pompeii (2014, Paul WS Anderson). The Last Days of Pompeii (1959 Sergio Leone / Mario Bonnard), Year 79: The destruction of Herculaneum (1962 Gianfranco Parolini), The destruction of Pompeii (1908. Luigi Maggi), The Last Days of Pompeii (1935, Ernest B. Shoedsacky / Merian C. Cooper), I always love (1954. Roberto Rossellini), the Last Days of Pompeii (1950. Marcel L'Herbier / Paolo Moffa), Punished City (1926, Carmine Gal tone) and the hit ABC series, The Last Days of Pompeii (1984, Peter R. Hunt). As professionals of historical and archaeological knowledge, we must ask how many of them really fil the reality of the facts and bring us closer to a true form to how it was the best preserved Roman city to date worldwide. Keep in mind that the film is a creative art. But by focusing on historical facts, try to avoid anachronisms, to put the audience in a real scenario as possible. Look for an answer to these concerns is the main purpose of this article. in which the methodology used to achieve them, is primarily focused on the collection, display and critical analysis of the cinematic representations whose geographical setting the city of Pompeii. By studying from a historical and critical view of them, we want lo the view that the public receives through this audiovisual media about the emblematic archaeological site from Roman times that is the subject of our study. Also present as conclusions all the deductions that are shown to us, either rightly or misleading way, through small and big screen.