![]() By providing almost identical placement of the buildings and designs found in scenes of both Olympus and the Underworld, it becomes easier for the audiences to ascertain that these realms are both celestial planes. To a great extent, the structures used in the scene introducing the Underworld are almost identical to initial representations of Olympus, save for colouring. These classical devices which include both the architecture and specifically, the columns are also adopted in representations of the underworld. Combinations such as these, wherein both the characters and the settings are focal points in the same scene firmly convey to the audience that Hercules, despite the biblical allusions that construct a ‘Heavenly Olympus’ is ultimately set within both an ancient and mythological past. Through the use of classical buildings and particularly, Ionic columns that are increasingly emphasised in a sequence of panning shots that show the Greek gods gathering to celebrate the birth of Hercules. As the camera pans from the gates to Olympus itself, the biblical allusion to Heaven via the imagery of Olympus as a city in the sky is made apparent but it is specifically situated in a classical context. A range of pink, lavender and blue hues as well as soft cloudlike structures present a serene and comforting image of the Olympian complex. and recogniseĬolouring and textures also serve to reinforce the recognition of Olympus as a heaven-like realm. Animators from Hercules ultimately make use of this Christianising motif in order to present Olympus to the audience in terms that they would easily understand. The gates equate Olympus with Heaven and are a motif that had previously been used in previously released animated feature films such as All Dogs Go To Heaven (1989). Within the narrative, these gates are one of the first times that the audience encounters Mount Olympus and in order to convey to the audience that this domain belongs to the ‘good’ characters, are an example of biblical allusions to heaven. Upon entry, viewers are first presented with a grand vista of two large and splendid golden gates adorned with lightning bolts and Ionic columns. After the prologue in which a narrator (voiced by Charlton Heston) and the Muses establish the premise of Hercules, the camera pans throughout Ancient Greece and gradually rises through the clouds towards Mount Olympus, the home of the Greek Gods. For instance, ideas about a heavenly Olympus set the scene early on. These generalisations begin from the outset of the film. Here, we examine some elements of how the backdrops support the film and establish it as classical. To engage this audience, Hercules’ animators drew on varying artistic and architectural styles as well as countless artefacts that existed throughout antiquity, establishing for the film a full and ‘lived-in’ environment that was recognisable for viewers influenced by preconceived notions about the appearance of Ancient Greece. Through the tale of its eponymous character, Hercules discovering what it means (and takes) to become a ‘True Hero’, Disney’s Hercules (1997) offers an imaginative interpretation of Ancient Greece to an audience largely unfamiliar with its imagery or stories. This is an extract from a paper she recently presented at the Antiquity in Media Studies zoom conference, hosted by the Society for Classical Studies (US).Įstablishing a Classical Background– Hercules Here she discusses the importance of understanding how backgrounds work in animated film, focusing on the popular Disney film, Hercules (1997). ![]() ![]() Amy Arezzolo recently completed her Masters of Ancient History at the University of New England, and is working on contributions to the Our Mythical Childhood survey of children’s culture influenced by Classical Antiquity. ![]()
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