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<p>This paper examines in parallel Euripides’s <i>Helen</i> and Gary Ross’s film <i>The Hunger Games</i> (2012). More specifically, it explores the resemblance between Euripides’s and Ross’s storyworlds, focusing on the identity, socio-spatial circumstances, and authorial choices of the female protagonists of the two stories, Helen and Katniss Everdeen respectively. Helen and Katniss exist in their stories as socially othered characters who find themselves confined within carceral-esque spaces which they need to escape in order to return home safe and reclaim or redefine themselves. I argue that to achieve that, they transform the carceral-esque space where they are restricted into an inset stage, a metadramatic heterotopic spatial entity that allows the social Other to contemplate their positionality. In both storyworlds, the inset stage emerges when both female characters conceptualize and perform in front of an internal audience a deceitful plot that features them as actors in roles that seemingly abide by the rules of the carceral-esque space, but, in reality, undermines or challenges the foundations of the space and society itself. Consequently, both works invite their respective audiences to reflect on the socio-political reality of the time and place of their creation, while commenting on the intertemporal condition of the social Other.</p>

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What Does Katniss Have to Do with Helen? Tracing the Euripidean Model in Gary Ross’s The Hunger Games (2012)

  • 期刊论文

  • 发表日期：

    2025年1月15日

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  • Anastasia Pantazopoulou

摘要

This paper examines in parallel Euripides’s Helen and Gary Ross’s film The Hunger Games (2012). More specifically, it explores the resemblance between Euripides’s and Ross’s storyworlds, focusing on the identity, socio-spatial circumstances, and authorial choices of the female protagonists of the two stories, Helen and Katniss Everdeen respectively. Helen and Katniss exist in their stories as socially othered characters who find themselves confined within carceral-esque spaces which they need to escape in order to return home safe and reclaim or redefine themselves. I argue that to achieve that, they transform the carceral-esque space where they are restricted into an inset stage, a metadramatic heterotopic spatial entity that allows the social Other to contemplate their positionality. In both storyworlds, the inset stage emerges when both female characters conceptualize and perform in front of an internal audience a deceitful plot that features them as actors in roles that seemingly abide by the rules of the carceral-esque space, but, in reality, undermines or challenges the foundations of the space and society itself. Consequently, both works invite their respective audiences to reflect on the socio-political reality of the time and place of their creation, while commenting on the intertemporal condition of the social Other.