In both ancient and modern narratives, recognition scenes have proven to be some of the most emotionally charged moments in a story. Choephori is no exception, as siblings Electra and Orestes’ recognition of each other after a long separation and multiple familial tragedies stirs up a strong emotional reaction in the audience. This popular narrative device has persisted over time, and is still present in modern fiction.
The Spanish film La Piel que Habito closes with a powerful recognition scene, not unlike the one in Choephori. The use of a recognition scene at the end of the film draws on the emotional investment of the audience. This audience has already seen, through the rest of the film, the characters’ suffering as a result of separation. They have hoped for the characters to reunite once again, and are anxious to see the characters’ reactions to each other. This investment …show more content…
In one of these scenes, a recognition token is an object that serves as a trigger for the recognition. In both scenes, characters do not recognize their loved ones until they are presented with such an object. In Choephori, Electra does not believe that the man before her is her long-lost brother Orestes until she recognizes her own piece of weaving in his possession. Traditionally, Greek women began weaving from a young age, and their works were both customizable and recognizable - once Electra sees her own work in her brother’s hands, there is no denying his identity. In La Piel que Habito, Vincente’s dress is used as a similar device. Cristina is in disbelief until he relays the anecdote about the dress to her, which serves as a trigger for her recognition. Despite the different times and contexts of these narratives, both La Piel que Habito and Choephori successfully employ the use of recognition scenes, providing an emotional standpoint in each
The Spanish film La Piel que Habito closes with a powerful recognition scene, not unlike the one in Choephori. The use of a recognition scene at the end of the film draws on the emotional investment of the audience. This audience has already seen, through the rest of the film, the characters’ suffering as a result of separation. They have hoped for the characters to reunite once again, and are anxious to see the characters’ reactions to each other. This investment …show more content…
In one of these scenes, a recognition token is an object that serves as a trigger for the recognition. In both scenes, characters do not recognize their loved ones until they are presented with such an object. In Choephori, Electra does not believe that the man before her is her long-lost brother Orestes until she recognizes her own piece of weaving in his possession. Traditionally, Greek women began weaving from a young age, and their works were both customizable and recognizable - once Electra sees her own work in her brother’s hands, there is no denying his identity. In La Piel que Habito, Vincente’s dress is used as a similar device. Cristina is in disbelief until he relays the anecdote about the dress to her, which serves as a trigger for her recognition. Despite the different times and contexts of these narratives, both La Piel que Habito and Choephori successfully employ the use of recognition scenes, providing an emotional standpoint in each