The objective of this paper was to delve into the intricate connection of mythos to the modern simulacrum through the lens of film and art. I was inspired to write this paper as I studied the paintings of the Arena Chapel and noted their filmic qualities, as well as its mythological framework. With more research, I found that the Western world operates under a collective simulacrum in which the tessellations through time seem to have predestined film as an art form. How this cyclical nature of humanity demands the construction of a simulacrum, the crux of which lies within the paradoxical relationships between the written word, mythos and film. I concluded that, opposing Baudrillard, there is no time before myth or after myth, it is simply the manner through which humanity has always understood the phenomena of the world around us. It is our drive to uncover as well as understand the deeper meaning of our existence. I believe that film should be viewed as an inevitable evolution of the art that came before it, understood through the filter of myth and the simulacrum, and that this paper only scratches the surface of this topic.
