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=''Maitama''=
=Hanno of Tyria=
{{Infobox film
{{Infobox philosopher
| name           = Maitama
| honorific_prefix  =
| image         = Maitama_cinematic_poster.png
| name              = Hanno of Tyria
| alt           =  
| native_name      = <!-- add name in the philosopher's language or script if different from the English name -->
| caption       = Montecara Film Festival Poster for ''Maitama''
| honorific_suffix  =  
| native_name    = <!-- {{Infobox name module|language|title}} or {{Infobox name module|title}} -->
| image             = Lithograph; portrait of Galen; head and shoulders Wellcome L0018182.jpg
| director       = Tuni Tangaza
| image_size        = 150px
| writer        = Tuni Tangaza<br/>Tomás Mijinyawa
| alt               =  
| screenplay    =  
| caption           = A lithograph often used to represent Hanno of Tyria
| story         =  
| other_names      =  
| based_on      = {{Based on|''L'euphorie''|Tomás Mijinyawa}}
| birth_name        = <!-- only use if different from name -->
| producer      = Sule Gwani
| birth_date        = 1810s?
| starring      = Atiku Mangou<br/>Haruna Lamine<br/>Amina Zaria
| birth_place      =
| narrator      =  
| death_date        = {{circa}} late 19th c.
| cinematography = Danladi Choge
| death_place      =
| editing        = Sammako Dauda
| death_cause      =
| music          = Sahura Garba
| nationality       = Tyreseian (''assumed'')
| studio        = <!-- or: | production_companies = -->
| spouse            =
| distributor    = <!-- or: | distributors = -->
| partner          =  
| released       = {{Film date|df=yes|2023|10|22|[[84th_Montecara_Film_Festival|Montecara Film Festival]]}}<br/>{{Film date|df=yes|2023|11|2|[[Kitaubani]]}}<br/>{{Film date|df=yes|2023|11|22|[[Kylaris|global]]}}
| children         =
| runtime       = 97 minutes
| family            =
| country        = {{flag|Kitaubani}}
| relatives        =  
| language      = Hausa<br/>X
| education        =
| budget        =
| alma_mater        =
| gross          =
| occupation        = Philosopher, critic
| notable_works    = ''Tyreseia''<br>''Letter to Prince Djonixu''<br>''Poor Folk''
| awards            =
| signature        =
| signature_size    =
| signature_alt    =
| era              = [[Resurgencha]]
| region            = {{wp|Western philosophy|Periclean philosophy}}
| school_tradition  =  
| institutions      =  
| thesis_title      = <!--(or | thesis1_title = and  | thesis2_title = )-->
| thesis_url        = <!--(or | thesis1_url  =   and  | thesis2_url  =  )-->
| thesis_year       = <!--(or  | thesis1_year =  and  | thesis2_year =  )-->
| doctoral_advisor  = <!--(or  | doctoral_advisors = )-->
| academic_advisors =
| doctoral_students =
| notable_students  =
| language          = Tyreseian, Latin
| main_interests    = {{wp|Ethics of government}}, {{wp|socialism}}, {{wp|Left-wing_nationalism|left-nationalism}}
| notable_ideas    = Tyreseianism
| influences        = [[Anarixa Tabnit]]<br>[[Azmelcart Xidduni]]<br>''et al.''
| influenced       = <!-- only add entries which are explained and cited in the body of the article (or cited here)-->
| website          = <!-- {{URL|example.com}} -->
}}
}}
'''''Maitama''''' is a 2023 [[Kitaubani|Kitauban]] biographical drama film about the life of purported faith healer/con artist Alhaji Nuruddeen Maitama. Directed by female director Tuni Tangaza, it features longtime actor Atiku Mangou as Maitama, and follows the latter's rise and fall in a non-chronological format. The film was largely produced through funds procured by Tangaza's own production company and through her personal influence in the world of cinema.  
'''Hanno of Tyria''' was the most-frequently attributed moniker for a philosopher or series of philosophers in the 19th century in what is now [[Tyreseia]]. Writing pseudonymously to protect their identity, Hanno wrote extensive tracts, pamphlets and articles during the turbulent early years of the 19th century, when Tyreseia was ruled by numerous petty polities and statelets. Frequently a critic of the nobility, monarchy and bourgeoisie of the [[Ajax|Rubric Coast]] states, Hanno espoused a form of {{wp|Left-wing_nationalism|left-wing nationalism}} that advocated for a unification of the Tyresene city-states in the same fashion as neighboring [[Talahara]]'s own revolution decades before. While not advocating for the {{wp|syndicalism}} of later revolutionaries like [[Azmelcart Xidduni]], Hanno's writings nonetheless posited that the ideal government for the eastern Rubric Coast would be a singular {{wp|Republic|republican}} government that could unite the region, strengthen against incursions from outsiders, and materially ensure good standards of living for its inhabitants.  


The film borrowed heavily from [[Paretia|Paretian]]-born Kitauban journalist Tomás Mijinyawa's 1994 exposé ''L'euphorie''. This book was widely credited with bringing accusations of Maitama's fraud to worldwide attention, eventually leading to his arrest; as a result, Mijinyawa served as both a consultant and a writer during production. As Mijinyawa was at one time a personal confidant of Maitama, the film intimately explores the psyche of Maitama, and frames the discussion around his mission as a question of motivation; that is, whether Maitama was a fraud or merely deluded. As a result, the film explores themes of mental illness and its stigmas in Kitauban society, deception, faith, sectarianism, and the wider socio-political context of Kitaubani in the 1990s, during the time when Maitama came to prominence. The film mixes realistic and surrealistic visuals in order to either make the thought processes of Maitama more relatable to viewers or portray some of his claims as so absurd as to be fabricated for the sole purpose of deception. The film has been noted to resemble the conventions of a music biopic, as it portrays similarities between Maitama's fame and the popularity cycle of celebrity musicians.  
Largely credited with inventing the word "Tyreseia," Hanno is widely considered to have played a singularly influential role in shaping the intelligentsia's views on a potential Transrubricine state during an era defined by revolution and intellectual tumult. Though their ideas were on the margins of debate during their prime, they slowly were rediscovered and by the 1860s were being implemented and expanded upon by the ascendant left wing of Tyreseia's intelligentsia. Hanno's works were cited as integral to both the Provisional Government of the Tyreseian Republic and to Xidduni, though their interpretations and executions of their ideas were vastly different.  


=Plot=
The question of who Hanno of Tyria was is still debated in Tyreseian society. Traditional teaching holds them to be an integral force behind the existence of a modern Tyreseian identity. Their ideas have been critiqued by those on the left as being too hobbled by nationalism, which has been argued by many including [[Anarixa Tabnit]] (an influential Tyreseian philosopher in her own right) as creating an inherently exclusive national identity. Similarly, Hanno's status in popular imagination as a {{wp|Father of the nation|lauded national figure}} has been criticized in recent years as being overly reliant on {{wp|great man history}} and as discounting the intellectual and physical work of other supporting intellectuals, especially of the working class.  
The film opens in 1996, on Maitama (Atiku Mangou) being incarcerated at Gashi's notorious Department XII Prison following his murder conviction. The prison bus is slow to enter the prison grounds; throngs of people choke the street in front. The crowd is divided: on one side stand the remaining faithful, a smaller crowd than Maitama's detractors but nonetheless equally vigorous and loud in their protestations. At times, the bus is even rocked by protestors and counterprotestors alike. Inside the bus, the guards flanking Maitama are sat unusually far from him; it is unclear to the audience whether it is out of disgust or reverence. Maitama maintains an aloof, vacant smile with slightly upturned eyes throughout, even while being booked in the prison and tossed unceremoniously into an empty cell. After surveying the cell, Maitama discovers a set of glyphic marks on the stone brick wall. Tracing his fingers over each glyph, Maitama briefly relives moments from his tumultuous childhood in the rural Sule Department. Visions of hardship and joy overlap, steadily becoming more and more visible on the screen until they appear as if they were projected onto the wall in front of Maitama.
==Works==
 
==Legacy==
Eventually, Maitama finds the implement with which the glyphs were made, and decides to carve his own. As he begins, the first of the film's many breaks with reality happens as the implement breaks through the wall (previously implied to be several inches thick) to reveal a scene from Maitama's life: the younger Maitama struggling to escape a brush fire. The current Maitama watches his younger self struggle to find shelter from the flames. Eventually, the older Maitama rushes forth to help the younger escape; from the latter's perspective, the former resembles his deceased father, and assumes that his ancestral spirit had come to guide him to safety. (In reality, this event was cited by Maitama as the inciting incident for his ministry.) Following the rescue, Maitama finds himself returned to his cell, with no signs of the previous calamity aside from stray ash on the floor. The story follows him to the exercise yard, which is {{wp|prison overcrowding|beyond maximum capacity}}. As Maitama stares at the sky, a cry greets him. Upon turning around, he sees
==Speculation==
 
===Sexuality===
 
 
 
 
The final scene of the movie features the morning after Maitama awakes from this dream. Though the course of the "prison section" of the film is implied to have only taken place over less than 24 hours, Maitama appears to have visibly aged since the scene of his incarceration. As he lies awake in his bed, trembling from leftover fear, a hole appears in his cell wall as a neighboring prisoner tunnels into his cell. Through the peephole, the prisoner can see Maitama, and begins asking him to join his escape attempt. From Maitama's perspective, however, all he sees is a glimpse of his younger self escaping the fire. Rather than helping his younger self to safety, as he had done before, Maitama watches as the fire catches up and consumes him. The neighor's confused queries into Maitama's expression come across to Maitama as desperate, final pleas for help from his younger self; the final shot zooms in on Maitama's eye through the peephole, as the screams crescendo until they abruptly end, implying that he let his younger self be consumed by the flames.

Latest revision as of 19:24, 7 November 2023

Hanno of Tyria

Hanno of Tyria
Lithograph; portrait of Galen; head and shoulders Wellcome L0018182.jpg
A lithograph often used to represent Hanno of Tyria
Born1810s?
Diedc. late 19th c.
NationalityTyreseian (assumed)
Notable work
Tyreseia
Letter to Prince Djonixu
Poor Folk
EraResurgencha
RegionPericlean philosophy
Main interests
Ethics of government, socialism, left-nationalism
Notable ideas
Tyreseianism
Influences

Hanno of Tyria was the most-frequently attributed moniker for a philosopher or series of philosophers in the 19th century in what is now Tyreseia. Writing pseudonymously to protect their identity, Hanno wrote extensive tracts, pamphlets and articles during the turbulent early years of the 19th century, when Tyreseia was ruled by numerous petty polities and statelets. Frequently a critic of the nobility, monarchy and bourgeoisie of the Rubric Coast states, Hanno espoused a form of left-wing nationalism that advocated for a unification of the Tyresene city-states in the same fashion as neighboring Talahara's own revolution decades before. While not advocating for the syndicalism of later revolutionaries like Azmelcart Xidduni, Hanno's writings nonetheless posited that the ideal government for the eastern Rubric Coast would be a singular republican government that could unite the region, strengthen against incursions from outsiders, and materially ensure good standards of living for its inhabitants.

Largely credited with inventing the word "Tyreseia," Hanno is widely considered to have played a singularly influential role in shaping the intelligentsia's views on a potential Transrubricine state during an era defined by revolution and intellectual tumult. Though their ideas were on the margins of debate during their prime, they slowly were rediscovered and by the 1860s were being implemented and expanded upon by the ascendant left wing of Tyreseia's intelligentsia. Hanno's works were cited as integral to both the Provisional Government of the Tyreseian Republic and to Xidduni, though their interpretations and executions of their ideas were vastly different.

The question of who Hanno of Tyria was is still debated in Tyreseian society. Traditional teaching holds them to be an integral force behind the existence of a modern Tyreseian identity. Their ideas have been critiqued by those on the left as being too hobbled by nationalism, which has been argued by many including Anarixa Tabnit (an influential Tyreseian philosopher in her own right) as creating an inherently exclusive national identity. Similarly, Hanno's status in popular imagination as a lauded national figure has been criticized in recent years as being overly reliant on great man history and as discounting the intellectual and physical work of other supporting intellectuals, especially of the working class.

Works

Legacy

Speculation

Sexuality

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