خلاصة:
During the era of Bush administration and post-September 11th anti-terrorism discourse, the movie 300 was one of the best exemplar of a close relationship between Hollywood pop culture products and the neo-conservatives’ political discourse of nationalism. From my point of view, 300 is not an example of outstanding artistic films, but a film that more than any other film contains an Iranophobic discourse, produced by Hollywood. The film is another example for ‘warfare-ization’ of public sphere and envisioning war as part of the people’s everyday life using pop culture products in U.S. after 9/11. Connecting war with collective memory, 300 brings war to the heart of everyday life. The Western or American youths should think that just like the brave and devoted Spartan soldiers in 300, they also fight for democracy, freedom, and glory. This film is full of cultural stereotypes on the Eastern and Iranian culture, in particular, their identity. For example, women are depicted as erotic objects. In contrast to the Spartan women who are free, brave, kind mothers and faithful wives, the Iranian women are represented as slavish, lustful, indecent, and homosexual. They look like the sexy dancers in nightclubs and discothèques. Using van Leeuwen’s approach in critical discourse analysis (2008), this paper is aimed at analyzing this film as a media text.
ملخص الجهاز:
"58) says: Nevertheless, 300 is unique in that it interweaves history and fantasy with twenty-first century pop culture, offering a convincing International Journal of Women’s Research Vol. 3 , No. 1 , Spring & Summer 2014 (and convicting!) window into America’s contemporary self-image, as well its ongoing ability to collectively justify and endorse (mis) representations of marginalized peoples and nations.
International Journal of Women’s Research Vol. 3 , No. 1 , Spring & Summer 2014 • Gorgo She is represented as a lovely queen, a politician, a brave and wise Spartan woman, a kind mother, and a faithful wife.
International Journal of Women’s Research Vol. 3 , No. 1 , Spring & Summer 2014 of wolf (claws of black steel, fur as dark night, and eyes glowing red) has been used in this film for the depiction of Xerxes, the Iranian army, and the Immortals at the same time.
In this diegetic world, Xerxes tries to conquer Greece with his war machine (an army from one hundred nations), and a small group of Spartan soldiers defend their country and fight to death.
Lipsitz in his introduction to the book writes: International Journal of Women’s Research Vol. 3 , No. 1 , Spring & Summer 2014 The exclusionary mentality at the heart of the metaphor of two worlds never allowed for the full inclusion of people of color, women, sexual minorities, and other aggrieved and nonnormative groups into the ranks of national subject (2002, p."