![]() Using van Leeuwen’s approach in critical discourse analysis (2008), this paper is aimed at analyzing this film as a media text. They look like the sexy dancers in nightclubs and discothèques. 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. For example, women are depicted as erotic objects. This film is full of cultural stereotypes on the Eastern and Iranian culture, in particular, their identity. 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. Connecting war with collective memory, 300 brings war to the heart of everyday life. Frank Millers 300 began its existence as a comic-book series in 1998, as Miller adapted the Battle of Thermopylae and the events preceding the battle. 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. Standing between Greece and this tidal wave of destruction are a tiny detachment of but three hundred warriors. ![]() 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 armies of Persia - a vast horde greater than any the world has ever known - are poised to crush Greece, an island of reason and freedom in a sea of madness and tyranny. 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 neoconservatives’ political discourse of nationalism. ![]()
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