Abstract
Popular film is an important and effective ideological apparatus and has the potential not only to reinforce subjectivity but also to expose the workings of ideology. Within a psychoanalytic framework, this paper examines the recent historical/fantasy film 300 to assess the demands of ideology on the subject, the political consequences of the form of subjectivity that is affirmed, and the potential of this film to rationalize attitudes that provide justification for present conflict such as the War on Terror. Through this analysis, the article explores the reproduction of subjectivity and, significantly, how it can be challenged.
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Notes
The Real is defined by Jacques Lacan as that which ‘resists symbolization absolutely’ (Lacan, 1988, p 66). It acts as the barrier between the signified and the signifier and thus constitutes the impossibility of fixed meaning, identity or social totality. It is the essence of a thing, unmediated by the symbolic order and thus impossible to define or comprehend, but nonetheless present and crucial. Although ideology attempts to disguise the existence of the Real, it tends to reveal itself through social contradictions and antagonisms. Therefore, managing, disguising and subverting the Real are essential elements of a functioning ideology.
For further papers on this subject and the historical inaccuracies of 300, see Daryaee (2007), Leupp (2007) and Golsorkhi (2007).
The term ‘hidden content’ used here is analogous to Freud's latent dream thought in his work on dreams.
This refers to identification with the image in which we appear likable to ourselves.
For a selection of comments supporting this argument, see the 300 website on myspace.
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Scriver, S. Subjectivity, identity and 300 Spartans. Psychoanal Cult Soc 14, 183–199 (2009). https://doi.org/10.1057/pcs.2008.35
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DOI: https://doi.org/10.1057/pcs.2008.35