Publication: Las distintas caras de la historia de los 300 espartanos: Heródoto, Miller y Snyder
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2018-02-08
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Universidad Complutense de Madrid
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Abstract
Las distintas caras de la historia de los 300 espartanos: Heródoto, Miller y Snyder es el título de la presente tesis doctoral. En el año 2006 se estrenó la película '300' de Zack Snyder justo en el momento en el que se recrudecían las tensiones entre los EE.UU. de George W. Bush y países de Oriente Medio como Afganistán e Irak. En medio de este conflicto armado, apareció esta cinta teñida de colonialismo cultural como vehículo de ideología para un público masivo. Ésta es la primera de las hipótesis que planteamos. Esto es así porque el público cinematográfico es ideal para este tipo de propaganda ya que se muestra acrítico y fácilmente adoctrinable, lo cual conforma nuestra segunda hipótesis referida al perfil de público que asiste a este tipo de espectáculos. Snyder, de la mano del dibujante ultra conservador Frank Miller, según sus propias declaraciones, utilizó una parte de la historia (fue su vehículo o excusa) para armar un discurso maniqueo, basado en la lucha entre buenos y malos. Así se decanta por un fuerte discurso militarista por encima de cualquier otro posible discurso más histórico, humano o social. Construye su discurso mediante tópicos sobre la mujer (quien tiene un papel secundario y supeditado a la acción de los hombres), sobre el bien y el mal, y sobre los valores superiores. Esta subyacente temática sirve para recordarnos que occidente (nosotros) está por encima de oriente (ellos) aprovechando un momento de los más álgidos del conflicto abierto secularmente en Oriente Medio, frontera natural entre ambas civilizaciones...
The title of this thesis is The different faces of the story of the 300 Spartans: Herodotus, Miller and Snyder. Zack Snyder’s film ‘300’ was released in 2006, the same year when tensions between George W. Bush’s US and countries of the Middle East like Afghanistan and Iraq got worse. In the context of this armed conflict, this film tinged with cultural colonialism became an ideologic vehicle for the mass audience. This is our first hypothesis. The reason for this is that film audiences are ideal for this kind of propaganda, since they are nonchalant and easy to indoctrinate, which confirms our second hypothesis regarding the profile of the audience that attends this kind of entertainment. According to his own statements, Snyder -by the hand of ultra conservative comic book artist Frank Miller- used part of the story (as his vehicle or excuse) to construct a black-and-white discourse based on a struggle of good Vs. evil. Thus, he chooses a militaristic discourse, over a historic, human or social one. He constructs his discourse basing on clichés about women (who have supporting roles at the service of the male characters), about good and evil and about superior values. These underlying themes are used to remind the audience that the West (we) is above the East (they), taking advantage of one of the most critical moments of an apparently secular conflict in the Middle East, a natural frontier between two civilizations...
The title of this thesis is The different faces of the story of the 300 Spartans: Herodotus, Miller and Snyder. Zack Snyder’s film ‘300’ was released in 2006, the same year when tensions between George W. Bush’s US and countries of the Middle East like Afghanistan and Iraq got worse. In the context of this armed conflict, this film tinged with cultural colonialism became an ideologic vehicle for the mass audience. This is our first hypothesis. The reason for this is that film audiences are ideal for this kind of propaganda, since they are nonchalant and easy to indoctrinate, which confirms our second hypothesis regarding the profile of the audience that attends this kind of entertainment. According to his own statements, Snyder -by the hand of ultra conservative comic book artist Frank Miller- used part of the story (as his vehicle or excuse) to construct a black-and-white discourse based on a struggle of good Vs. evil. Thus, he chooses a militaristic discourse, over a historic, human or social one. He constructs his discourse basing on clichés about women (who have supporting roles at the service of the male characters), about good and evil and about superior values. These underlying themes are used to remind the audience that the West (we) is above the East (they), taking advantage of one of the most critical moments of an apparently secular conflict in the Middle East, a natural frontier between two civilizations...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Periodismo I, leída el 06-07-2017