300 filmini bugün izleme şansı buldum ve hayal kırıklıgına uğradım. Baştan sona Yunan uygarlığını yücelten, Doğu uygarlıklarını tü kaka, barbar ilan eden bir film. Koskoca Yunanistan'a girmek için bir dar geçit var ve Pers ordusu da zaten ucubelerden oluşan, savaşmayı bilmeyen bir ordu. 100 bin kisilik bir ordu ile 300 kişiyi bir hainin gösterdiği arka geçiti kullanana kadar yenememeleri bunu gösteriyor. İran'ın tekrar baskı altına alındığı, BM tarafından yeni ambargo kararlarının çıkarıldığı bu dönemde filmin gosterime girmesi de zaten ilginç bir tesaduf (!). İnsanın aklına Edward Said'in o ünlü kitabı, Şarkiyatçılık, geliyor.

300, vikide yerini almış bile:
http://en.wikipedia.org/wiki/Orientalism#Movies


vikinin 300 sayfasındaki "historical accuracy" bölümünden:

"...Touraj Daryaee, associate professor of Ancient History at California State University, Fullerton dismisses 300 as historically uninformative, inaccurate and cartoonish. Criticizing the central theme of the movie, that of "free" and "democracy loving" Spartans against "slave" Persians, he claims that "jargon relating to 'freedom' and 'democracy as used in the movie 300 is utterly untrue." Citing various historical sources, Daryaee notes that the Achaemenid (Persian) empire hired and paid people regardless of their sex or ethnicity, whereas in Greece "at its demoocratic height in 431 BC, less than 14% of the members of that society were allowed to participate in a 'government by the people,'" and "nearly 37% (of the population) lived in slavery". He further points out that Sparta "was a military monarchy, not a democracy." In Sparta, "slaves called helots were owned communally and there was an annual festival during which young Spartan men were allowed to terrorize the slave population and even kill a few of them to remind the rest of their place."

ve bir de faşizm özellikleri üzerine:

"Outside of current political parallels, some critics have raised more general questions about the film's ideological orientation. The New York Post's Kyle Smith claims that the 300 portrays violence as "war's goal rather than its means," adding that "it isn't a stretch to imagine Adolf's boys at a 300 screening, heil-fiving each other throughout and then lining up to see it again."[79] Slate's Dana Stevens writes that "if 300... had been made in Germany in the mid-1930s, it would be studied today alongside The Eternal Jew as a textbook example of how race-baiting fantasy and nationalist myth can serve as an incitement to total war."[80] Roger Moore, a critic for the Orlando Sentinel, suggests that the film has a "fascist aesthetic," matching it to Susan Sontag's definition of "fascist art": ""Fascist art glorifies surrender, it exalts mindlessness, it glamourizes death."


http://en.wikipedia.org/wiki/300_%28film%29