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deal of critical media scholarship focused on race has explored constructions of minority racial groups in media, research has increasingly emphasized the importance of interrogating “whiteness” as a racial identity to understanding media texts and the

unless some clarity can be achieved with regard to what is to count as ecological filmmaking. The term ecological filmmaker suggests a virtuous identity of sorts, one that filmmaker Knut Erik Jensen is eager to embrace, but what exactly does the preferred

reason that blockbuster film narratives indeed play a significant role in shaping people’s identities and worldview—even more salient in the construction of identity than other means of social norming. One of those strong-effects perspectives is

we can draw between dissonance in one’s self-identity and in one’s apprehension of an external world, although the two are closely related, especially as we will often gravitate toward beliefs about the world which advantage the self. We can then

symbolic, because the mapping between form and meaning is not arbitrary. Alternatively, the opening bars of a national anthem, while bearing no structural similarity to the country they represent, come to acquire a symbolic association. As with intramusical

to each other, its recurrent dialogue, simultaneously witty and banal, reveals the cruel and bitter relationship between different groups of provincial identities and social classes. Balancing dramatic ambiguity with deadpan humor, the film also

specific female representations as exemplars of both identity horror and social horror. Schubart references Barbara Creed's The Monstrous Feminine (2003) and its relation of the female teenage body as “a playground for bodily wastes … beautiful on the

in the film, and to simulate him only implies those features that are portrayed and made salient in the film. Similarly, viewers in real life do, in a given situation, only activate a small fraction of their total identity and full capabilities. Some

against the film with UNESCO, calling it an attack on the historical identity of Iran. 300 has been called homophobic, racist, antidisability, tribalist, and militaristic. It is the film's incipient fascism, however, that unites these tendencies within a

the movie describes the new national situation under Franco's regime; and, finally, in sequence 42, which takes place twenty-five years later when Franco dies and the news of his death reaches the exiles in Russia. The generality of this overall