Maximiliano E. Korstanje
Pages 188-203
DOI: 10.5840/cultura20107214


Centered in the analysis of discourse over films, the present work debates the general drawing of the film IRONMAN and its connection of Muslim terrorism. Our main thesis is that globalization plays a pervasive role since at a first glance homogenizes the domination of technology, economic linkages and rationalization while for the other side it entails a process of re-territorialization based on an elusive logic. Cynically, whether we accept that the doctrine of free-market postulates the exchange between developed and underdeveloped nations physical and symbolic barriers to migration are erected from periphery to center. The poverty and lack of perspective pave the ways for the upsurge of national movements. Even though terrorism can be part of social discontent, some other alternatives within the law are possible. This discourse that nourished the American ethnocentrism in the last years can be viewed in several movies and the industry of entertainment. Muslim Terrorist as social construal has become in a social taboo, for one hand this generates fear but at the same time attraction. In terms of Eliade, Althusser, Wolf, Ricoeur and Zizek one might surmise that ideology works as something else than a dissuasive message. Ideology, and of course IRONMAN helps viewers to resolve the contradictions between nature and culture.