Representation of Post-revolution Iran in Argo

The primary questions investigated in this study are:“by applying what kinds of signs, does the movie Argo offers a novel representation of hostage crisis at U.S. embassy in Tehran?” and “how this event and post-revolutionary Iran are represented in this movie?” To explore these questions, the theory of representation and mixed understanding of Barthes and Fisk’s semiotic approach were applied. In addition, element-wise semiotic analysis of significant scenes of the movie and developing a table for categorization of some data contributed to a consistent analysis to understand the representation of post-revolutionary Iran in Argo. Our findings based on the analysis of primary and secondary implications of the movie suggest that the movie is intended to represent a horrific, chaotic and fearful Iran. Argo focuses on two types of representation of Iranian people: a) the anti-revolutionary groups trying to go abroad and scape the post-revolutionary condition and, b) general public of pro-revolutionary Muslims who are represented as nervous and violent people. The latter group is engaged in Islamic revolution and adopt a stereotypical and hate-ridden approach to foreigners. In addition, post-revolutionary authorities are represented in two ways; the military-intelligence authorities (members of revolution committee and Islamic revolutionary guards) who are creating a setting of fear and horror, and are sensitive and opposed to the presence of foreigners in Iran. In contrast, governmental officials are represented as lacking any authority since they merely watch post-revolution events and they are simple-minded. Meanwhile, the global community, especially the United States, is represented as kind, consistent, and responsible and characterized by high moral characteristics.