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Homeland's Discourse REVISTA DE LENGUAS MODERNAS, N.° 31, 2019 / 63-71 ISSN IMPRESO: 1659-1933 ISSN ELECTRÓniCO: 2215-5643 Homeland’s Discourse El discurso en Homeland DANIEL E. JOSEPHY-HERNÁNDEZ Universidad Nacional de Costa Rica Abstract This article concentrates on the discourse employed in Homeland, a television show pro- duced in the United States. After a discourse analysis of three characters and the set- tings of the third season, it is easy to conclude that the show encourages and display stereotypical portrayals of not only the US and the government’s secret-service agencies, but also of Iran and the Middle East in general. It foments an Orientalist image of the Middle-East (the near Orient) as both an exotic place (as explained by Said’s 1978 book Orientalism) and a chaotic, underdeveloped one full of terrorists that must be saved and purged by the United States. Keywords: Homeland, TV series, discourse analysis, Orientalism, Iran, United States Resumen Este artículo se concentra en el discurso empleado en la serie de televisión estadouniden- se Homeland. Después de un análisis discursivo de tres personajes y de los escenarios de la tercera temporada, se llega a la conclusión de que la serie fomenta y muestra no solo visiones estereotípicas de los EE. UU. y las agencias secretas del gobierno, sino también acerca de Irán y el Medio Oriente. De esta manera, se fomenta una imagen orientalis- ta reflejando el Medio Oriente como un lugar exótico ─como Said lo explica en su libro Orientalismo (1978)─ caótico y subdesarrollado, que está repleto de terroristas y debe ser salvado y purgado por los EE. UU. Palabras clave: Homeland, series de TV, análisis discursivo, orientalismo, Irán, EE. UU. Recepción: 17-09-18 Aceptación: 26-04-19 64 REVISTA DE LENGUAS MODERNAS, N.° 31, 2019 / 63-71 Throw away your television greatest enemy of the US: Iran. The sea- Take the noose off your ambition son follows the actions of Iranian terror- Reinvent your intuition now ist and government official Majid Javadi It's a repeat of a story told (played by Shaun Toub), who plans to at- It's a repeat and it's getting old tack the US one way or another. The analysis carried out here fo- Red Hot Chili Peppers, Throw Away cuses on the discursive aspects and Your Television. narrative and social framing concern- ing Iran in the show’s third season, concentrating on the portrayals of the Introduction “Orient” in a geographic and character sense. It concentrates on three specific omeland is a political-thriller characters and the settings. Two of the show produced by Showtime characters, Saul Berenson and Majid Hand directed by Lesli Linka Javadi, were analysed because of the Glatter and Alex Graves; it has been duality of their nature: The former is airing on television in the United the head of the CIA, the latter is Saul’s States for the past six years. It is equivalent but as “the enemy of the United States”. The third character םיפוטח based on the Israeli show called (Hatufim, “Prisoners of War”), and has discussed in this paper is Farah Shera- received critical acclaim1 because of zi, chosen because she is the only Mus- its intriguing plot, psychological de- lim character who works for the CIA. scriptions, teenage angst and acting Afterwards, the researcher includes by Claire Danes and Damian Lewis.2 a brief criticism of how the settings The show follows the story of Nicholas are displayed on the show. This paper Brody (Damian Lewis), a US Marine aims to prove that the show Homeland Corps Scout Sniper, who, after be- promotes and magnifies racial, cultur- ing captured and becoming a prisoner al and social stereotypes of Iranians, of war by al-Qaeda for eight years, is whilst at the same time magnifying discovered and rescued by US forces feelings of nationalism in the US. and then returned to his “homeland”. However, CIA officer Carrie Mathison (played by Claire Danes), who has bi- Theoretical framework polar disorder, suspects Brody is not who he claims to be and that he is ac- Theun Van Dijk, one of the most tually working for the enemy. prominent researchers in discourse The series is currently in season 7. analysis, explains that “crucial for During its many seasons Mathison CDA [Critical Discourse Analysis] is works for the CIA attempting to disrupt the explicit awareness of [its] role in various terrorist plots that might occur society. Continuing a tradition that within or outside of the US. This analy- rejects the possibility of a ‘value-free’ sis concentrates on the third season of science, they argue that science, and the show, which aired in 2013. In the especially scholarly discourse, are in- third season, the plot moves from Al- herently part of and influenced by so- Qaeda to what the show portrays as the cial structure, and produced in social JOSEPHY. HOMELAND’S DisCOURSE 65 interaction” (2003, p. 352). Most impor- the nation and larger entities” (Baker, tantly, CDA concentrates on the “spe- 2010, p. 350). This type of narrative cific ways that discourse structures are can be here seen from two points of deployed in the reproduction of social view: out of the show, or within it. In dominance” (Van Dijk, 2003, p. 354). the former, it could be said that the me- These discourse structures can be re- dia portrays Iranians in a specific way lated to gender, political, nationalist, so that they fit within a specific frame or racial issues, to name but a few. of “Iranians are evil” that the media The show analysed here, Home- wants to create. Within Homeland, land, is a work of fiction. In this way, the series has specific institutions (e.g. the show has its own narrative and CIA, news channels) that create a spe- values, which are in itself based on cific framing of Iranians, which will be contemporary issues in the US. When explained later in the article. analysing a discourse, narrative theory [The “meta” narratives] are par- “assumes that the unit of analysis is ticularly potent public narratives that ultimately an entire narrative, under- persist over long periods of time and stood as a concrete story of some aspect influence the lives of people across a of the world, complete with characters, wide range of settings. The boundary settings, outcomes or projected out- between public and meta-narratives is comes and plot” (Baker, 2010, p. 349). particularly difficult to draw, but good There are also three types of narra- candidates for meta-narratives include tives, which all appear in Homeland: the Cold War and the various religious personal narratives, public narratives narratives of Judaism, Christianity and metanarratives. Personal narra- and Islam, given their temporal and tives are “the narratives of individu- spatial reach (Baker, 2010, p. 351). als, who are normally located at the In the case of Homeland, the meta- centre of narration; in other words, narrative would be the “War on Terror” the individual is the subject of the nar- or “Terrorism”, a narrative taking hold rative” (Baker, 2010, p. 350). Within after the September 11th, 2001 attacks Homeland, the main personal narra- on the United States. tives —at least in the first three sea- These images and narratives are sons— are those of Carrie and Brody, created from a “Western” mindset. As the former in her role as a CIA agent a matter of fact, the concepts of “east” dealing with bipolar disorder, the lat- and “west” are in themselves western, ter as a US marine returning to the US in what is called “Orientalism”, a con- after eight years of imprisonment by cept introduced by French sociologist the Taliban. Both narratives intersect Edward Said. Said asserts that “Orien- and interact with each other, as Car- talism depends for its strategy on this rie and Brody develop a romantic rela- flexible positional superiority, which tionship. The “public” narratives “are puts the Westerner in a whole series of elaborated by and circulate among so- possible relationships with the Orient cial and institutional formations larger without ever losing him the relative up- than the individual, such as the fam- per hand” (1978, p. 7). This superiority ily, religious or educational institution, goes to the point that the history of a a political or activist group, the media, nation, in this case Iran, can be written 66 REVISTA DE LENGUAS MODERNAS, N.° 31, 2019 / 63-71 entirely by the US, as Douglas Robin- the media. The following section con- son (1997) explains: “the only ‘true’ or centrates on the analysis of how Home- ‘authentic’ way to write [Persian] his- land reflects the specific stereotypes tory is to write it (imaginatively) from mentioned before. Europe. To write [Persian] history is to write the history of [Persia] as a na- tion, and the very concept of a nation Analysis is European, grounded in the concep- tual framework of European history” Characters. Saul Berenson. Saul Be- (p. 20). Meaning that the very action renson (played by Mandy Patinkin) of Europeans or the US writing or talk- is the head of the CIA, and hence “in ing about Iran and Persian history control” of the situations when the US sets Iran within a specific historical decides to strike its enemies or carry narrative framework, all seeing from out undercover operations. He has me- western eyes. Indeed, “the very possi- dium height, and a thick beard, denot- bility of a history of [Persia] thus im- ing a literary archetype of “the wise plies a Eurocentric view of history that sage”, the wise person that the hero, conceives [Persia] at its strongest and along his (in this case, her) journey, most independent as a mere distorted must consult in order to know what to reflection of Europe” (Robinson, 1997, do next.
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