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-motions and close-ups do not allow the viewer to be distracted from the shocking details of blood and gore; the almost naked bodies of the Spartan warriors demonstrate the constant exposure of the human body to injury and death. The artfully cap- 122 SABRINA FEICKERT tured play of muscles and the billowing of the Spartans’ red war cloaks play a vital part in the visual choreography, as they transfer the fighters’ tension and exertion to the bodies and minds of the audience. In 300, the Spartan ideal of a ›beautiful death‹ is omnipresent and dominates the