Drawn Stories, Moving Images. Comic Books and their Screen Adaptations : Journal for Religion, Film and Media (2025)

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Since the 1938 introduction of Superman, superheroes have been ever-present in American popular culture. Indeed, with the modern preponderance of comic book movies dominating the American cinematic box-office, superhero fantasy is arguably the most important genre of fiction being produced in the contemporary moment. Peter Coogan, Kurt Busiek and many other scholars have discussed the prominence and relevance of the superhero fantasy as a genre. Still others, including Umberto Eco and Marco Arnaudo, have asserted that the superhero is not so much a genre and as it is the evolution of mythology. In Sex and the Superman, I argue that the superhero fantasy is in truth more than myth; the superhero fantasy is the monomyth. That is to say that over the course of the twentieth century, the superhero fantasy has replaced Joseph Campbell’s hero’s journey as the dominant template for epic allegorical storytelling in America. I trace the evolution of the superhero monomyth from its beginnings as a rough set of genre conventions and tropes into its current matured form as an established thematic paradigm. I theorize that the superhero monomyth creates a malleable template for seeking social justice that is only vaguely defined but can be articulated through performance of masculine violence and feminine sexuality in a kind of exchange economy as the building blocks of heroic narrative. First, I distinguish the superhero fantasy genre from the superhero monomyth and then speak to the ways in which each reflects and informs the other. I then analyze the thematic paradigm that constructs the superhero monomyth and the ways in which it has evolved from but remains distinct from earlier incarnations of the monomyth. I further examine the evolution of the monomyth as it responded to changes in conceptions of gender, race, class and youth culture over the middle of the twentieth century. Finally, I theorize that the superhero monomyth has become the dominant template for heroic storytelling across media and genres. In doing so it creates a framework for how we consider the very construction of gender in social contexts especially in relationship to social justice.

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Warning! Contains spoilers: reading post-‘9/11’ US security discourses through superhero films

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Superhero Films: A Fascist National Complex or Exemplars of Moral Virtue?

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Theoretical thesis.Bibliography: pagesIntroduction -- Chapter 1. Patriarchy as a storyworld -- Chapter 2. Patriarchy as a storyworld for female warrior heroes -- Chapter 3. A study of six superhero film storyworlds -- Chapter 4. A new kind of superhero storyworld: reflection on creative practice component form and process -- ConclusionWith the exponential rise of superhero cinema in the last decade, exemplified by the success of the Marvel film franchise, superhero mythology has fought its way into our zeitgeist. The rising call for heroes who break the mould of male white Western subjectivity has been met with films like, Wonder Woman (2017), Black Panther (2018) and Captain Marvel (2019). However, hyper-masculine heroes still "rule" the genre (Hagley & Harrison 2014; Kvaran 2017:234), and superhero films still enshrine the idea that "world salvation" is only possible through a brutal battle, where a "good" power fights a monstrous evil one. Perhaps th...

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Shadows In Spandex: A Look Into Anti-Black Racism And The Positionality Of Sidekicks Within The Marvel Cinematic Universe And Comics

Kayla Wilson

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and its collection of films have represented a large number of superheroes and sidekicks. Taking a closer look into the character dynamics reveals that the majority of the Black characters have been forced into the restrictive 'sidekick' trope that stunts all development and keeps them positioned below their white hero counterparts. Sidekick characters James Rhodes, Sam Wilson and Maria Rambeau all work in the same function as side players who ensure their starring role heroes can save the day, even if it costs them their bodies, ideals and backstories. This repeated violence helps perpetuate the anti-black structure of repression that promotes whiteness and does not acknowledge the role that the Black heroes have played. Marvel Comics, alternatively, has had a little more progress in promoting Black characters into titular roles but still struggles with repression due to the characters being unable to move outside of the shadow of the white heroes. Using the characters to show how whiteness is positioned above Black in terms of relevance allows the racist hierarchy of power to be continued on. Looking at how each of the Black characters function in relation to their corresponding hero and on their own also works to uncover trauma. Rambeau, Wilson and Rhodes are regulated to Military/Armed Forces members who have lost someone important to them and can save the day without getting any of the credit. Forcing them into two-dimensional shadow versions of their heroes-Captain Marvel, Captain America and Iron Man respectivelyshows how diversity within the Marvel Cinematic Universe and comics is further back than films like the Black led Black Panther would lead one to believe. In order to allow Black sidekicks to become heroes in his or her own rights the white hero would have to be reconsidered as screen time and development would have to be shared. expertise this work would be far less refined and lacking resources that helped open new avenues for elaboration. It is fitting to next recognize Professor Caroline Fuchs, also of St. John's University, for her services as secondary reader. Having an experienced second set of eyes to help provide commentary and critiques helped push me to look deeper into my analysis and challenged me to look further into different interpretations. Dr. Jennifer Travis and Dr. Amy King of St. John's University were incredibly helpful throughout this process as well, answering statistical questions and lending helpful hands. Finally, I would like to acknowledge the English Department of St. John's University for creating an environment where I could explore and create new thoughts in a productive setting. It was because of my time as a student at St. John's that I was able to get to where I am currently.

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Agents of Global Armament: Analyzing Masculinity and Militarism in "Captain America" and the Marvel Cinematic Universe

Jodie Nikole Lout

2017

In the current zeitgeist, there has been a surge in the popularity of superhero movies. For many decades, Hollywood has been producing films that propagate ideologies of hyper-masculinity and militarism. This study suggests that it is possible to analyze the recent character "Captain America" as propaganda for militarism and hyper-masculinity. This study proposes to analyze the character in the

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Drawn Stories, Moving Images. Comic Books and their Screen Adaptations : Journal for Religion, Film and Media (2025)

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