Super hero movies

1. Superheroes©
Hollywood’s Love affair
with Super-heroes

2. Superman: The First Superhero
 1938
 Detective Comics (DC)
 Metropolis (not Gotham)
 Nietzsche & The Nazis
 Ubermensch
 Refugee gratitude
 Small Town Values
 Anti Corruption
 Altruistic
 Justice
 Dilemma: How much to
interfere

3. Batman: Masked Avenger
 1939
 Detective Comics (DC)
 Reworking of ‘The Shadow’
 Gotham not Metropolis
 No Superpowers
 Sublimated Revenge
 Dilemma: How to ethically
use Fear & Force

4. Like any genre, the Superhero genre changes as the times change:
 Early adaptations to television were much less violent than their comic
book equivalents. For example, the “Justice League of America”
became “Super Friends.” By the 1990’s television adaptations such as
Fox’s Batman was more dark, complicated and geared towards older
audiences as well.
 Early televisions adaptations of Batman and Superman featured
superheroes who looked like men with plain, ordinary bodies in
brightly colored tights. Later adaptations, such as the Batman movies
of the 1990s, featured a muscular character dressed in a darker
costume and environment.
 In recent years, film adaptations such as The Hulk and Spiderman have
tried to incorporate more elements of the comic book into the movie.
Technological advances have helped spur these efforts.
Changes over time: Zeitgeist

5. Early Serials  Cartoon Superman
 Superman Story 1
 Superman Story 2
 Batman
 Superman(Live Action)

6. ‘60s/70s TV
 Green Hornet
 Batman
 Hulk
 Wonder Woman

7. Superman: 1978
 National Crisis
 Nostalgia
 NY in Crisis
 Mario Puzo
 Two film story
 Blockbuster
 Post- Star wars Scifi Boom
 Franchise
 Utopian/Fantasy
 ‘Conservative’ Critique
 Oscars

8. Superman Years: 1978-87
Film Year Gross Publisher Studio
Superman 1978 $300 m DC Warner
Superman 2 1980 $108 m DC Warner
Superman 3 1983 $60 m DC Warner
Supergirl 1984 $14 m DC Warner
Superman 4 1987 $15 m DC Warner
2 ‘Hits’

9. Batman: 1989
 Economic Boom
 NY resurgent
 ‘The Dark Knight’
 ‘Killing Joke’
 Popular Culture
 Cyber-Punk Scifi
 Tech Noir
 Dystopia
 ‘Liberal’ Critique
 Auteur Director

10. The ‘90s: Dark Heroes

11. The ‘90s: Dark Heroes
1989 Batman DC Comics Warner Bros. $411,348,924
1989 The Punisher Marvel Comics Artisan
1990
Teenage Mutant Ninja
Turtles Mirage Studios
New Line
Cinema $201,965,915
1990 Dick Tracy
Tribune Media
Services
Touchstone
Pictures $162,738,726
1990 Darkman Original
Universal
Studios $48,878,502
1990 Captain America Marvel Comics
21st Century
Film Corporation $675.437.000
1991
Teenage Mutant Ninja
Turtles II: Mirage Studios
New Line
Cinema $78,656,813
1991 The Rocketeer Pacific Comics
Walt Disney
Pictures $46,704,056
1992 Batman Returns DC Comics Warner Bros. $266,822,354
1993
Teenage Mutant Ninja
Turtles III Mirage Studios
New Line
Cinema $42,273,609

12. The ‘90s: Dark Heroes
1993 The Meteor Man Original
Metro-Goldwyn-
Mayer $8,023,147
1994 The Fantastic Four Marvel Comics Constantin Film
1994 The Shadow
Street and Smith
Publications
Universal
Studios $48,063,435
1994 The Mask
Dark Horse
Comics
New Line
Cinema $351,583,407
1995 Batman Forever DC Comics Warner Bros. $336,529,144
1995
Mighty Morphin
Power Rangers: Original
20th Century
Fox $66,433,194
1995 Darkman II: Original
Universal
Studios Direct-to-video
1996 The Phantom Various
Paramount
Pictures $17,323,326
1996 Darkman III: Original
Universal
Studios Direct-to-video
1997
Turbo: A Power
Rangers Movie Original
20th Century
Fox $9,615,840

13. The ‘90s: Dark Heroes
1997 Batman & Robin DC Comics Warner Bros. $238,207,122
1997 Spawn Image Comics
New Line
Cinema $87,840,042
1997 Steel DC Comics Warner Bros. $1,710,972
1998 Blade Marvel Comics
New Line
Cinema $131,183,530
1999 Mystery Men
Dark Horse
Comics
Universal
Pictures $33,461,011
19 ‘Hits’

14. The ‘00s: Mutant Heroes
 Marvel strikes back
 Genetics
 Outsiders
 Batman begins
 ‘Vanilla Reboots’
 Franchise rush (LOTR)
 Superman returns

15. The ‘00s: Mutant Heroes
2000 X-Men Marvel Comics
20th Century
Fox $296,339,527
2000 The Specials Original
Regent
Entertainment $13,276 Comedy film
2000 Unbreakable Original
Touchstone
Pictures $248,118,121
Psychological
thriller
2002 Blade II Marvel Comics
New Line
Cinema $155,010,032 1998's sequel
2002 Spider-Man Marvel Comics
Columbia
Pictures $821,708,551
2003 Daredevil Marvel Comics
20th Century
Fox $179,179,718
2003 X2: Marvel Comics
20th Century
Fox $407,711,549 2000's sequel
2003 Hulk Marvel Comics
Universal
Studios $245,360,480
2003
The League of
Extraordinary
Gentlemen
WildStorm/DC
Comics
20th Century
Fox $179,265,204
2004 Hellboy
Dark Horse
Comics
Columbia
Pictures $99,318,987
2004 The Punisher Marvel Comics Lionsgate $54,700,105

16. The ‘00s:Reboots
2004 Spider-Man 2 Marvel Comics Columbia Pictures $783,766,341
2004 Catwoman DC Comics Warner Bros. $82,102,379
2004 Blade: Trinity Marvel Comics New Line Cinema $128,905,366
2005 Elektra Marvel Comics 20th Century Fox $56,681,566
2005 Son of the Mask
Dark Horse
Comics New Line Cinema $57,552,641
2005 Sharkboy and Lavagirl Original Columbia Pictures $69,425,966
2005 Batman Begins DC Comics Warner Bros. $372,710,015
2005 Fantastic Four Marvel Comics 20th Century Fox $330,579,719
2005 Sky High Original
Walt Disney
Pictures $86,369,815
2006 X-Men: The Last Stand Marvel Comics 20th Century Fox $459,359,555

17. The ‘00s: Finales
2006
X-Men: The Last
Stand Marvel Comics 20th Century Fox $459,359,555
2006 Superman Returns DC Comics Warner Bros. $391,081,192
2007 Ghost Rider Marvel Comics Columbia Pictures $228,738,393
2007 Spider-Man 3 Marvel Comics Columbia Pictures $890,871,626
2007
Fantastic Four: Rise
of the Silver Surfer Marvel Comics 20th Century Fox $289,047,763
2007 Underdog Various
Walt Disney
Pictures $65,270,477
2008 Superhero Movie Original
Metro-Goldwyn-
Mayer $71,237,351

18. The ‘00s: New Ambition
2008 Iron Man Marvel Comics
Paramount
Pictures $585,174,222
2008 The Incredible Hulk Marvel Comics Universal Studios $263,427,551
2008 Hancock Original Columbia Pictures $624,386,746
2008
Hellboy II: The
Golden Army
Dark Horse
Comics Universal Studios $160,388,063
2008 The Dark Knight DC Comics Warner Bros. $1,001,921,825
2008 Punisher: War Zone Marvel Comics Lionsgate $10,100,036
2008 The Spirit DC Comics Lionsgate $39,031,337
2009 Watchmen DC Comics Warner Bros. $185,258,983
2009
X-Men Origins:
Wolverine Marvel Comics 20th Century Fox $373,062,864
37 ’Hits’

19. The ‘10s: The Avengers cash in
 Marvel’s ambitions
 Batman

20. The ‘10s: The Avengers
2010 Kick-Ass
Icon
Comics/Marve
Comics Lionsgate $96,100,206
2010 Iron Man 2 Marvel Comics
Paramount
Pictures $621,751,919
2010 Jonah Hex DC Comics Warner Bros. $10,876,396
2011 The Green Hornet
Holyoke
Publishing/NOW
Comics Columbia Pictures $227,478,580
2011 Thor Marvel Comics
Paramount
Pictures $431,600,000
2011 X-Men: First Class Marvel Comics 20th Century Fox $348,529,513
2011 Green Lantern DC Comics Warner Bros. $154,501,789
2011
Captain America: The
First Avenger Marvel Comics Paramount $365,935.065
2012
Ghost Rider: Spirit of
Vengeance Marvel Comics Columbia Pictures
2012 The Avengers Marvel Comics Walt Disney Pictures

21. The ‘10s: DC strikes back?
2012
The Amazing
Spider-Man Marvel Comics
Columbia
Pictures
2012
The Dark Knight
Rises DC Comics Warner Bros.
2013 Man of Steel DC Comics Warner Bros.
2014 Guardians of the
Galaxy
Marvel
Comics
2015 Ant Man
Fantastic Four
Marvel
Comics
2015 Batman v Superman DC
2016 Suicide Squad DC
2017 Wonderwoman
Justice League
DC

22. Themes
 Good & Evil
 The Hero’s Journey
 Archetypes
 ((Hyper)Masculinity
 Femininity?
 Difference
 American Identity
 Ethnicity
 Crime/Social order
 The Cold War
 Terrorism post 9/11
 US Foreign policy
 Capitalism
 Ecology

23. Themes: Good & Evil
 Binary Opposition
 Levi Strauss’s Theory
 ‘Anomalous Zone’
 The Hero Myth (doing ‘Evil’ for ‘Good’ ends)
 The ‘Villain’ (representing ‘Elemental Evil’)

24. Themes: The Hero’s Journey

25. Spiderman: Teen Hero
 1962
 Marvel (Stan Lee)
 Teenager
 Radioactive mutation
 Dilemma: How to balance
the Mission with Personal
Relationships

26. Hell Boy: Anti Hero
 1993
 Dark Horse (Indy)
 Mike Mignolia
 ‘Occult’/Conspiracy
 ‘The Beast’
 Dilemma: How to remain
hidden

27. X-men: Team No 1
 1963
 Marvel (Stan Lee & Jack
Kirby
 Mutants
 Fantastic Four
(1961)Avengers (1963)
 Dilemma: How to serve a
Society that fears difference

29. Themes: Propp’s Archetypes
 The Hero/Protagonist, who departs on a search (seeker-
hero), reacts to the donor and weds at end
 Antagonist the villain, who struggles with the hero
 The Donor, who prepares and/or provides hero with magical
agent
 The Helper, who assists, rescues, solves and/or transfigures
the hero
 The Princess, a sought-for person (and/or her father), who
exists as a goal and often recognizes and marries hero and/or
punishes villain
 The Dispatcher, who sends the hero off
 The False Hero (or antihero or usurper), who claims to be the
hero, often seeking and reacting like a real hero (ie by trying
to marry the princess)

30. X-men: Politics
 the isolation of mutants and their alienation from ‘‘normal’’ society
could be read as ‘‘a parable of the “alienation of any minority’’ in the
1960s.
 Professor Xavier and his X-Men, who sought accommodation with homo
sapiens, recalled moderate elements of the civil rights movement
of the 1960s as exemplified by Martin Luther King.
 Militant mutants such as Magneto … who ‘‘disdained to cooperate with
homo sapiens’’ resembled increasingly radical elements. These included
the Nation of Islam (or ‘‘Black Muslims’’) whose best-known
spokesperson, Malcolm X, advocated black nationalism.
JOHN M. TRUSHELL (2004)

31. Batman v Superman
 Frank Miller’s ‘Dark
Knight.’
 “a dionysian figure, a
force for anarchy that
imposes an individual
order. Dressed as a bat,
Batman deliberately
cultivates a frightening
persona in order to aid
him in crime-fighting, a
fear that originates from
the criminals’ own guilty
conscience.”

32. Social & Historical Context
Messages & Values
Genre Conventions
Narrative

33. Superman: Conservative?
 In Superman we have a perfect
example of civic consciousness,
completely split from political
consciousness. Superman's civic
attitude is perfect, but it is exercised
and structured in the sphere of a
small, closed community
 the underworld is an endemic evil, like
some kind of impure stream that pervades
the course of human history, clearly
divided into zones of Manichaean
incontrovertibility-where each authority is
fundamentally pure and good and where
each wicked man is rotten to the core
without hope of redemption.
The Myth of Superman
Umberto Eco

34. The genre’s thematic and moral discourse, which supports the action and
conflict, may include:
 the possibility of transformation beyond what most of us are capable of;
 endowment with extraordinary powers, including a sometimes fatal weakness
which prevents hubris;
 a story establishing a myth of origins, legitimizing the exercise of one’s
powers;
 unavoidable dilemmas wherein the hero must choose between a normal life
and the heroic role;
 tensions between reality’s complexities and a comics vision that is usually
black-and-white, good-and-evil;
 facing the injunction that “with great power comes great responsibility,” which
poses questions about the extent of one’s power and one’s responsibilities;
 living the phenomenon of the misunderstood outsider, sometimes driven by a
passion to better the world;
 the necessity of lies, secrecy, secret or dual identities, costumes, significant
symbols, to make the heroic role easier to realize and an occasionally
“normal” life possible.
Themes & Values

35. Superhero stories often make similar assumptions about the nature of our world.
Here are two examples of the types of assumptions they make:
Assumptions about the Nature of our Problems:
 Our fate is in the hands of a single, heroic individual.
 We lack supernatural powers, so we cannot solve our own problems.
 Women, in particular, are weak and require saving by the superhero.
Assumptions about Morality:
 Everyone – even superheroes – have to obey moral rules and responsibilities.
 Although some rules can be violated (lying about identity) in pursuit of higher morals
(saving the planet).
 Some people, like the villains, are pure evil.
 Physical confrontation is the only way to deal with such villains.
Assumptions about the World

36. Themes& Values: Gender
 ‘Hyper-masculine’ heroes
 Unsuitable Bachelor alter-ego (Playboys or ‘Dweebs’)
 Women ‘good’ or ‘bad’ girls
 ‘Impossible’ relationships
 Girls in Peril (&/or Dead)
 Dead Father figures with strong morals
 Widowed Mother Figures with strong emotions
 ‘Gay’? (Wertham’s ‘Seduction of the Innocent’)

37. Themes & Values: Difference
 ‘Immigrants’ (reflecting Siegel & Schuster’s experience?)
 Outsiders (Teenage alienation?)
 Social Class Division (reflecting ‘American Dream’?)
 Mutants & Aliens (metaphors for alienation?)
 Alienation (Psychological difference)
 Concealed Identity (‘Anomie’? Lack of social
approbation?)
 Concealed ‘Powers’ (Physical difference?)

38. Super Powers
 Supernatural
 Extra-terrestrial
 Science Fiction ‘Magic’
 Technological
 Training

39. Themes/Values: US Identity
 Immigrant Identity
 Second World War
 The Cold War (Secret Agents?)
 US Foreign policy (Iron Man /Watchman)
 ‘Simple’ Patriotism (Truth, Justice & The American way)
 Ethnicity (Bruce Wayne as WASP?)
 Terrorism post 9/11(Joker?)

40. Themes/Values:
Crime & Disorder
 Binary Opposition (Levi Strauss’s Theory)
 The‘Anomalous Zone’
 The Hero Myth (doing ‘Evil’ for ‘Good’ ends)
 The ‘Villain’ (representing ‘Elemental Evil’)
 Masked Super villains
 Side-kicks
 The ‘Underworld’ (Criminal Class)
 Gangs
 ‘Ethnic’ Gangsters
 Corrupt Politicians
 New York

41. Genre: Repertoire of elements
 Narrative: Story & Plot
 Setting: Time& Place
 Characters
 Stars
 Visual Style
 Iconography
 Themes

42. The Genre as Narrative
Spectacle (Set Pieces, Jeopardy,
Revealing powers/abilities)
Plot (Foiling Super Villain’s plan)
Story (maintaining secret Identity and
managing personal relationships)
Character (Idealism versus Evil &
Cynicism)

43. Genre: Repertoire of elements
Setting: Time& Place
 New York/Big Cities/The Metropolis
 Small Towns
 Domestic
 Work place

44. Genre: Repertoire of elements
Characters (Propp)
 Super Villains (Antagonist/Nemesis)
 Villains (Antagonists)
 Mentors/Father Figures/ ‘Kings’
 Romantic ‘Princesses’
 Assistants
 False Assistants

45. Super Villains & Antagonists
 Mirror/Shadow
 Nemesis
 Mad Scientist
 Madman/Anarchy/Misrule
 World Dominator/Bad Mentor
 Corrupt Politician
 Organised Crime Boss
 Temptress

46. Mentors, Allies & Side Kicks
 Understudies
 Faithful Servants
 Girl in Peril/ Smart Girls
 Mentors
 Street Smarts
 Techies
 Chalk & Cheese ‘Buddies’

47. Genre: Repertoire of elements
Stars
 ‘Auteur’ Directors
 NEW Action Hero Male Leads
 Female Leads
 ‘Guest’ Villains & Mentors

48. Genre: Repertoire of Elements
Visual Style
 Spectacular
 Big screen spaces
 High Production Values
 Dystopian & Utopian iconography
 Urban decay
 Iconic Modern Architecture

49. Sub Genre: Scifi elements
Iconography
 Vehicles
 Weapons
 Gadgets
 Screen technologies
 AI & Robotics
 Futuristic Cities

50. The Genre cycle (Schatz)
 Naïve/Experimental
 Classic
 Revisionist/Refinement
 Pastiche/Self Reflexive/Mannerist

51. The Genre cycle
 Fast forward
 Bust?
 Big and Dumb?
 Franchise fever
 Multi-platform

52. The Genre as Narrative
Spectacle
Plot
Story
Character

53. PLOT ELEMENTS
The Superhero genre’s plot-lines usually involve:
 a normal person who becomes a hero, often with
extraordinary powers;
 a romantic interest rescued by and/or endangered by hero but
seldom learning the truth;
 a powerful villain planning to do evil but temporarily
thwarted by the hero;
 a hero forced to choose between extraordinary obligations
and a need for love and a normal life
 the villain learning the hero’s secret identity; and
 forcing a decisive confrontation and the hero’s triumph.

54. Sub Genre: Scifi elements
Iconography
 Vehicles
 Weapons
 Screen technologies
 AI & Robotics
 Futuristic Cities

55. The Genre cycle (Schatz)
 Naïve/Experimental
 Classic
 Revisionist/Refinement
 Pastiche/Self Reflexive/Mannerist

56. The Genre cycle: Fast Forward
1. Naïve - The Origin Story
2. Classic - Meet the Nemesis
3. Revisionist- The Big Twist
4. Pastiche – Camp it up
5. Vanilla Reboot

57. The Genre cycle
 Fast forward
 Bust?
 Big and Dumb?
 Franchise fever
 Multi-platform

58. The previous assumptions provide some insights into limitations of the genre:
 It plays into our fascination with crime and evil
 However, it offers no realistic messages about how to deal with our problems
given that we don’t actually have supernatural powers.
 For example, negotiation or compromise cannot solve the problems in the
story. (Image if they could: you’d have characters with skills like
“supernatural negotiation skills” – that would not fascinate or sell!)
 It commonly perpetuates stereotypes about women and minorities.
 Oversimplifies problems of crime and good vs. bad.
Limitations of the genre:

59. TWISTS
Of course, there are many variations to the
generic superhero story :
 Sympathetic Villains – (Villains in
Spiderman)
 “Normal Guy” superhero – Unbreakable
 Women as superhero – Catwoman, Wonder
Woman
 Anti-heroes – The Punisher, Wolverine,
Hellboy
 Out-of-control Superhero: The Hulk