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Journal articles on the topic 'Superheroes in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Saptanto, Deswandito Dwi, and Maya Kurnia Dewi. "Gundala and Gatotkaca in the concept of modern Indonesian superheroes: Comparative analysis of the Indonesian and American superheroes." EduLite: Journal of English Education, Literature and Culture 5, no. 1 (February 29, 2020): 136. http://dx.doi.org/10.30659/e.5.1.136-147.

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The superhero universe has always been an attraction in the world of film industry. The birth of superhuman ideas has made people increasingly interested in taking the storyline. This research is a literature study on the existence of a new world in Indonesian cinema that takes the theme of Indonesia's superhero universe competes against the universe of American superheroes. The purpose of this study is to compare Indonesian and American superhero films in order to understand the complete concept of depicting Indonesian superheroes in the process of switching from comics to films comparing with the same concepts in American superheroes. This study employed a descriptive qualitative method by comparing films from the Indonesian superhero universe namely Bumilangit Cinematic Universe and Jagad Satria Dewa Cinematic Universe compared to the American superhero universe namely Marvel Cinematic Universe and DC Cinematic Universe. The results obtained that there were some similarities in the process of character formation in each of the heroes that were created, this could be described with similarity in multiple personalities before and after becoming superheroes, costumes worn, storylines and special effects produced in the film. There were fundamental differences that were seen in the background of Indonesian culture that was different from the concept of American culture. Indonesian superheroes also highlighted Pencak Silat as the original identity and characteristics of Indonesia. This research concluded that a story with a superhero concept had the same story pattern such as a person with a superhero alter ego and deep with heroic storyline even though they were presented by different countries.

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2

Burt, Stephanie. "How to Write About Superheroes." American Literary History 32, no. 3 (2020): 598–608. http://dx.doi.org/10.1093/alh/ajaa018.

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Abstract Eighty years after the first Superman comic, scholars are catching up to the importance, and to the popularity, of superheroes in comics and in other media. Recent monographs and edited collections examine racial politics, disabilities, other identities, and reception history across a range of decades and of superhero characters. Most of these worthy works remain within the limits of critique, judging the comics on how well they handle one or another theme; the result is a picture of superhero comics that cannot do justice to the genre. To them and to their like, the academic critics of the future might add—what vernacular comics critics already contribute—additional attention to what one or another character does best, to the transformative potential of even minor superhero work, and to how commercially produced superhero comics at their best handle narrative form. One superhero symbol can work many ways, as Neal Curtis’s examination of Truth and other Captain America stories shows: Cap has repeatedly fought off right-wing doubles, alternatively costumed versions of himself who aspired to make America white again.

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3

Smylie, Mark A., and Jonathan Eckert. "Beyond superheroes and advocacy." Educational Management Administration & Leadership 46, no. 4 (March 6, 2017): 556–77. http://dx.doi.org/10.1177/1741143217694893.

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This article introduces new perspectives, principles and recommendations for the successful development of teacher leadership. It draws from literature on teacher leadership, work redesign, and on-the-job leadership development to explore key insights and questions for teacher leadership development, and it presents a conceptual–theoretical model to guide the practice of teacher leadership development. The article concludes with implications for promoting such practice.

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4

Baruna Ariesta, I. Gusti Bagus Bayu, Made Vairagya Yogantari, and Anak Agung Ngurah Bagus Kesuma Yudha. "KAJIAN SEMIOTIKA PADA VISUALISASI TOKOH ALL MIGHT DALAM MANGA BOKU NO HERO ACADEMIA SEBAGAI REPRESENTASI SUPERHERO AMERIKA." Jurnal Nawala Visual 1, no. 2 (October 29, 2019): 108–12. http://dx.doi.org/10.35886/nawalavisual.v1i2.40.

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Delivering a story through visual comic characters can make it easier for readers to understand the contents and distinguish one character from another. Not only as a distinguishing element, but visualization of comic characters can represent areas where the visual is commonly used and found. In the comic titled Boku No Hero Academia (BNHA) found elements and terms that are commonly found in comics and American superhero characters in general, one of them through the All Might character. Through qualitative research methods, with data collection techniques through observation, literature, and internet studies, this paper aims to examine how the characters of All Might represent American superheroes through his visuals.

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5

Martin, Justin. "Medijske pripovijedi o superherojima kao potencijalni kontekst za istraživanje dječjega razumijevanja moralno relevantnih događaja." Libri et liberi 12, no. 1 (September 1, 2023): 11–35. http://dx.doi.org/10.21066/carcl.libri.12.1.1.

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Currently, superhero films are one of the more popular film genres, and the genre does not appear to be slowing down anytime soon. In addition, the lives and exploits of superheroes are told through other forms of media such as animated films and television series targeted towards children. However, these narratives are also violent. If older children (i.e., approximately 7–11) engage with superhero media, then it is important to understand the ways they attempt to make sense of this genre. To this end, the essay examines how superhero media may serve as a potential context for older children’s understanding of morally relevant events. This potential—based on three broad areas of scholarship on children’s capacities for understanding others and their morally relevant acts—is explored along two dimensions. The first is through common narrative features of the genre, and the second is through research implications. It is suggested that a research program utilizing the genre’s narrative features as a part of a methodology to investigate older children’s understanding of morally relevant acts affords unique opportunities to build upon existing scholarship on the relationship between media content and children’s moral understanding.

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6

Gallardo, Ximena. "Wonder Women: Feminisms and Superheroes." Journal of Popular Culture 38, no. 6 (November 2005): 1109–11. http://dx.doi.org/10.1111/j.1540-5931.2005.00183.x.

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7

Hidayatullah, Danial. "HOMER SIMPSON: PROTOTIPE SUPERHERO BARU AMERIKA." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 1 (July 31, 2009): 171. http://dx.doi.org/10.14421/ajbs.2009.08109.

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Hollywood films as one of America’s prominent industries that influence world’s popular culture can be seen as a cultural discourse. Movie as a popular literature conveys it message in its own unique ways. Myth is one of its messages. This study tries to reconstruct the myth of popular American superhero through an interesting new movie: The Simpsons. How the new type of hero is manifested is analyzed in this study to find out the continuities or changes in American’s collective dreams so that the new American perspective over heroic mythologies can be understood. Basically this study analyzes as well the possibilities of the meanings conveyed by the media. Textual analysis is conducted to understand not only the meanings of the myth of the superhero perceived by the audience but also the American characters inside the myth. The Simpsons seems to offer a new type of hero’s myth, which is very distinct from the previous type of popular superheroes as in Batman, Superman, or Spiderman.

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8

Shoemaker, Deanna. "Mamafesto! (Why Superheroes Wear Capes)." Text and Performance Quarterly 31, no. 2 (April 2011): 190–202. http://dx.doi.org/10.1080/10462937.2010.551138.

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9

Voelker-Morris, Robert, and Julie Voelker-Morris. "Stuck in tights: mainstream superhero comics’ habitual limitations on social constructions of male superheroes." Journal of Graphic Novels and Comics 5, no. 1 (January 2, 2014): 101–17. http://dx.doi.org/10.1080/21504857.2014.889732.

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10

Curtis, Neal. "Superheroes and the contradiction of sovereignty." Journal of Graphic Novels & Comics 4, no. 2 (December 2013): 209–22. http://dx.doi.org/10.1080/21504857.2013.803993.

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11

Pecina, Jozef. "The Shadow and the dual-identity avenger tradition in American popular fiction." Ars Aeterna 12, no. 1 (June 1, 2020): 63–71. http://dx.doi.org/10.2478/aa-2020-0005.

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AbstractA secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.

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12

Permatasari, Riana, and Destary Praptawati. "Manifestation of Persona Dealing with Misogyny as Reflected in Qahera the Superhero." Jurnal Lingua Idea 13, no. 1 (June 30, 2022): 25. http://dx.doi.org/10.20884/1.jli.2022.13.1.5351.

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Nowadays, there are a growing number of Muslim woman superheroes in literature; one of them is a webcomic entitled Qahera the Superhero. Qahera is portrayed as a veiled Eqyptian woman superhero dealing with misogyny throughout the story. This study is a qualitative study aimed at finding the manifestation of persona as reflected in Qahera and its relation to misogyny. In collecting the data, there were three steps taken, including reading the webcomic, identifying the data, and classifying the data in a table consisting of the data, the page/part of the comics, the references supported the data, and the analysis. The collected data were analyzed using the theory about persona by Carl Jung as the underlying theory in this study. Based on the research, there are two points concluded. First, the outward manifestation of persona in Qahera is a woman superhero wearing a hijab who is strong and brave. Second, her persona is built to fulfill society's expectations on how a woman should wear and protect women from misogyny in her community. She fights against misogyny by challenging the negative stereotypes about Muslim women, combating sexual harassment, and not supporting misogyny in various forms, including in arts. In short, Qahera built her persona to protect Muslim women and showed the persona manifestation of how a woman superhero can challenge the negative stereotypes of Muslim women without neglecting Islamic values inside her.

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13

Vincent, Aimee, and Trina Robbins. "The great women superheroes, by Trina Robbins." Journal of Graphic Novels & Comics 2, no. 1 (June 2011): 98–101. http://dx.doi.org/10.1080/21504857.2011.578424.

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14

Fawaz, R. "Super Black: American Pop Culture and Black Superheroes / Do the Gods Wear Capes? Spirituality, Fantasy, and Superheroes / Race in American Science Fiction." American Literature 85, no. 1 (January 1, 2013): 199–202. http://dx.doi.org/10.1215/00029831-1959652.

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15

Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.

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16

Claverie, Ezra. "Folklore, Fakelore, Scholars, and Shills: Superheroes as “Myth”." Journal of Popular Culture 52, no. 5 (October 2019): 976–98. http://dx.doi.org/10.1111/jpcu.12840.

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17

Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (December 31, 2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?

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18

Cummings, Kelsey. "“Life Savers”: Technology and White Masculinities in Twitter-Based Superhero Film Promotion." Social Media + Society 4, no. 2 (April 2018): 205630511878267. http://dx.doi.org/10.1177/2056305118782677.

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Drawing from social media studies and the literature on American economic decline and conceptualizations of gender and sexuality, this article asks how Twitter’s medium-specific features can be understood through an examination of its representational qualities in the context of the promotion of two contemporary superhero films. The accounts @BatmanvSuperman and @SpiderManMovie provide case studies of film promotion that uses Twitter’s particularities as a platform in order to advance distinct narratives about the films being promoted, via original tweets and retweets that, respectively, represent differing approaches to advertisement. Through this study, the article advances the arguments, first, that cultural representations are reflective of Twitter’s specificities as a social media platform, and second, that these representations work in conjunction with cultural norms of the contemporary US. One form of idealized White masculinity advanced by the latter is reliant on technology and its merging with the White man’s body. As a result, the technologies of superheroes’ suits as well as Twitter itself become representative of the present sociopolitical climate and its various aspirations and anxieties.

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19

Haryadi, Rudi, Farial Farial, and Sanjaya Sanjaya. "How does Marvel Cinematic Universe (MCU) imply the counseling practice?" ProGCouns: Journal of Professionals in Guidance and Counseling 3, no. 2 (November 29, 2022): 59–68. http://dx.doi.org/10.21831/progcouns.v3i2.53917.

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The Marvel Cinematic Universe (MCU) is a major franchise in the Hollywood film industry that tells the story of various superheroes in one story continuity. The popularity of the MCU has skyrocketed in society for 14 years ago and has influenced the development of popular culture today. This paper aims to review the potential of the MCU as one of the big trends in the millennial era in the practice of cinema counseling. The review method used is a literature study, the author reviews various related literature to present a comprehensive discussion. The results of the review suggest that the MCU has great potential to be utilized in cinema counseling, especially for millennial children and teenagers. This is because in essence film is a medium that has been tested to be effectively used to shape, reconstruct, and change the mindset of individuals. In addition, the MCU as a group of superhero films also inserts various moral messages and life lessons that can be abstracted, and used as a metaphor by counselors in the practice of cinema counseling. However, more research is still needed regarding the use of MCU in cinema counseling to become a solid foundation for counselors to practice it.

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20

HUGHES, JAMIE A. ""Who Watches the Watchmen?": Ideology and "Real World" Superheroes." Journal of Popular Culture 39, no. 4 (August 2006): 546–57. http://dx.doi.org/10.1111/j.1540-5931.2006.00278.x.

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21

Soares, Michael Arthur. "Superman v. Specialman: Rhetorical Border Crossings of Unlicensed Superheroes." Journal of Popular Culture 53, no. 3 (June 2020): 600–625. http://dx.doi.org/10.1111/jpcu.12922.

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22

Shelton Lawrence, John. "The Gospel According to Superheroes: Religion and Popular Culture." Journal of American Culture 29, no. 1 (March 2006): 101–3. http://dx.doi.org/10.1111/j.1542-734x.2006.00313.x.

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23

Ciraulo, Darlena. "Superhero Shakespeare in Golden Age Comics." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 137–51. http://dx.doi.org/10.18778/2083-8530.24.09.

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Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these enterprises aimed to reinforce a humanist perspective of education based on Western literature, the classic comics belie a Posthuman aesthetic by presenting Shakespearean characters in scenes and postures that recall Golden Age superheroes. By examining the Shakespearean covers of Classic Illustrated and Stories by Famous Authors, this essay explores how Shakespearean characters are reimagined as Superhuman in strength and power.

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24

Fernández Jiménez, Estrella. "Representación audiovisual de personajes de ficción en el carnaval de Cádiz. Hipercultura popular." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 1, no. 18 (2020): 119–35. http://dx.doi.org/10.12795/comunicacion.2020.i18.07.

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The way of communicating that the Cádiz carnival has makes it a versatile cultural manifestation. Throght the transcription and viewing of coplas we extract how the authors interpret phenomena of popular culture such as superheroes, characters from movies or romantic literature and turn them into carnival groups combining phenomena of different origin. This gives rise to another cultural product through the palimpsest (Genette) and the appropriation of signs and symbols. We show how a popular hypercultura is produced through the representation and writing of coplas.

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25

Hawk, Brandon W. "Superheroes and Gods: A Comparative Study from Babylonia to Batman." Journal of Popular Culture 41, no. 3 (June 2008): 543–45. http://dx.doi.org/10.1111/j.1540-5931.2008.00534_5.x.

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26

Salda, Michael N. "Superheroes of the Round Table: Comics Connections to Medieval and Renaissance Literature by Jason Tondro." Arthuriana 24, no. 1 (2014): 155–56. http://dx.doi.org/10.1353/art.2014.0016.

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27

Mayeux, Isaac. "Superheroes of the Round Table: comics connections to medieval and Renaissance literature, by Jason Tondro." Journal of Graphic Novels and Comics 6, no. 4 (December 17, 2014): 433–34. http://dx.doi.org/10.1080/21504857.2014.984871.

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28

Condis, Megan. "Failure to Launch: Not-So-Superheroes in Gravity's Rainbow and Superfolks." Journal of Popular Culture 45, no. 6 (December 2012): 1169–88. http://dx.doi.org/10.1111/jpcu.12003.

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29

Deshaye, Joel. "The Metaphor of Celebrity, Three Superheroes, and One Persona or Another." Journal of Popular Culture 47, no. 3 (June 2014): 571–90. http://dx.doi.org/10.1111/jpcu.12125.

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30

Brown, Jeffrey A. "‘I’m the Goshdarn Batman!’ Affect and the aesthetics of cute superheroes." Journal of Graphic Novels and Comics 9, no. 2 (June 5, 2017): 119–36. http://dx.doi.org/10.1080/21504857.2017.1299023.

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31

Looser, D. "Power Through Comics: (on Lillian S. Robinson, Wonder Women: Feminisms and Superheroes [Routledge, 2004])." Minnesota Review 2005, no. 63-64 (March 1, 2005): 239–43. http://dx.doi.org/10.1215/00265667-2005-63-64-239.

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32

Silady, Matt. "Three Wishes for Why Comics?" Publications of the Modern Language Association of America 134, no. 3 (May 2019): 620–24. http://dx.doi.org/10.1632/pmla.2019.134.3.620.

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With its enticing question splashed across the cover, Hillary Chute's Why Comics? invites the reader to consider the connections among comics, comics creators, and the medium's everexpanding audience. Through ten chapters all prefaced by “Why” (“Disaster,” “Superheroes,” “Sex,” “he Suburbs,” “Cities,” “Punk,” “Illness & Disability,” “Girls,” “War,” and “Queer”), Chute examines why the shape-shifting form of comics continues to serve as the perfect vessel for visual storytellers attempting to capture the complexity of the human condition.

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33

Tegan, Mary Beth, and Matthew Costello. "A Woman is Being Side-Kicked: Gothic Superheroes and the Suppression of Female Autonomy Amid Feminism’s Second Wave." Gothic Studies 25, no. 3 (November 2023): 261–79. http://dx.doi.org/10.3366/gothic.2023.0175.

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This essay examines the treatment of women in the Gothic superhero comics of the 1970s through the lens of Michelle Massé’s In the Name of Love: Women, Masochism and the Gothic (1992). While superhero texts generally neglected women even at the height of second-wave feminism, the Gothic superhero sub-genre goes even further, drawing on the regressive trope of the suffering woman to ‘side-kick’ female characters and deny their agency and autonomy. Exploring four female characters who share this fate, we examine their different responses to the Freudian beating fantasy enacted in their narrative arcs, delineating the high costs and limited gains of traumatised women who dream of triumph.

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34

Pierce, AP. "Book Review: Superheroes and Masculinity: Unmasking the Gender Performance of Heroism." Men and Masculinities 24, no. 2 (March 30, 2021): 354–56. http://dx.doi.org/10.1177/1097184x211004661.

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35

Rubin, Lawrence C. "Superheroes and Superegos: Analyzing the Minds Behind the Masks by Sharon Packer." Journal of Popular Culture 43, no. 5 (September 28, 2010): 1142–43. http://dx.doi.org/10.1111/j.1540-5931.2010.00790_8.x.

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36

Malone, Paul M. "Truth, Justice … and the Austrian Way? Opposing Political Agendas, Duelling Sovereignties, and Austrian Superheroes." Seminar: A Journal of Germanic Studies 56, no. 3-4 (November 1, 2020): 345–67. http://dx.doi.org/10.3138/seminar.56.3-4.07.

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37

Schott, Gareth. "From fan appropriation to industry re-appropriation: the sexual identity of comic superheroes." Journal of Graphic Novels & Comics 1, no. 1 (June 10, 2010): 17–29. http://dx.doi.org/10.1080/21504851003798405.

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Means-Shannon, Hannah. "Superheroes and gods: a comparative study from Babylonia to Batman, by Don LoCicero." Journal of Graphic Novels & Comics 2, no. 1 (June 2011): 89–91. http://dx.doi.org/10.1080/21504857.2011.578415.

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Trushell, John M. "American Dreams of Mutants: The X-Men-"Pulp" Fiction, Science Fiction, and Superheroes." Journal of Popular Culture 38, no. 1 (August 2004): 149–68. http://dx.doi.org/10.1111/j.0022-3840.2004.00104.x.

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40

Hoberek. "“But — what can anyone do about it?”: Modernism, Superheroes, and the Unfinished Business of the Common Good." Journal of Modern Literature 39, no. 2 (2016): 115. http://dx.doi.org/10.2979/jmodelite.39.2.09.

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41

Patton, Brian. "On the origin of superheroes: from the Big Bang to Action Comics No. 1." Journal of Graphic Novels and Comics 9, no. 2 (October 5, 2017): 187–89. http://dx.doi.org/10.1080/21504857.2017.1383284.

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42

Jirousek, Charlotte A. "Superstars, Superheroes and the Male Body Image: The Visual Implications of Football Uniforms." Journal of American Culture 19, no. 2 (June 1996): 1–11. http://dx.doi.org/10.1111/j.1542-734x.1996.1902_1.x.

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43

Trabucchi, Daniel, and Stefano Magistretti. "The battle of superheroes: the rise of the knowledge platform strategy in the movie industry." Journal of Knowledge Management 24, no. 8 (July 9, 2020): 1881–98. http://dx.doi.org/10.1108/jkm-04-2020-0296.

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Purpose Over the past years – because of the huge impact of companies such as Airbnb and Uber – the concept of the platform became extremely popular in the business world. Still, the concept of the platform has been evolving for a long time in the management field, from internal platforms (like the famous case of Sony Walkman) to industry-wide platforms (like the case of computers with external software developers), up to transaction and two or multi-sided platforms (such as Airbnb and all the companies with a similar business model). Platforms are often considered disruptors in several industries, from accommodations to mobility to entertainment. Still, the disruptors in the creative world usually deal with the way in which they distribute content (Netflix or Spotify), rather than with the content itself. The purpose of this paper is to understand if and how platforms trategies can also be used in the creative industries. Design/methodology/approach This paper digs into the movie industry, studying the three most successful Superheroes sagas of the past two decades as follows: the Marvel Cinematic Universe (MCU), DC Comics and X-Men using a narrative approach. The three sagas are studied through network analysis to understand their “platform approach”. Findings The results show how platform strategies are relevant also in creative industries – defining the concept of “knowledge platform strategy” – and how they have a significant impact in terms of market performance. The MCU builds on a common knowledge through the various movies that enable the chance to rely on many of the platforms’ characteristics emerging from the literature. Research limitations/implications This research extends the concept of “platforms,” relying on the three kinds of platform defined in the managerial literature and introducing the “knowledge platform strategy” for creative industries. The main contribution is related to the extension of platforms in research fields where it has not been exploited. This opens up avenues for research both from a knowledge platform and creative industries perspectives. Practical implications Managers, working not only in creative industries but also in industries where a common knowledge basis may be leveraged to develop new products over time, may use the concept of “knowledge platform strategy” to rethink the new development process or knowledge management from a customer perspective. Originality/value This study explores a mature and relevant concept – the platforms – in a new filed, the creative industries using the case of Superheroes sagas, proposing a new perspective to explain the success of MCU while proposing a new platform strategy.

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Hoecker, Robin, and Ian Blechschmidt. "From ‘Average Joes’ to Superheroes: Shifting Aesthetics of Heroism and War in Marvel's The 'Nam." Journal of Popular Culture 53, no. 2 (April 2020): 261–83. http://dx.doi.org/10.1111/jpcu.12895.

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Lawrence, John Shelton. "Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society." Journal of American Culture 28, no. 4 (December 2005): 453–55. http://dx.doi.org/10.1111/j.1542-734x.2005.00263.x.

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Fawaz, R. ""Where No X-Man Has Gone Before!" Mutant Superheroes and the Cultural Politics of Popular Fantasy in Postwar America." American Literature 83, no. 2 (January 1, 2011): 355–88. http://dx.doi.org/10.1215/00029831-1266090.

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Patrick, Kevin. "(FAN) Scholars and Superheroes: The Role and Status of Comics Fandom Research in Australian Media History." Media International Australia 155, no. 1 (May 2015): 28–37. http://dx.doi.org/10.1177/1329878x1515500105.

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Abstract:

Comic books, eagerly consumed by Australian readers and reviled with equal intensity by their detractors, became embroiled in post-war era debates about youth culture, censorship and Australian national identity. Yet there are few references to this remarkable publishing phenomenon in most histories of Australian print media, or in studies of Australian popular culture. This article demonstrates how the history of comic books in Australia has largely been recorded by fans and collectors who have undertaken the process of discovery, documentation and research – a task that, in any other field of print culture inquiry, would have been the preserve of academics. While acknowledging some of the problematic aspects of fan literature, the article argues that future research into the evolution of the comic-book medium within Australia must recognise, and engage with, this largely untapped body of ‘fan scholarship’ if we are to enrich our understanding of this neglected Australian media industry.

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Griffin, Matt, and Hilde Van den Bulck. "Of Superheroes and SJWs: Media and Fans Framing the Impact of Diversity in 2010s Comic Books." Journal of Popular Culture 55, no. 1 (February 2022): 11–35. http://dx.doi.org/10.1111/jpcu.13100.

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Gutierrez, Anna Katrina. "American superheroes, manga cuteness and the Filipino child: the emergence of glocal Philippine comics and picturebooks." Journal of Graphic Novels and Comics 5, no. 3 (April 22, 2014): 344–60. http://dx.doi.org/10.1080/21504857.2014.905486.

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Wanner, Kevin J. "In a World of Super-Violence, Can Pacifism Pack a Punch?: Nonviolent Superheroes and their Implications." Journal of American Culture 39, no. 2 (June 2016): 177–92. http://dx.doi.org/10.1111/jacc.12530.

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