Journal articles: 'Superheroes'

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Gonsalez, Marcos. "In Defense of the Effete Superhero: Theorizing the First Queer Latinx Superhero, Extraño/Gregorio de la Vega." Inks: The Journal of the Comics Studies Society 8, no. 1 (March 2024): 1–25. http://dx.doi.org/10.1353/ink.2024.a927234.

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ABSTRACT: Debuting in the 1987 eight-issue miniseries Millennium , Extraño/Gregorio de la Vega lays claim to being the first gay superhero in superhero comic history. He is also one of the first queer Latinx superheroes to be depicted in the genre. This article examines the mediations and transformations of Extraño/Gregorio de la Vega’s character across the late twentieth and early twenty-first centuries, analyzing how his disruptive queer effete superheroics runs counter to representational agendas that seek to fix or erase gender transgression and nonnormative sexualities in superhero comics. In order to do so, this article proposes a critical reading practice called superheroic minorness. By looking to one-shot issues, double-page team spreads, back covers, letters to the editors, and splash pages, this article examines how his superheroic minorness entails sleuthing across a constellation of details, minutiae, and arrangements in order to compose a comprehensive sketch of an otherwise undervalued or underexamined character who, nonetheless, helps articulate repressed, negated, and/or erased aesthetic-political possibilities. Reading for superheroic minorness is a conceptual strategy for theorizing the importance of the effete superhero and the interpretive frameworks the effete opens up for interrogating the majoritarian sphere and minoritized representation in comics, superhero aesthetics, and popular culture. Rather than situating the minorness or stereotyping of Extraño/Gregorio de la Vega as a lack or a problem for critical inquiry, this essay positions it as a means of revaluing and imagining the effete superhero, the abject, peripheral queer Latinx character who overloads straightforward notions of respectability, assimilation, and conformity.

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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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De Wulf Helskens, Maxine, Frederik Dhaenens, and Sarah Van Leuven. "Superheroines and superstereotypes?" DiGeSt - Journal of Diversity and Gender Studies 8, no. 1 (May 17, 2021): 91–105. http://dx.doi.org/10.21825/digest.v8i1.17163.

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Since the new millennium, there has been a remarkable increase in audio-visual adaptations of superhero comic books (Garcia-Escriva, 2018). Whereas these adaptations used to include predominantly male superheroes, they have started to feature more female superheroes (Curtis & Cardo, 2018). An increase, however, does not imply diverse and rounded representations, since women in superhero movies tend to be depicted in stereotypical and sexualized ways (Kaplan, Miller & Rauch, 2016). Even though previous research has addressed the films and series' politics of gender representation, there is a need for research that looks at televised female superheroes from a queer postfeminist and intersectional lens. Therefore, this study conducted a textual analysis, informed by queer postfeminist and intersectional theory, to explore how leading female superheroes in the Arrowverse series Arrow and Supergirl are represented. We concluded that female superheroes who assume a central role in the series are represented in a rather empowered manner, but that there are still improvements possible with regard to the representation of race and sexuality.

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Venkatesh, Vinodh. "Argentina in Crisis: Superheroes in Zenitram (2010) and Kryptonita (2015)." Galactica Media: Journal of Media Studies 2, no. 3 (October 19, 2020): 295–309. http://dx.doi.org/10.46539/gmd.v2i3.89.

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While the study of superheroes has become a comprehensive field in itself, a focus on global superheroes has only recently begun to take shape. Vinodh Venkatesh’s Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series (2020) furthers a comprehensive examination of the superhero in Latin American moving images from the late 1950s to the present day, covering contexts from Mexico to Chile. Missing from this study, however, is an examination of Argentine superheroes. The present essay fills this gap by addressing two films, Zenitram (2010) and Kryptonita (2015), that portray and critique Argentina and its relationship with neoliberalism in the 20th and 21st centuries. Both films move beyond the parameters of genre cinema by engaging salient issues extant in the cultural horizon of the country.

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Hatchell, Rusty. "‘We prefer protégé’: The temporal function of sidekicks in Young Justice and Titans." Australasian Journal of Popular Culture 12, no. 1 (June 1, 2023): 83–97. http://dx.doi.org/10.1386/ajpc_00070_1.

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Over the past four decades, since the transition of Robin into the Nightwing superhero persona in DC’s Tales of the Teen Titans #44 (July 1984), sidekick characters have become increasingly relevant in their narrative function for DC’s overall superhero storytelling and world-building strategies. By examining the comic book and television narratives across Teen Titans and Young Justice titles, this article argues for a critical examination in how sidekicks mature into independent superheroes and how this impacts the broader storytelling paradigm for DC and their related media. The animated Young Justice and live-action Titans series highlight the progression in a sidekick’s temporal function, guiding not only their own maturation into independent superheroes but also the overall evolution of the superhero storytelling genre, allowing the passage of time, the inevitable death of the superhero and the renaissance of the sidekick-turned-superhero.

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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.

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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.

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Flores, Emil. "The Concept of the Superhero in Filipino Films." Plaridel 2, no. 2 (August 1, 2005): 23–38. http://dx.doi.org/10.52518/2005.2.2-02eflrs.

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This essay examines a number of Filipino superhero films (Captain Barbell, Darna and Lastikman) and how a uniquely American creation was “Filipinized,” taking into account the cultural and social aspects of the Pinoy superhero as demonstrated in the films. For the first time in Filipino film history, three superhero films were included in the 2003 Metro Manila Film Festival. While the producers were most likely following the popular trend in Hollywood, the films Fantastic Man, Captain Barbell, and Gagamboy, still reflect the Filipino longing for a hero to look up to. All films were big box-office hits. Just as 9/11 gave rise to the popularity of fantasy and superhero films in Hollywood, societal ills and the 2004 elections have fanned the flames of fantasy heroics in Filipino commercial films. While the American heroes (e.g. Captain Marvel, Superman, and Wonder Woman) have heavily influenced the Filipino superheroes, several aspects of Filipino culture and society are still evident in the films. It is also noteworthy that the comic book industry that created the superheroes is now experiencing a severe drop in popularity. Thus, film is now the medium that showcases the superheroes. The movie versions of these heroes have a history in film that is almost as long as the comic book versions, and modern audiences are more familiar with the movies than the comics.

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Miettinen, Mervi. "Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity." PS: Political Science & Politics 47, no. 01 (December 29, 2013): 104–7. http://dx.doi.org/10.1017/s1049096513001686.

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Watchmen(1987), written by Alan Moore and illustrated by Dave Gibbons, is a 12-part graphic novel that portrays real-life superheroes in a fictional United States of the 1980s. An alternate universe where ordinary people without superpowers were inspired by superhero comics and took on the crime-fighting in tights in the 1940s, the comic portrays an America vastly different from our reality. Since its publication more than two decades ago, the comic has been the subject of extensive study due to its breathtaking narrative structure as well as its acute deconstruction of the superhero genre itself. Indeed, one of the text's most brutal deconstructions comes from the way it addresses superheroic masculinity, from the misogynistic vigilante Rorschach to the emasculated ex-hero Nite Owl. Through its cast of male heroes,Watchmendeconstructs the superhero genre by rewriting masculine tropes such as vigilantism and patriotism and by exposing the inherent contradictions within these gender-bound tropes from the fascist undercurrents of violent patriotism to the often-hinted sexual dysfunction of the costume-fetish variety.

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Zamani, Muhammad Fathan, Abi Ihsanullah, and Badri Badri. "KARAKTER ANTI-HERO SEBAGAI COUNTER-HEGEMONI SUPERHERO DALAM FILM DEADPOOL: ANALISIS COUNTER-HEGEMONI ANTONIO GRAMSCI." Jurnal CULTURE (Culture, Language, and Literature Review) 8, no. 2 (November 1, 2021): 112–31. http://dx.doi.org/10.53873/culture.v8i2.264.

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Myth is an essential part in superhero roles. In modern superhero acts, a character may possess more than one myth. Thus, this portrayal is an ideal power to create supremacy. An author, even a director could employ the newly-created myth to overcome hegemonic power. As stated in Gramsci, there is an instrument to control, even surpass ideology. In the Deadpool 1 & 2 movie, the myth of superheroes is interpreted as the instrument of hegemony. The aims of this study are to find out what kind of superhero hegemony that will be countered in the Deadpool movie, what are the counter hegemony element in the Deadpool movie, and how are the Deadpool’s effort and his preparations doing ideological battle against the superhero existence. This research uses hegemony and counter-hegemony theory according to Antonio Gramsci. This research applies descriptive qualitative method. The findings are Deadpool’s act of violence and his merc-with-mouth assuming his role as an anti-hero. However, Deadpool finally encountered the existing myth of superheroes ideologically. Unexpectedly, Deadpool offers a solution to the existing hegemony.

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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.

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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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Andersen, Tem Frank. "Browsing the Origins of Comic Book Superheroes: Exploring WatchMojo.com as producers of video channel content." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, no. 1 (November 22, 2017): 45–62. http://dx.doi.org/10.7146/ntik.v6i1.98956.

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This article tries to explore and explain the significance of comic book superheroes and their origin stories. The article presents an analysis of two selected case examples from the social video sharing site WatchMojo.com. The analysis focuses on four aspects or themes: Comic book hermeneutics, types of origin, subjectivization of superheroes, and user reactions. These analytical themes are based on an approach combining cultural semiotics, comic book superhero studies, studies in participatory culture, cultural studies and media user studies. The analysis provide some evidence to the claim, that superhero origin stories are of significance because its content is relevant to a dedicated number of internet users, and the video content both calls for and creates user reactions. Furthermore this interplay enacts the practice of categorizing and revitalizing as two important mechanisms vital for understanding this particular Internet video content.

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Markova, Maria V. "PARTICULARITY OF THE TRANSFORMATION OF THE SUPERHERO COMICS IN THE RUSSIAN CULTURAL SPACE: BY THE EXAMPLE BUBBLE COMICS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2021): 87–99. http://dx.doi.org/10.28995/2686-7249-2021-9-87-99.

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The modern Russian comics industry is mostly author’s comics. At the same time, first of all, comics are associated with superhero stories, whose appearance on the screens of cinemas became the starting point for many people to recognize the original source – the comic. In Russia, a mass commercial comic strip is presented by the publishing house BUBBLE Comics. Its slogan from the first issue was: “The country must know its superheroes”. The article examines the forms and methods of transformation of the characteristic features of superhero comics in Russian comics published by BUBBLE Comics. BUBBLE Comics strives not to copy the narrative strategies of American publishers, but to adapt them for the Russian reader. BUBBLE publishers partly use the superhero theme, adopting the idea of a single universe and heroes who are engaged not so much in saving the world as in helping people. Unlike traditional solo superheroes, BUBBLE Comics’ heroes are surrounded by people who share their mission and are more of a team. Such comics not only construct a new fictional world, but also to a certain extent reflect the socio-cultural reality that is close to the understanding of the Russian reader.

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Thoss, Jeff. "Versifying Batman: Superheroes in contemporary poetry." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 268–86. http://dx.doi.org/10.1515/fns-2019-0016.

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AbstractSince the late 1980 s, poets from the US and, to a lesser extent, the UK have increasingly featured superheroes in their work, mostly appropriating iconic figures along the lines of Batman or Superman and exploring some aspect of their personality (e. g., Batman’s relationship to Robin, Superman’s loneliness) in dramatic monologues. The prevailing if not sole account of this phenomenon argues that these characters provide a shared mythology to a generation of writers to whom biblical and classical references are no longer readily available. It also ties the superheroes’ provenance exclusively to the medium of comics. This latter point, in particular, is open to debate, insofar as since the late 1980 s, superheroes are, more than ever, part of media franchises that treat comic books as but one among many outlets. The present article hence views the superheroes in poetry not so much as an appropriation of comic book but of transmedia characters. Simon Armitage’s seminal poem “Kid” (1992), for instance – a diatribe by Robin directed at Batman’s dismissal of him – resonates as much with the 1960 s TV series or Tim Burton’s Batman films (1989, 1992) as with the dark knight’s reinvention at the hands of comic book writers such as Frank Miller or Alan Moore. At the same time, the article aims to locate the place of the seemingly insular genre of poetry within a “convergence culture” that disseminates superheroes in the media ecology. Evidently, the “superhero poems” are not licensed creations that partake in officially sanctioned transmedia networks. Neither, however, are they a product of fandom and participatory culture. Instead, I would suggest that poetry here tentatively engages with the media culture that has factored into its marginalization during the past decades.

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Costello, Matthew J., and Kent Worcester. "The Politics of the Superhero." PS: Political Science & Politics 47, no. 01 (December 29, 2013): 85–89. http://dx.doi.org/10.1017/s1049096513001625.

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This symposium explores the relationship of superheroes to questions of power, ideology, social relations, and political culture. It represents the first time that a political science journal has devoted sustained attention to the superhero genre as it is reflected in the pages of comic books and graphic novels, and on the big screen.

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Drislane, Liam. "The pretense of prosthesis." Science Fiction Film & Television 15, no. 2 (June 1, 2022): 169–91. http://dx.doi.org/10.3828/sfftv.2022.14.

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Drawing on David Mitchell and Sharon Snyder’s concept of narrative prosthesis and Kathryn Allan’s Disability in Science Fiction, this article examines the role of the prosthesis in Marvel Cinematic Universe (MCU), arguing that the cyborg limbs of prosthecized superheroes enable narratives of identity, rebirth, degeneration, and transcendence, serving as overdetermined - yet open - signifiers while also remaining stubbornly material in their techno-capitalist cycle of production, obsolescence, destruction, and endless upgrading. Specifically, the paper interprets the MCU’s use of the superheroic prosthesis as an attempt to reach closure regarding the threat to the ideology of ability posed by the figure of the disabled superhero, an attempt that inevitably ends in failure that results in the graphic destruction and eventual replacement of the prosthesis. Analysis of the prosthesis in the MCU reveals a seemingly inevitable cycle in which the superheroic prosthesis acts as a lightning rod for this failure of resolution, with its destruction serving as both the titillation and vicarious horror that often accompanies depictions of disablement as well as a plot device through which narrative tension is generated as the disabled character must be re-prosthecized to begin the cycle anew.

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MacKendrick, Kenneth. "What is a Superhero?" Bulletin for the Study of Religion 44, no. 1 (April 7, 2015): 19–25. http://dx.doi.org/10.1558/bsor.v44i1.26860.

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The essay argues that Marvel's Civil War is an interesting narrative concerning the superhero metacode at work. After a brief overview of the crossover event, its allegorical qualities will be discussed followed by a supplemental reading focusing on how superheroes, as agents of pretend play, come to be socialized, coded, and distributed across shared social networks.

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Shapley, Sarah. "Veiled Superheroes." American Journal of Islam and Society 35, no. 2 (April 1, 2018): 113–15. http://dx.doi.org/10.35632/ajis.v35i2.841.

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Sophia Rose Arjana’s book Veiled Superheroes: Islam, Feminism, and PopularCulture raises a timely and critical discussion. The interdisciplinarynature of the book provides insight into various subjects, including women’sstudies, theology, and popular culture. Arjana, with Kim Fox, focuseson Muslim female (Muslima) superheroes. In a world where so oftenwomen (and in particular, Muslim women) are politicized, Arjana offers analternate exploration of how Muslima superheroes are poised to battle bothWestern and Islamic misogyny.Chapter 1, “Muslim Women in Popular Culture,” gives an overview ofthe discourse around Muslim women. The chapter explores how Orientalismhas influenced the presentation of Muslim women, particularly notinghow Muslim women lose agency in all discussions. Arjana looks specificallyat how the comic and cartoons have been subject to this thinking.She addresses how Muslims fall into the villain or the rescue narrative andthen turns to the problematic representation of some Muslima superheroes.Comics are just the starting point, for such representations are found incartoons and film as well. While this chapter provides a great basis for therest of the book and an essential introduction to the narrative that has oftensurrounded Muslim women, it does at times jump quickly from one discussionto the next (as continues through much of the book) ...

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Clarke, Jenni. "Superheroes welcome." Early Years Educator 16, no. 6 (October 2, 2014): v—vii. http://dx.doi.org/10.12968/eyed.2014.16.6.v.

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Moer, Wendy Van. "Superheroes [Editorial]." IEEE Instrumentation & Measurement Magazine 18, no. 6 (December 2015): 4. http://dx.doi.org/10.1109/mim.2015.7335769.

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Krakowski, Pamela. "Museum Superheroes." Journal of Museum Education 37, no. 1 (March 2012): 49–58. http://dx.doi.org/10.1080/10598650.2012.11510717.

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White, Jon. "Secret superheroes." New Scientist 223, no. 2979 (July 2014): 28–29. http://dx.doi.org/10.1016/s0262-4079(14)61444-5.

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Du Toit, Andrea. "Bacterial superheroes." Nature Reviews Microbiology 19, no. 1 (November 23, 2020): 2–3. http://dx.doi.org/10.1038/s41579-020-00491-7.

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Valentová, Kateřina. "Representation and Agency of Aging Superheroes in Popular Culture and Contemporary Society." Societies 11, no. 1 (March 8, 2021): 18. http://dx.doi.org/10.3390/soc11010018.

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The figure of the superhero has always been regarded as an iconic representative of American society. Since the birth of the first superhero, it has been shaped by the most important historical, political, and social events, which were echoed in different comic issues. In principle, in the superhero genre, there has never been a place for aging superheroes, for they stand as a symbol of power and protection for the nation. Indeed, their mythical portrayal of young and strong broad-chested men with superpowers cannot be shattered showing them fragile or disabled. The aim of this article is to delve into the complex paradigm of the passage of time in comics and to analyze one of the most famous superheroes of all times, Superman, in terms of his archetypical representation across time. From the perspective of cultural and literary gerontology, the different issues of Action Comics will be examined, as well as an alternative graphic novel Kingdom Come (2008) by Mark Waid and Alex Ross, where Superman appears as an aged man. Although it breaks the standards of the genre, in the end it does not succeed to challenge the many stereotypes embedded in society in regard to aging, associated with physical, cognitive, and emotional decline. Furthermore, this article will show how a symbolic use of the monomythical representation of a superhero may penetrate into other cultural expressions to instill a more positive and realistic portrayal of aging.

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Kurniawan, Rendya Adi. "KEMUNCULAN KOMIK ADIPAHLAWAN INDONESIA DAN FAKTOR YANG MEMPENGARUHINYA." Texture:Art and Culture Journal 2, no. 1 (September 2, 2019): 29–39. http://dx.doi.org/10.33153/texture.v2i1.2628.

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ABSTRACTComic is a visual product that is quite popular in Indonesia. The popularity of comics in Indonesia cannot be separated from the development of comics in the West. One effect felt was the emergence of comics with the superhero genre. However, superheroes in the West and adipahlwan in Indonesia are the result of a dynamism of very different creative processes. Superheroes emerged in the West as a new form of mythology for their people, while the Indonesian adpahlawan emerged precisely by exploring the values of classical mythology that had long existed in Indonesia. These traditional values are explored to be used as basic ideas for the design of a super hero character in Indonesia. This research tries to apply the visual methodology of Gillian Rose to examine how this super hero emerged as a comic genre in Indonesia and what factors influence it.Keyword : Comics, Superhero, Character Design, Mithology, Visual MethodologyABSTRAKKomik merupakan suatu bacaan yang cukup popular di Indonesia. Kepopuleran komik di Indonesia tidak bisa dilepaskan dengan perkembangan komik di Barat. Salah satu pengaruh yang dirasakan adalah munculnya komik dengan genre superhero. Namun begitu, superhero di Barat dan adipahlwan di Indonesia merupakan hasil dari suatu dinamika proses kreatif yang sangat berbeda. Superhero muncul di Barat sebagai suatu bentuk mitologi baru bagi masyarakatnya, sedangkan adipahlawan Indonesia muncul justru dengan menggali nilai-nilai mitologi klasik yang sudah lama ada di Indonesia. Nilai-nilai tradisi tersebut digali untuk dijadikan gagasan dasar perancangan desain karakter adipahlawan di Indonesia. Penelitian ini mencoba mengaplikasikan metodologi visual dari Gillian Rose untuk mengkaji bagaimana adipahlawan ini muncul menjadi genre komik di Indonesia dan faktor apa saja yang mempengaruhinya. Keyword : Komik, Superhero, Desain Karakter, Mitologi, Metodologi Visual

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Grachan, Jeremy J., and Melissa M. Quinn. "Anatomists Assemble! Integrating superheroes into the anatomy and physiology classroom." Advances in Physiology Education 45, no. 3 (September 1, 2021): 511–17. http://dx.doi.org/10.1152/advan.00202.2020.

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Anatomy and physiology courses are sometimes seen as difficult, which can lead to a lack of motivation in students to learn and engage in the course material. Students may also see the material as “dry,” have issues forming personal connections, or struggle to connect the content to the real world. These issues may lead to students not performing well in the course or feeling that the health field is not ideal for them. Popular culture, especially mainstream superheroes, can serve as an option for mending these gaps by being a gateway to connecting to many students’ lives. Superheroes can be integrated into the classroom through relevant, creative, and unique examples that include clinical correlates, modern scientific innovations, and some real-life “supers” living among us. Real anatomy and physiology can still be taught and explained through discussing these “incredible” examples and also present an opportunity for students to be creative in generating their own anatomical and physiological explanations for various superpowers. Superheroes also help open the classroom up to being a place of acceptance, primarily through their secret identities, which cover a broad range of idols that students can look up to, whether it is their career or based on a character’s race or sexual orientation. Professors can become the superhero in their classroom and help students become more engaged and interested in the material.

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Betzalel, Nurit, and Zipora Shechtman. "The impact of bibliotherapy superheroes on youth who experience parental absence." School Psychology International 38, no. 5 (September 25, 2017): 473–90. http://dx.doi.org/10.1177/0143034317719943.

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As one key element of establishing a superhero persona, many superhero myths are based on the principle of experiencing parental loss at an early age. This study examined the impact of group bibliotherapy using superhero stories with children and adolescents who have experienced parental absence. The 187 participants who resided in foster care were divided into three experimental conditions: Bibliotherapy with superhero stories, bibliotherapy without superheroes, and no treatment. Four dependent variables were tested in a pre–post–follow-up design: Anxiety, violent behavior, aggression, and future orientations. Results indicated that the strongest desired outcomes were obtained in the superhero treatment condition: There were significant positive changes on all four dependent variables, with changes sustained at follow-up. In the other treatment condition, significant changes were observed on only two variables and were not sustained at follow-up. No significant changes were observed in the non-treatment group. On the future orientations scale, only children in the superhero condition indicated change: They gained in future goals and had reduced fantasies about home. In general, results support the effectiveness of bibliotherapy with children and clearly point to the unique contribution of bibliotherapy content tailored to children's specific needs.

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Johansson, Juha, and Markku S. Hannula. "Third Graders' Perceptions on Moral Behaviour on Bullying If They Had the Infinite Powers of Superhero Defenders." Education Research International 2012 (2012): 1–15. http://dx.doi.org/10.1155/2012/258181.

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Bullying is a serious moral concern affecting the victim's welfare and achievement in school. Lately, research on bullying phenomenon has led to successful procedures in which passive bystanders are asked to become defenders of the victims of bullying. This case study explores children's perceptions on moral behaviour on bullying and, moreover, what type of moral voice they would express if they had the infinite powers and means of superhero defenders. Children created masks, posters, and flags for ideal superheroes and described their personalities. In addition, they drew comic strips about the skills they wish to teach new hero students in superhero school. The results indicate that children's moral voices can be divided primarily into justice and care. In addition, some expressed also the dark voice of the vigilante. Findings suggest that superheroes offer one tool for educators and children to ponder about the role of defenders for the victims of bullying. The topic focuses on the core of school life, relationships between pupils, and their moral development. Sixteen third grade children (aged 9-10) from a primary school in Finland took part in the study. The results for two of the children are presented in detail as the basis for discussion.

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Clerkin, Frances. "'Superheroes know where they are going': views from children's cultural worlds." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2012 (January 1, 2012): 6–9. http://dx.doi.org/10.33178/boolean.2012.2.

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Eileen asks 'why does Liam need a compass?', an item which Liam proudly produces from his backpack and displays at morning 'show and tell'. Liam often leads play episodes and is frequently an instigator of 'superhero' type play in pre-school. My response is 'he probably needs it for his superhero game'. Eileen's exasperated reply is 'superheroes know where they are going'. On quick reflection I agree that 'yes, that sounds likely.' In her initial statement, Eileen reveals not only that she knows the purpose of a compass but also that she expects a more considered and believable answer from a 'knowing other.' In Eileen's social and cultural experiences, my being adult confers just such a status. Clearly disappointed with my response she herself assumes an 'expert' role. Eileen reflects a shared understanding of culturally embedded assumptions associated with fictional Superhero characters. She also conveys a sophisticated awareness of the 'rules' ...

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Fendler. "Superheroes for Africa?" Africa Today 65, no. 1 (2018): 87. http://dx.doi.org/10.2979/africatoday.65.1.06.

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Kissner, Lea, and Lorrie Cranor. "Privacy engineering superheroes." Communications of the ACM 64, no. 11 (November 2021): 23–25. http://dx.doi.org/10.1145/3486631.

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Beeber, Linda S. "Superheroes and Spandex." Journal of the American Psychiatric Nurses Association 24, no. 5 (September 2018): 469–70. http://dx.doi.org/10.1177/1078390318795215.

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Fawaz, Ramzi. "Legions of Superheroes." Social Text 36, no. 4 (December 1, 2018): 21–55. http://dx.doi.org/10.1215/01642472-7145646.

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Winter, Robin O. "Caring for Superheroes." Journal of the American Geriatrics Society 68, no. 7 (May 26, 2020): 1612. http://dx.doi.org/10.1111/jgs.16430.

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Clarke, Jenni. "Real-life superheroes." Early Years Educator 16, no. 9 (January 2, 2015): v—vii. http://dx.doi.org/10.12968/eyed.2015.16.9.v.

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Hart, Karen. "Super fit superheroes!" Child Care 9, no. 3 (March 2012): 10–11. http://dx.doi.org/10.12968/chca.2012.9.3.10.

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Stirrups, Robert. "Superheroes don't die." Lancet Child & Adolescent Health 2, no. 9 (September 2018): 631. http://dx.doi.org/10.1016/s2352-4642(18)30247-5.

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Madsen, Heather. "The Learning Superheroes!" Headteacher Update 2016, no. 4 (June 2, 2016): 36–37. http://dx.doi.org/10.12968/htup.2016.4.36.

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Storey, Brenda. "Superheroes in action." Early Years Educator 10, no. 3 (July 2008): v—vii. http://dx.doi.org/10.12968/eyed.2008.10.3.29511.

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Munoz, Jose. "Citizens and Superheroes." American Quarterly 52, no. 2 (2000): 397–404. http://dx.doi.org/10.1353/aq.2000.0021.

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Wojciechowska, Iza. "Composites: Fiber Superheroes." AATCC Review 18, no. 5 (September 1, 2018): 24–29. http://dx.doi.org/10.14504/ar.18.5.1.

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Wong, Oscar Gordon, and Imelda Ann Achin. "The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2." Mudra Jurnal Seni Budaya 36, no. 3 (August 3, 2021): 316–25. http://dx.doi.org/10.31091/mudra.v36i3.1580.

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2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.

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Buck-Pavlick, Helen. "The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego." Journal of Dance & Somatic Practices 12, no. 2 (December 1, 2020): 267–87. http://dx.doi.org/10.1386/jdsp_00028_1.

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In this article, the author shares their processes and reflections from a somatic and pedagogical research project conducted at a Title I middle school in Tempe, Arizona. The project, ‘The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego’ explores the duality, perceived dualism and duel-ism of the embodied middle school experience through the lens of superheroes and alter-egos. The research served several purposes: (1) exploration into how to communicate Laban Movement Analysis and Bartenieff Fundamentals along with key somatic concepts, such as self-awareness, self-control and autonomy to early adolescent learners in a way that is accessible and relatable, (2) facilitating an embodied understanding of the dualism between personal inner and outer identities, expressivity, attitudes and tendencies, with the aim of helping early adolescent students improve navigation of the challenging contexts they encounter (such as conflicting self and social identities, vulnerabilities, insider/outsider feelings, body image, self-confidence and the desire to be both unique and to fit in), (3) providing an opportunity for adolescent students to explore perceptions of inner and outer identities and the duel between these identities as carried within their own bodies and (4) creating an opportunity for students to collaboratively generate choreography. The dance classroom community chosen for this project had prior experience in dance within the school’s existing programme, specific learning challenges and opportunities for somatic knowledge development. Preliminary research and classroom observations unveiled thematic concepts (such as body image issues, low self-confidence and conflicting perceptions of self-identity) which informed teaching strategies, curriculum and subject matter. The framework of the curriculum considered critical theories of development, somatic practice, philosophy and collaborative inquiry. Questions that inspired the research included: how do early adolescent students construct understanding of their individual identities and experiences in a meaningful somatic way? How do we create lessons that integrate somatic exploration, social emotional learning and choreographic practice into early adolescent dance class? What is it about the adolescent experience that makes superheroes so compelling? What do superheroes tell us about ourselves?

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Bilbo, Adrianus Aditya Christaldo. "Captain America’s, Ironman’s, and Thor’s Anxiety and Defense Mechanism in The Avengers and Avengers: Age of Ultron." K@ta Kita 7, no. 3 (December 16, 2019): 427–34. http://dx.doi.org/10.9744/katakita.7.3.427-434.

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This thesis aims to discuss the anxiety and defense mechanism of three main characters of the superhero movies, namely, Marvel’s The Avengers and Avengers: Age of Ultron. The three main characters discussed have the capabilities to save the world. Yet, despite their capabilities as superheroes, they have their own weaknesses, just like human beings. In my analysis, I investigate the weaknesses of the main characters, namely, Captain America, Ironman, and Thor. Using Cramer’s concept of anxiety and defense mechanism (1991, 2009, 2016), I find that their weaknesses triggers anxiety. In return, their anxiety creates fear and guilt. These fear and guilt lead Captain America, Ironman, and Thor to developing their defense mechanism. However, each main character use different kinds of defense mechanism. Captain America uses denial. Ironman uses denial and rationalization. Thor uses repression. To sum up, I conclude that although the main characters in The Avengers and The Avengers: Age of Ultron are superheroes, they have their own weaknesses and they are still human. Keywords: Defense mechanism, anxiety, movie, action

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Palomar-Ciria, N., and H. J. Bello. "Superheroes, resilience and COVID-19." ACTUALIDAD MEDICA 106, no. 106(813) (2021): 222–23. http://dx.doi.org/10.15568/am.2021.813.cd01.

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Martin, Justin F. "Harlem's Superhero: Social Interaction, Heterogeneity of Thought, and the Superhero Mission in Marvel's Luke Cage." Popular Culture Review 34, no. 2 (December 2023): 43–89. http://dx.doi.org/10.1002/j.2831-865x.2023.tb00798.x.

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ABSTRACTThe essay extends previous Luke Cage scholarship by analyzing him through a discipline rarely utilized in superhero scholarship: developmental psychology. Using the Luke Cage television series, the author centers Luke Cage's relationship to Harlem. In doing so, the author explores how the relationship can elucidate both the conceptual foundations of morally‐relevant decision‐making and the ways these concepts may be applied in varied and complex social interactions–features of social life relevant to everyday persons as well as superheroes working within a fictionalized neighborhood.

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Peppard, Anna F. "“I just want to feel something different”." Feminist Media Histories 4, no. 3 (2018): 157–78. http://dx.doi.org/10.1525/fmh.2018.4.3.157.

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The last several decades have witnessed the publication of many revisionist and self-critical superhero comics, yet the most critically discussed of these focus on the straight white male characters who have always dominated the genre. In contrast, the ongoing series Alias (2001–4) stars Jessica Jones, a superhero turned private investigator who is empowered by a radioactive accident yet disempowered by her gender within a male-dominated superhero community that both excludes women and actively abuses them. This article argues that Alias redresses the superhero genre's marginalization and victimization of female characters by emphasizing Jessica's complex subjectivity and implicating male superheroes in her multifaceted abuse. It also considers Jessica's translation into more traditional comics series, wherein she becomes sidelined as a wife and stay-at-home mother; these series prove the difficulty of maintaining progressive politics within genres where the visual and narrative conventions are so steeped in gender stereotypes.

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Fitzgerald, Barry W. "Using Hawkeye from the Avengers to communicate on the eye." Advances in Physiology Education 42, no. 1 (March 1, 2018): 90–98. http://dx.doi.org/10.1152/advan.00161.2017.

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Superheroes, such as Iron Man, Captain America, Wonder Woman, Batman, and Hawkeye, have appeared in numerous films, displaying their range of incredible superpowers and abilities. Therefore, it is unsurprising that many people would not only wish to attain these powers, but also to learn about scientific accessibility to these powers. Popular culture characters such as superheroes can provide a unique platform for the communication of difficult scientific concepts. In the classroom, these characters can be used to communicate learning objectives to students in an interesting, fun, and accessible manner by taking advantage of student familiarity with the characters. Hawkeye, a member of the Avengers, is one such superhero who can be utilized by educators. His powers can be attributed in part to his advanced eyesight, which has physiological aspects in common with many birds of prey. Hence, Hawkeye can instigate discussion on the physiology of the human eye, while also allowing for comparison with other species, such as birds of prey, and reflection on advancements related to genetic engineering and wearable technologies. In addition, in my experience, Hawkeye has proven to be a highly suitable popular culture character for use in scientific communication and outreach.

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Yang, Yaozu. "The Influence of the Style of Superhero Film Series on Its Development --- Taking the Batman Series as an Example." Communications in Humanities Research 5, no. 1 (September 14, 2023): 90–94. http://dx.doi.org/10.54254/2753-7064/5/20230084.

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Superhero-themed films have exploded in popularity in the film business in the year 2023. Superheroes are the primary subject of American comic books and the protagonists of fantasy works. Many comic book heroes have been adapted for the big screen, and different characters require varying degrees of adaptation of their source material in order to be presented to the public on the big screen. In the process of adaptation, the decision to adapt their style impacts the tone and direction of the film, as well as the plot. This research will examine the relationship between the style of each film in the Batman series, box office performance, and word-of-mouth to determine the effect of the style of different superhero films on their own evolution.

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Currans, Elizabeth. "New Record Store Superheroes." American Book Review 42, no. 2 (2021): 14–15. http://dx.doi.org/10.1353/abr.2021.0008.

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Journal articles on the topic 'Superheroes'

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