Representation of defense organizations in the Marvel Cinematic Universe (2008-2019)

  1. Juan Medina-Contreras
  2. Pedro Sangro-Colón 1
  1. 1 Universidad Pontificia de Salamanca
    info

    Universidad Pontificia de Salamanca

    Salamanca, España

    ROR https://ror.org/02jj93564

Zeitschrift:
Comunicación y sociedad = Communication & Society

ISSN: 2386-7876

Datum der Publikation: 2020

Ausgabe: 33

Nummer: 4

Seiten: 19-32

Art: Artikel

DOI: 10.15581/003.33.4.19-32 DIALNET GOOGLE SCHOLAR lock_openOpen Access editor

Andere Publikationen in: Comunicación y sociedad = Communication & Society

Ziele für nachhaltige Entwicklung

Zusammenfassung

Homeland security and defense are common themes in superhero films. The Marvel Cinematic Universe (MCU) is formed by more than twenty films made over the course of a decade (2008-2019), during the government of three different Presidents of the United States. In this paper we analyze the diminishing representation of real defense forces in the MCU films. How the interference of the superhero is used as a narrative excuse to suggest a lack of or deficiencies in the law concerning freedom and defense is also studied, as well as how the films make a metaphorical discourse about the historical reality after September 11th.

Bibliographische Referenzen

  • Acu, A. (2016). Time to Work for a Living: The Marvel Cinematic Universe and the Organized Superhero. Journal of Popular Film and Television, 44(4), 195-205. https://www.doi.org/10.1080/01956051.2016.1174666
  • Akerman, S. (2012, May). Pentagon Quit The Avengers Because of Its “Unreality”. Wired.
  • Arad, A. & Feige, K. (Producers) Favreau, J. (Director) (2008). Iron Man (FILM). USA: Marvel Studios.
  • Arad, A., Eichinger, B. & Winter, R. (Producers) Story, T. (Director) (2005). Fantastic Four (FILM). USA: Twentieth Century Fox.
  • Arad, A., Feige, K. & Hurd, G. A. (Producers) Leterrier, L. (Director) (2008). The Incredible Hulk (FILM). USA: Marvel Studios.
  • Arad, A., Foster G. & Milchan, A. (Producers) Bowman, R. (Director) (2005). Elektra (FILM). USA: Twentieth Century Fox.
  • Arad, A., Grant, C. & Ziskin, L. (Producers) Raimi, S. (Director) (2007). Spider-Man 3 (FILM). USA: Marvel Studios.
  • Arad, A., Hurd, G. A. & Schamus, J. (Producers) Lee, A. (Director) (2003). Hulk (FILM). USA: Universal Pictures.
  • Arnaudo, M. (2013). The Myth of the Superhero (E.o. 2010). Baltimore: The Johns Hopkins University Press.
  • Bainbridge, J. (2007). “This is the Authority. This Planet is Under Our Protection” – An Exegesis of Superheroes’ Interrogations of Law. Law, Culture and the Humanities, 3(3), 455-476. https://www.doi.org/10.1177/1743872107081431
  • Baker, M. (2011). Toxic Genre: the Iraq war films (Kindle Ed.). London: PlutoPress.
  • Blackmore, T. (2012). Eyeless in America: Hollywood and Indiewood’s Iraq War on Film. Bulletin of Science, Technology & Society, 32(4), 294-316. https://www.doi.org/10.1177/0270467612459928
  • Boggs, C. & Pollard, T. (2016). The Hollywood War Machine. U.S. Militarism and Popular Culture. (2nd Ed. (e-b). New York: Routledge.
  • Branagh, K. & Feige, K. (Producers) Taylor, A. (Director) (2013). Thor The Dark World (FILM). USA: Marvel Studios.
  • Calbreath-Frasieur, A. (2014). Iron Man: Building the Marvel Cinematic Universe. Scope: An Online Journal of Film and Television Studies, 26, 25-31.
  • Carter, S. & Dodds, K. (2011). Hollywood and the war on terror: Genre-geopolitics and Jacksonianism in the kingdom. Environment and Planning D: Society and Space, 29(1), 98-113. https://www.doi.org/10.1068/d7609
  • Carter, S. & Dodds, K. (2014). International Politics and Film: Space, Vision and Power. London: Wallflower Press.
  • Coogan, P. (2006). Superhero: The Secret Origin of a Genre (e. o. 2003). Austin, TX: Monkeybrain Books.
  • Dittmer, J. (2005). Captain America’s Empire: Reflections on Identity, Popular Culture, and Post-9/11 Geopolitics. Annals of the Association of American Geographers, 95(3), 626-643.
  • Encinas Cantalapiedra, A. (2013). La ciudad en el cine de superhéroes. Ángulo Recto. Revista de estudios sobre la ciudad como espacio plural, 5(2), 53-66. https://www.doi.org/10.5209/rev_ANRE.2013.v5.n2.43330
  • Feige, K. (Producer) Favreau, J. (Director) (2010). Iron Man 2 (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Branagh, K. (Director) (2011). Thor (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Johnston, J. (Director) (2011). Captain America (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Whedon, J. (Director) (2012). The Avengers (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Black, S. (Director) (2013). Iron Man 3 (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Russo, A. & Russo, J. (Directors) (2014). Captain America Winter Soldier (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Gunn, J. (Director) (2014). Guardians of Galaxy (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Whedon, J. (Director) (2015). Avengers Age of Ultron (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Reed, P. (Director) (2015). Ant-Man (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Russo, A. & Russo, J. (Directors) (2016). Captain America Civil War (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Derrickson, S. (Director) (2016). Doctor Strange (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Gunn, J. (Director) (2017). Guardians of Galaxy Vol 2 (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Waititi, T. (Director) (2017). Thor Ragnarok (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Coogler, R. (Director) (2018). Black Panther (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Russo, A. & Russo, J. (Directors) (2018). Avengers Infinity War (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Reed, P. (Director) (2018). Ant-Man And The Wasp (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Boden, A. & Fleck, R. (Directors) (2019). Captain Marvel (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Russo, A. & Russo, J. (Directors) (2019). Avengers Endgame (FILM). USA: Marvel Studios.
  • Feige, K. (Producer) Watts, J. (Director) (2019). Spider-Man Far from home (FILM). USA: Marvel Studios.
  • Feige, K. & Pascal, A. (Producers) Watts, J. (Director) (2017). Spider-Man Homecoming (FILM). USA: Marvel Studios.
  • Flanagan, M., McKenny, M. & Livingstone, A. (2016). The Marvel Studios Phenomenon. Inside a transmedia universe (e-book). New York: Bloomsbury Academic.
  • Gelado Marcos, R. & Sangro Colón, P. (2016). Hollywood and the representation of the otherness. A historical analysis of the role played by the American cinema in spotting enemies to vilify. Index, 6(1), 11-25.
  • Goodman, G., Kinberg, S., Kulzer, R., Parker, H. & Vaughn, M. (Producers) Trank, J. (Director) (2015). Fantastic Four (FILM). USA: Twentieth Century Fox.
  • González del Pozo, J. (2014). “Ibéroes”: Racismo y crítica social en la apropiación españolizada de la estética del superhéroe estadounidense. Romance Studies, 32(1), 40-56. https://www.doi.org/10.1179/0263990413Z.00000000057
  • Ghumkhor, S. (2019). “To Veil the Threat of Terror”: Law and the Other’s Question in The Dark Knight Rises. Law, Culture and the Humanities, 15(3), 862-878. https://www.doi.org/10.1177/1743872116681262
  • Holdier, A. G. (2018). In superhero stories: the Marvel Cinematic Universe as Tolkeinesque Fantasy. Mythlore, 36(2), 73-88.
  • Johnson, D. (2012). Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence. Cinema Journal, 52(1), 1-24. https://www.doi.org/10.1353/cj.2012.0108
  • McCausland, E. (2017). Wonder Woman: el feminismo como superpoder. Madrid: Errata Naturae.
  • McSweeney, T. (2018). Avengers assemble! Critical perspectives on the Marvel Cinematic universe (e-book). New York: Columbia University Press.
  • Noon, D. H. (2004). Operation Enduring Analogy: World War II, the War on Terror, and the Uses of Historical Memory. Rhetoric & Public Affairs, 7(3), 339-364. https://www.doi.org/10.1353/rap.2005.0015
  • Phillips, N. D. & Strobl, S. (2006). Cultural criminology and kryptonite: Apocalyptic and retributive constructions of crime and justice in comic books. Crime, Media, Culture, 2(3), 304-331. https://www.doi.org/10.1177/1741659006069573
  • Rommel Ruiz, W. B. (2011). American History Goes to the Movies. Hollywood and the American Experience. https://www.doi.org/10.4324/9780203833735
  • Safran, P. (Producer) Wan, J. (Director) (2018). Aquaman (FILM). USA: DC Entertainment.
  • Scott, S. (2017). Modelando el everyfan de Marvel: Agente Coulson como cultura de los fans transmedia. Palabra Clave, 20(4), 1042-1072. https://www.doi.org/10.5294/pacla.2017.20.4.8
  • Secker, T. & Alford, M. (2019). New Evidence for the Surprisingly Significant Propaganda Role of the Central Intelligence Agency and Department of Defense in the Screen Entertainment Industry. Critical Sociology, 45(3), 347-359. https://www.doi.org/10.1177/0896920517739093
  • Wright, B. W. (2003). Comic Book Nation: The transformation of Youth Culture in America (e.o. 2001). Baltimore & London: The Johns Hopkins University Press.