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- W3206569540 abstract "This PhD thesis demonstrates how post-‘9/11’ US security discourses are co-constituted through Hollywood’s superhero genre, specifically the productions of Marvel and DC. In doing so it contributes to important debates within International Relations and Critical Security Studies that address the connections between popular culture and world politics. My interdisciplinary and inter-textual film analysis reveals that artefacts of popular culture have to be seen beyond their merely representational potential; on the contrary, popular culture becomes an important site to make sense of political issues as part of the mundane and the everyday, increasingly blurring the line between reality and fiction. Looking at American history and the development of the American Monomyth shows how superheroes were not created on a blank slate but were already born out of a specific narrative of the American nation in the 1930s. For those past 90 years, superheroes have been constant co-producers of crisis and conflict, making sense of foreign policy to domestic and global audiences. Their reinvigoration since 2001, leading into large-scale productions of the Marvel Cinematic Universe and the DC Extended Universe, corresponds with the crisis of ‘9/11’ and the ‘War on Terror’. Throughout the presidencies of Bush, Obama, and Trump they have been shaping the discursive elements of US security and foreign policy. The thesis argues that by engaging with superhero films, not as trivial pieces of entertainment but as important cultural artefacts that co-constitute political reality, scholars might find new ways to make sense of violence and conflict and seek new paths to a more peaceful world." @default.
- W3206569540 created "2021-10-25" @default.
- W3206569540 creator A5016719248 @default.
- W3206569540 date "2020-09-01" @default.
- W3206569540 modified "2023-09-23" @default.
- W3206569540 title "Warning! Contains spoilers: reading post-‘9/11’ US security discourses through superhero films" @default.
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