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Kutztown University Masters Theses

Spring 5-10-2020

SUPER HEROES V SCORSESE: A MARXIST READING OF SUPER HEROES V SCORSESE: A MARXIST READING OF

ALIENATION AND THE POLITICAL UNCONSCIOUS IN ALIENATION AND THE POLITICAL UNCONSCIOUS IN

BLOCKBUSTER SUPERHERO FILM BLOCKBUSTER SUPERHERO FILM

David Eltz

[email protected]

https://research.library.kutztown.edu/masterstheses/1

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SUPER HEROES V SCORSESE:

A MARXIST READING OF ALIENATION AND THE POLITICAL UNCONSCIOUS

IN BLOCKBUSTER SUPERHERO FILM

A Thesis

Presented to the Faculty of

David J. Eltz

October, 2020

Approval Page

Approved:

Abstract

As superhero blockbusters continue to dominate the theatrical landscape, critical

them, Martin Scorsese, has been quoted as referring to Marvel films as “theme parks”

rather than “cinema” (his own term for auteur film). Despite this, these films often

and the ways in which the genre interfaces with alienation. This analysis is further

alienation, and challenge to established filmmaking methodologies.

Finally, this thesis argues that, though these films are far flung from traditional

definitions of auteur cinema, they are not devoid of its central facet of risk—if not in

terms of finance, then the risk of being misinterpreted and written off as juvenile media.

blatantly challenge real social problems with abstract solutions, and possesses the

potential for considerable social change.

This thesis, written in bursts that can only adequately be described as manic fits of

comments on each chapter have been invaluable, and their frequent words of

encouragement—and, on the none-too-rare occasions of my own procrastination, of

Finally, the viability of this thesis must be attributed to the brilliant and disruptive

artists, writers, and directors that have challenged the status quo in order to make cinema

out of theme parks and provide the grounds for my analysis.

Though comics studies has long ago found its academic niche and currently

of this thesis, including its subject matter and potentially conversational tone, does not

immediately come off as staunchly academic. In lieu of tightly-integrated critical theory

like it, will cast further light on cultural artifacts’ potential for social change, and

enlighten future directors to additional tools at their disposal. The entirety of this thesis

was drafted between Fall 2019 and Spring 2020, prior to the Coronavirus pandemic,

nationwide lockdown (resulting in much of the film industry’s grinding to a halt), Black

necessary. Despite this, as events continue to change, it is entirely possible that some

Despite various delays resulting from the Coronavirus pandemic, eight films have

of “Blockbuster Superhero Movie.” They are being offered by three different massive

production houses—namely Walt Disney Studios , Warner Brothers, and Sony

to join an ongoing franchise and secure some degree of financial and critical promise.

In spite of its variety of directorial voices, Marvel Studios’ offerings in particular

have served as a model for the “universe” approach to franchise content, in which a

successful entry often leads not only to direct sequels, but to further stories told within

are in no way the first to envision a shared universe (the oldest film franchise to use this

entire X-Men film franchise.

framework will be elucidated through the notion of a genre-specific blockbuster dialectic

in the style of Hegel. This new third framework will examine each film’s influence on the

medium itself, taking into consideration the disruptive moves it makes in narrative or

within its particular political moment, followed by its social moment, and finally its effect

on the superhero blockbuster production process.

especially pliable, with its entries being highly contemporary and, by nature of focusing

on godlike figures with the power to enact real change, quite literally providing an

imaginary conclusion to real problems.

Finally, this reliance on Levi-Strauss’ writing necessitates a lens through which to

of forced connections with viewers. As viewers are effectively captive, held in a dark

spectator’s field of vision, he or she is forced to relate to the characters on screen. Baudry

does not go deeply into the implications of these forced connections, but “The Mirror

Stage” may provide more insight. As Lacan illustrates, the mirror stage is the point at

recognizes his reflection as his own physical form, challenging and replacing his

worldview of being a sentient force around which objects exist and interact), as well as

to real problems) by imbuing individual figures with powers and capacities for mass

change that are impossible for real individuals.

Bearing this in mind, the thesis’ methodology is composed as such: each of four

chapters will investigate one piece of blockbuster superhero film, covering multiple

depiction of superhero media’s pervading theme of alienation. Each film, as it embodies a

and can therefore be inspected via a political history, and read as a symbolic act in

response to some historic (and political) stimuli. Accordingly, each film must be viewed

as a response to particular political pressures of its time, and its messages must be

pressures. This thesis further aims to examine not only the ways in which superhero

blockbusters adhere to the franchise process, but also how they have reformed and

refining the fledgling blockbuster formula. Its universal approach to “truth, justice, and

the American Way” provides ample grounds for both historical and social analysis.

Coming after the fall of the American myth of superiority, it interfaces amply with the

theme of alienation, addressing both its literal alien protagonist, and the alienation felt by

alienation in the form of xenophobia, and as such offers a prime example of the

movements and their leaders, the film draws much of its currents from growing tensions

between the driving forces of American politics and the shifting identity of American

people. .

released in 2014, represents the beginning of a radical expansion within the genre. As

both a superhero film and a political thriller, it can be read the most directly, and

social justice moves behind the camera as much as in front of it. Being helmed by and

starring a predominantly black cast is an undeniable move towards authentic

representation in franchise media, but begs for further analysis and contextualization as a

product of the occasionally unethical and morally dubious Walt Disney Corporation. As

promote positive representation, however, cannot be ignored.

Each film has been selected on account of its thematic application of alienation

and social change, as well as its tangible effect on the process of blockbuster filmmaking.

Viewing the evolution of superhero franchise filmmaking as a Hegelian dialectic,

formula. It is the intention of this thesis to investigate these four disruptive films,

examine the relationship between their political unconscious and effect on the franchise

Superman may well be the most iconic comic book character to have ever graced

be the character to introduce comic book heroes to their new (and now dominant)

medium of film. Formulated over the course of several years and finally brought to the

Kansas, Kal-El became Clark Kent and lived much of his life normally in rural

Smallville, before discovering his heritage and the history of his home planet, Krypton.

After years of Kryptonian education (courtesy of a holographic version of his father),

Kal-El moves to Metropolis, becoming a journalist, meeting love interest Lois Lane, and

inspection, impressive influence from the upheavals of the 1970s drive the film to

become one of the first entries into an emerging new American mythology.

argument of this thesis necessitates the positioning of it (and even more essentially, its

process of production) as a blockbuster film. More specifically, it demands that a

office, the biggest names in cinema were hardly attached to anything as sensational or

juvenile as a superhero film, and thrillers, musicals, and dramas still dominated the box

the 1970s seems a far cry from the uniformly franchise-driven, studio-monopolized

cinema of the twenty-first century, a quality that may largely be attributed to the recency

of the franchise filmmaking model. As a matter of fact, the blockbuster concept itself was

worth as a producer, after a mixed early career, he yearned for a culturally impactful,

“hefty” film. Winning over his father on the idea of a flying savior, then investors, and

Salkind’s father went over the heads of DC executives and straight to Warner Publishing

to strike the final deal, a move that, in a matter of minutes, produced more results than

weeks of negotiations with the publishing house.

It is clear that Salkind had franchise filmmaking in mind, even before the

Salkind had access to Superman's supporting cast.... Beyond the characters

typically associated with Superman, however, the contract was so

Wonder Woman, or the Flash, so long as they shared a handful of comic frames with the

Man of Steel.

DC, anxious about a large-scale production of one of its core characters,

demanded a list of potential stars and directors before allowing the adaptation to proceed.

Scriptwriting duties were handed from Alfred Bester to Mario Puzo, on account of Puzo’s

sequels—another move that would become commonplace in franchise filmmaking—by

providing Salkind and company with a 500-page monolith of a treatment, ultimately

intended for multiple films. But most importantly, the director’s chair remained empty.

William Friedkin, none were favored as highly as Steven Spielburg. Naturally, Spielburg

of Marlon Brando and Gene Hackman might well have been an attempt to “class up” the

film in an attempt to make it more accessible to adult audiences (The A.V. Club).

Undeniably, however, the film contains copious instances of camp , and despite Salkind’s

insistence to the contrary, these instances are likely vestiges of the titular character’s

land, remarks, “...no oil, no uranium, no coal, no precious minerals, hell, no water

anymore. Not since the government dammed it all up...” and upon Lois’ inquiry of “But

why sell out to some faceless person you've never met?,” the unnamed chief responds “At

creative writing from Puzo, it stands to reason that the American Indian Movement,

context. It is established in the film’s opening sequence that Jor-El, patriarch of Kal’s

family, sits in a privileged position among the Kryptonian society and government. He

sits on, and possesses a power such that he feels comfortably disagreeing with, the

governing council. From this, it may be understood that the El family are part of the

that Krypton would be destroyed within thirty days, and the film’s loose flow of time

planet’s destruction), and of collecting and storing vast amounts of knowledge for later

instruction of his son.

Accordingly, there is immense importance placed on heritage and history within

send his son—soon the be the “only survivor of the planet Krypton” in his own grandiose

words—he spends considerably more time tending to the curation of the planet’s history

allowed for his escape from the doomed Krypton, he finds himself in the rural town of

Smallville, Kansas, adoptee of a middle-aged farming couple, and much of his life plays

out as scenes of pure Americana. He works on Kent Farm, attends school while playing

the role of a shy nobody, and appears content to remain unpopular but well-liked. Not

Clark Kent, he is an even further exaggerated form of the klutzy character, only made

fast-paced metropolitan area. It may be Lois Lane that best summarizes the difference

between the wealthier city life and Clark’s rural upbringing. When Clark requests that

half of his salary be sent to a specific address, Lane assumes that he is sending his money

“grey-haired old mother.” Clark’s response, accompanied with the stage direction of

“total sincerity,” is to correct her in that she is silver-haired, to Lois’ astonishment.

Truth, Justice, and the American Way, has but a simple message to put forth and it is to

be one’s best. Just as Superman himself is human in appearance and godlike in nature, the

film emboldens its audience to act the same, behaving as the American-but-better. This,

in effect, is the film’s attempt at creating a new mythology for the American people, after

Superman, a character positively lacking in personality. As Roger Ebert points out in his

personality at all. It would be fatal to play Superman as a hero, and Reeve and Donner

understand that. He had no personality in the comic books and has none here. He exists as

a fact” (Ebert 1).

but that last element is unclear, and wanting definition. Through closer inspection of

Clark Kent, that might just reveal itself. Kent is described, time and time again, as

of heteronormative, white, upper-middle class men (assumed to be the de facto American

ideology) was the beginning of America’s crusade for freedom, painting the nation not as

morally and ethically superior, but as a necessary force of enlightenment for other

nations.

product of Kryptonian education, in sharp contrast to Kal-El’s American upbringing. The

reinforced in the interview scene with Lois Lane. Despite scheduling the meeting himself,

Superman does not respond to her interrogations coyly or creatively, just with

straightforward, wholesome responses. The closest he comes in this scene to a personality

Superman if he can tell what color undergarments she’s wearing, and the Man of Steel

obliges with a slight grin. He is still obedient, and all-powerful, but modest.

the conscious self termed by Freud as the Ego), and is then split between their actual self

and the identity they present to others. Jameson and Althusser both subscribe to Lacan’s

theory, and use it to further examine the creation of one’s own ideology. In the case of

ones. In this instance, Superman is transitioned from a “small other,” an individual (and

obtainable, becomes a force acting upon individuals. Like a funhouse mirror too tall for

the child looking to see himself in the shoes of a superhero or soldier, and catching only

the top of his head in the process, Superman is above any human potential. It may be

monolithic hero, but it would be wholly impossible for them to fully mimic Superman.

Much of the beauty of the Superman character, as alleged by Tom De Haven, is

far beyond its budget and expenditures, and became the third highest-grossing film of its

franchise of three sequels (prior to multiple reboots), and primed viewers for further

mythos, ostensibly a myth of external superiority, no longer demanded that every man,

Superman as a template of perfection from which viewers could pick and choose their

own heroism, while simultaneously offering him as a scapegoat for the harder-achieved

facets of that ideal. Naturally, this new mythos would evolve (and, come the era of the

Within the more abstract sequence of superhero blockbuster production, the film begins

Chapter 2: X-Men and Evolution through Allegory

Searchlight’s impressive catalog of independent films. Comic book fans, as has come to

franchise.

considerable loss, and fans largely supported the transition to a company with proven

that 20th Century Fox had purchased the film rights to Marvel’s comic series for a paltry

into a respectable money-making machine of a franchise with its thirteenth entry then on

would quash more mature offerings. Generally, however, the merger provided fans the

the new evolution of comic book adaptations.

declaration of war. Even from Xavier’s optimistic, integrationist perspective, the act

threatens to oust and make vulnerable all of the volatile young mutant men and women,

many of whom are under his care and tutelage. In a scene that echoes the famous

photograph of Martin Luther King, Jr. and Malcolm X at a Senate hearing on the Civil

Rogue), a mutant girl with the power to absorb another’s life essence (and, in the case of

fellow mutants, their powers) through physical contact. When her first kiss goes horribly

awry, she flees, eventually crossing paths with Logan (Wolverine) and coming to an

uneasy pact shortly before being ambushed by agents of Magneto. The pair is rescued by

adapts aptly to her new environment, quickly developing a fledgling relationship with

fellow student Bobby Drake (Iceman), and embracing the culture of acceptance fostered

eventually dissolves away (a result of his body rejecting the gelatinous mutation), the

X-Men realize that it is Magneto’s plan to unleash his unknowingly fatal

mutation-inducing machine on the United Nations leaders discussing the Mutant

Registration Act on Ellis Island. A climactic battle ensues, resulting in the thwarting of

considered the first contemporary superhero film, both in regards to its individual critical

potentially-allegorical figure. The comparison between the mutant faction leaders and the

speakers of the civil rights movement is further problematized when the militancy and

antagonistic behavior of The Brotherhood of Mutants is taken into account. If Charles

caricature of Malcolm X. Ultimately, the leaders of the civil rights movement sought the

same thing: an end to segregation. Though Malcolm X preached the superiority of black

elements from the civil rights movement. By its nature as superhero media, the notion of

superiority encroaches disquietingly upon the political argument of the narrative. Much

women.

Per “Making Gay Sense of the X-Men” by William Earnest, “the premise of

unlocks a wide variety of critical (and, one hopes, meaningful) observations” (217).

concerned, the othering factor must be visibly apparent to the oppressor. Such is the case

mutants like Beast (a werewolf-esque, blue-furred scientist) and Angel (self-explanatory)

have clear visual distinctions from the expected humanoid norm, these characters are

choice of costume.

parallels. First, as previously mentioned, it appears that mutant genes, much like the

mutants must likewise be “outed,” revealing their nature either through their actions (as

with Marie kissing her ill-fated boyfriend or Wolverine unsheathing his claws), or

through declaration by someone aware of their abilities. Magneto, after transforming

accept his fate as a mutant and oppose the registration bill. This would, in turn, sow

greater dissent among humans and mutants, and allow the Brotherhood of Mutants to rise

with another being, as his red lenses are the only shield preventing deadly lasers from

emanating from his gaze. Wolverine, on account of his amnesia-riddled agelessness,

apparent post-traumatic stress disorder, and other factors, remains closed-off from any

sort of connection, though this is more psychological than physical. Even mutants like

physical or psychological means are halted by society, as outwardly-different mutants are

shunned by the human world.

feature fiery words from Senator Kelly, who speaks as though preaching to a Baptist

congregation. Kelly’s various attacks on mutant-kind include baseless assumptions as to

These historical allusions, coupled with the potential for a queer reading of the film in

various other scenes (including Magneto’s orgasmic conversion of Kelly to the “other” he

most deeply fears, the hypersexualized portrayal of Mystique, or the parallels between

HIV/AIDS and mutancy), offer considerable credence to the queer allegory.

mutant. This leaves no room for an allegory for bisexuality - even the potentially

human being is undermined by her default state as a blue-skinned humanoid. Asexuality

and pansexuality are similalry disregarded in such a reading, and the notion of gender

dysphoria or fluidity have no footholds, either. Ultimately, there is no single allegorical

revolves around the concept of otherness, down to the core statement of the heroes

themselves: Protecting a world that hates and fears them. Cycles of fear, hatred, and

with a number of missteps along the way ), none had the degree of success necessary to

product of innovation on contemporary filmmaking styles, and likely informed that of the

questionably lineup of films was 1986’s Howard the Duck, followed by a marginally-more successful The

Punisher and the disastrous 1990 Captain America, which garnered an impressively-low 3.2/10, a

brand-low challenged only by 1994’s unreleased Fantastic Four (at 3.8/10 for its only known showing).

is likely its use of multiple superpowered heroes. Previously, the only super team-up of

theatrical adaptation of a story with multiple super powered individuals with vastly

split by differing ideologies. Even more fascinating, however, were McKellen’s remarks

on taking on the role in the first place. Per McKellen,

"I was sold it by Bryan who said, 'Mutants are like gays. They're cast out by

society for no good reason,'" he recalled. "And, as in all civil rights movements,

view — which is, if necessary, use violence to stand up for your own rights. And

that's true. I've come across that division within the gay rights movement."

(McKellen, “Buzzfeed Interview”)

In his summary of events, McKellen additionally remarks upon the racial and religious

deciding to come out. Though not evidence of film methodology at work, McKellen’s

continue a trend in sinking critical and box office returns, and the increasingly

low-budget, campy, or otherwise ill-advised productions would ultimately kill off their

commercial failure, has proven to possess the longevity necessary for franchise success,

formula, shifting - for the first time in the genre - from solo-driven films and franchises to

saga was making a name for itself among multi sequeled blockbuster epics. Though

frequently mired with less critical success and smaller budgets, Fox’s take on the

Upon closer inspection, Hugh Jackman’s Wolverine and Robert Downey Jr.’s Iron

Man bear some striking similarities, both in terms of characterization and role within the

lasting ramifications on their universe.

different means, and in both cases, it is explicit sacrifices by these franchise leaders that

X-23, one of a small group of new mutant children, to the Mexican border in order to

Logan and Xavier face insurmountable odds in transporting the young girl, and Logan

(finally losing the battle of age, and losing his healing factor in the process) pays the

which the Mad Titan Thanos collected the Infinity Stones and snapped his fingers,

Thanos, Stark finds himself with the infinity stones, and makes a snap of his own,

sacrificing himself to execute Thanos and his forces.

Given the dialectical evolution of the superhero blockbuster genre, it seems likely

allowed audiences to latch on to the “universe” style of storytelling for the first time,

inclusion of a broader collection of characters and a wider array of source material to

draw upon, would appear to have primed the superhero blockbuster formula for the entry

of the Marvel Cinematic Universe several years later.

monologues: “Mutation: It is the key to our evolution. It has enabled us to evolve into the

dominant species on the planet. This process normally takes thousands and thousands of

to highlight flaws in human nature, and attempts to come to terms with those flaws

through the eyes of Charles Xavier and Erik Lehnsherr.

cognitive dissonance is lessened, allowing for essentially anyone who has experienced

1950s science fiction novel (in this case, one very specific science fiction novel, Richard

modification, and a dangerous political agenda). MKULTRA, and its associated

prisoners to psychedelic drugs and other hallucinatory procedures over a period of

decades (United States Senate, Appendix C). Despite the inconclusive results of the

persona is the literal embodiment of these fears, as the highly-trained assassin is not only

brainwashed, but additionally rendered unconscious between covert missions (and, as

such, not appearing significantly older in 2014 than he had been in 1945). A far cry from

II man transplanted into a post-9/11 world. Despite the fact that the film’s (sub)titular

anywhere other than in a post-9/11 world. The terror attacks of September 11, 2001,

which claimed the lives of nearly three thousand citizens and injured another six

thousand, changed everything from airport security to social affairs to media, and their

Rogers (along with the rest of America) is forced to make to participate in such a world

are heightened security, political paranoia, and a shift in warfare that granted success not

Pollard’s reading of various “Demonized Politicians” in post-9/11 cinema, explicitly

features a government seeking to retain power rather than protect citizens (163), even if

that power is disguised as public safety.

Snowden began leaking records of global surveillance programs, including numerous

instances of the United States government spying on its own citizens (4). Initially hired

by the CIA and later transferred to the NSA, his work had always been somewhere within

government's own security and the rights of its citizens, to his superiors, Snowden saw

his only course of action to bring real change: leaking information. He leaked countless

whistleblower for the rest of her tenure in the Marvel Cinematic Universe, being

lambasted by the United Nations and giving up her various secret identities, in much the

same way Snowden gave up his liberties to reveal the truth.

The film even manages to inject a bit of the mid-2010s obsession with media

of Captain America), he orders his men to lower their guns as he makes the arrest. This

military drones in the late 2000s. There were numerous concerns expressed in the media

regarding drones, and at the forefront was the ethical dilemma brought up by the potential

for (and reality of) civilian casualties in drone attacks. As drones became more and more

strikes, and a level of state fear that reads like a piece of dystopian fiction. Project

Insight, then, directly stems from this fear.

espionage stems from the “Uniting and Strengthening America by Providing Appropriate

Tools Required to Intercept and Obstruct Terrorism (USA PATRIOT ACT) Act of 2001,”

which, despite possessing a backronym less believable than that of Marvel’s

S.H.I.E.L.D., fired numerous political debates in the two decades since its enactment.

pertaining to the privacy of American citizens. The Patriot Act allowed for the “Authority

surveillance authority,” delayed notice of warrants, and the seizure of personal documents

ranging from voicemails and electronic communications to physical records (USA

PATRIOT ACT). The Patriot Act was not revised to protect Americans’ constitutional

their reasons for specific surveillance, among other modifications.

its lack of traditional action directors. Anthony and Joe Russo, initially reported as part of

Sandy Schaeffer), were unlike any of the showrunners previously hired by Marvel.

were broached early on, during an interview between Anthony Russo and NBC New

York’s Scott Huver. Responding to the remark that an action-packed, effects extravaganza

[W]e've spent a lot of years now researching that craft, and the other side

of that equation is that Marvel is just this incredible machine that has all

out of time in a contemporary political environment. The writers stressed that, rather than

focus on the character’s displacement from a humorous standpoint, his confusion was a

dramatizing factor.

In addition to their purported preparation, the Russos benefit from the fact that

Marvel Studios chose to bring its biggest characters from across the franchise together for

though not the first film to follow the massive teamup, is perhaps the first film bold

film, SHIELD, the group responsible for gathering the Avengers in the first place, is

Fury, is presumed dead in the chaos. Captain America himself, though pardoned in

having executed the espionage mission, has begun a path that might turn him away from

whole, Marvel’s “Phase Two” battled seemingly- imminent superhero fatigue (in which

the saturation of theaters with the genre would drive viewers away from it) with more

It would undoubtedly be worthwhile to consider Christopher Nolan’s wildly successful Dark Knight

trilogy of films; however, they seem beyond the scope of this thesis. Much like Winter Soldier, Nolan’s

imperfect hero (thereby allowing a straightforward continuation of Tony Stark’s arc from

complete, and there was no reasonable way for the writers to revert him back. After all,

Captain America and promptly turned into a propaganda icon, eventually abandoning his

poster boy position in order to lead a team of commandos behind enemy lines. This

culminates in a climactic battle in which Captain America must sacrifice himself (and, as

the audience is very heavily reminded) his future by dropping atomic bombs targeted for

While the Russos may be slightly precluded from the title of “auteur” for their

consistency and quality of action set them apart. Consistently, their heroes are put in a

situation of tension, handicap, and escape. In Fury’s case, making eye contact with the

cop, followed by being surrounded by cops with machine guns and immobilized,

the dramatic tension in time for the arrival of the entire saga’s main villain, Thanos. At

Army recruiting ads in 2008).

A return to Lacan’s “Mirror Stage” might be beneficial, in order to investigate the

unable to see more than the top of his forehead in the mirror. This, like the original mirror

subconscious and conscious selves, but between the conscious self and the idealized

image of the American soldier. The soldier, as Lacan would put it, is situated as a “big

other,” part of the forces of culture, media, and society acting upon “small others,” or

stage by presenting viewers with ideological totalities, utterly unattainable for the

Marvel Cinematic Universe’s Tony Stark represents the country’s greedy, narcissistic

capitalism, Captain America is an ideal to strive towards. Captain America’s title as “a

stage). Throughout the film, it becomes critical that he divorce himself from the “big

and Pan-African diversity, it is all the more effective for its authenticity. Written, directed,

media buzz by making every effort to portray an authentic Pan-African narrative. As will

leaves itself dangerously open to harsh readings. Ultimately, however, the film portrays

complex characters and equally nuanced perspectives on American and African

Fanon’s initial definition of Decolonization:

Decolonization, which sets out to change the order of the world, is clearly

an agenda for total disorder. But it cannot be accomplished by the wave of

a magic wand, a natural cataclysm, or a gentleman’s agreement.

gives it form and substance (Fanon 2).

Fanon’s definition additionally parallels the framing method of analysis through which

this thesis is formed, demanding an understanding of the historical forces at play (in this

case, the forces of slavery and oppression of black bodies) in addition to critical analysis.

impossibly far-reaching cultural conditions, pertaining in this case to the oppression and

no-man’s-land… Suddenly, in half a generation, the Scramble gave Europe

virtually the whole continent: including thirty new colonies and protectorates, 10

million square miles of new territory and 110 million dazed new subjects,

acquired by one method or another. Africa was sliced up like a cake” (1).

despite a growing trade market) quickly reached a fever pitch amongst slave trading (both

(231). Amidst politics on the “new” continent and in Europe, the Scramble peaked with

the Berlin Conference of 1884, which introduced regulations for the trade and

colonization of Africa for Europe.

of the—to use the terminology of the film’s prologue—chaos. Its depiction is nearly as

cursory as Fanon’s initial explanation of colonial processes, summarized to a vague but

in the heads of European explorers, considering political ramifications before personal

a fictionalized but deeply African narrative.

In terms of far more specificity than thirty-three years of imperial conquest, the

simply titled “On Violence.” He seeks the bloody emancipation of oppressed black

as a hyper-realized version of Frantz Fanon’s “On Violence,” not simply pushing for

decolonization, but aiming to subjugate white people through reversed colonialism.

encourages compromise over violence before any serious decolonizing work can be done.

Killmonger must believe that T’Challa, now attending United Nations councils and acting

as an international politician in addition to his Black Panther duties, has fallen victim to

the same ruse.

is aware of the superiority of Wakandan weaponry over anything possessed by colonial

allowed it to develop the most technologically-advanced society and weaponry, an effect

doubled by cunning minds like Shuri (the teenage response to Batman’s Lucius Fox or

James Bond’s Q). Killmonger, after Fanon, sees the proliferation of Wakandan weaponry

diaspora.

This blindly ambitious, domineering characterization of Killmonger is

troublesome. Killmonger’s motives are deligitimized by his role as the villain and

“The film succumbs to the stereotypes. Killmonger’s tragedy—his traumatic loss of his

whose reasonable and righteous anger is undermined by stereotype and heavily-ingrained

Further problematizing the depiction, Killmonger’s motivations in the museum

scene, the audience’s first exposure to the character, are devoid of reparative justice as

Jonathan Ward hints at in “Wakanda Liberation is This?” (18). Despite his reference to

presentation, Killmonger does not desire to return the Wakandan artifacts to their native

land (nor does he wish to return any of the other African weapons to their rightful owners

Killmonger’s racial politics is further undermined through his constant association with

violence, particularly when this violence is implicitly and explicitly directed towards

other people of colour,” referring to Killmonger’s role as a paramilitary agent and strike

operative and destabilizing element in the Middle East. He continues, arguing that “[t]he

Killmonger’s character, echoed in various sequences throughout the film, paint him either

cycle of oppression, forcing him into brutal behavior.

Additionally (and of dubious effect in regards to the representation of American

blackness) the film references by name the 1992 Los Angeles riots, a violent public

March of 1991, following a lengthy high-speed chase, Rodney King and his passengers

were arrested. While the two passengers were handcuffed in a squad car, and with

Bolstered by its juxtaposition with the thriving portrait of Wakanda, the film’s

first live-action sequence reveals its perspective on black urban life in America. In stark

contrast to the unpressured lifestyles of the Wakandan people, America’s black people are

themselves . This is punctuated by the report, one of the few explicit references made to

the real-world oppression of black people.

representation of American and African blackness. Naturally, the film exalts Wakandan

blackness, celebrating it as an alternate-history version of Africa that was never subject to

fulfilling the traditional role of heteronormative love interest for a male character who

has far more depth… She remains almost completely passive in the film, with no value or

name seemingly attached” (Ward 21). The end of the film show that little has changed in

that same neighborhood: the same kids are playing the same game with the same escape

comes directly through T’Challa’s first Wakandan Outreach Center. Compare this to

Wakanda, whose internal governance is progressive and pays honor to Pan-African

heritages, and the roles and authority of the women in the film—most notably the Dora

more-or-less equal stance on gender. American blackness, insofar as it is presented and

discussed in the film, is another issue altogether.

as a postmodern artifact, but through the same Marxist lens that has been applied

throughout this thesis . Per Jameson, a postmodern artifact must first reject prior schools

of thought, an attribute clearly indicated by the film’s metanarrative moves that challenge

both the presentation and production of largely white superhero media.

proving effective for contextualizing Black Panther’s cultural pastiche, financial motivation, and occasional

the Marvel Cinematic Universe and as part of Disney’s ever-growing media empire ,

aptly fills the role, conflating consumerism and artistry. Dikeledi A. Mokoena, perhaps

community will not materially benefit. On the other hand, what we cannot measure

double as shields, courtesy of the inwoven supermetal) and tending to the country’s

livestock. These tribespeople exist as metaphorical for the nation as a whole, appearing

outwardly primitive but concealing incredible technology and knowledge. As Wynter

illustrates, the Dora Milaje have an especially effective blend of positive pastiche,

a non-white, non-male, and non-colonial figure) and new non-white superhero films like

The theme of alienation pervades superhero media, from comics to screen. After

among us, more perfect than us, and more good? Blockbuster superhero media, as has

been examined in previous chapters, uses this theme to great effect, either as an

super heroes, as they have done consistently now for decades. Audiences find reflected in

the godlike beings their own ideals, perspectives, and politics, seeking all of the attributes

described by Jacques Lacan as the “big other” in the form of a “little other.” Viewing

these heroes as abstractions of our own identities effectively dismisses the feelings of

individualistic exploits are to be lauded for their risks while more popular media simply

challenges regarding the nature of superhero blockbuster media, validly pointing out its

capital-driven variant of the cinematographic apparatus, and the multitude of

non-directorial voices that contribute to a populist product. His argument, however,

all,” Scorsese illustrates the origins of his view on auteur cinema. As he elucidates, he

finds great value in the personal aura (to apply Benjamin’s terminology) that is

have easily yielded critical scorn and far more reserved behavior from Walt Disney

Studios. Instead (and much of this must be attributed to the film’s financial success), the

film blazed the trail for Marvel’s Stage Three, featuring its most adventurous films to

lost fans by failing to incorporate a proper examination of otherness.

Finally, the director wistfully explains that, when watching auteur filmmakers like

Spike Lee and Wes Anderson, he expects his “sense of what is possible in telling stories

with moving images and sounds is going to be expanded.” This is rightfully so; however,

capable of doing so. In a world that exists after the monolithic production that was the

conversation entirely). Rather, using his credible arguments as a basis for discourse, it

aims to broaden perspectives on traditionally overlooked cultural artifacts (insofar as

academic circles are concerned).

The heavy utilization of Jameson, then, stems from an acceptance of Scorsese’s

context, a detail that Jameson found so crucial, he deemed it appropriate for the first lines

of his book’s preface:

Always historicize! This slogan—the one absolute and we may even say

By accepting superhero franchise films as significant cultural artifacts relying on

bankruptcy, the reliance upon superhero blockbusters’ practically-guaranteed financial

success becomes even stronger, putting ever more focus on the genre. Despite the fact

that these films are likely to be the safe bet for the near future, politically-conscious films

meaning in populist products. While this may be viewed as a degradation of the art of

Considering these films as this thesis does, they are imbued with incredible potential for

social change while contributing to a greater overarcing discourse of social justice. As we

now stand on the cusp of the next generation of superhero blockbuster media, it remains

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1991.

February 17, 2018.

Freiman, Barry M. “One-on-One Interview with Producer Ilya Salkind.”

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Kernbach, Serge. “Unconventional Research in USSR and Russia: A Short Overview.”

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Intercept and Obstruct Terrorism (USA PATRIOT ACT) Act of 2001.”

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Ward, Thomas. “Wakanda Liberation is this? Interrogating Black Panther’s Relationship