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Genius, Billionaire, Playboy, Philanthropist Genius, billionaire, playboy, philanthropist st The 21 Century Superhero in Film as an Expression of Contemporary Utopia Name: Wim Dijksterhuis Student Number: 10650636 Address: Phone Number: Supervisor: dr. Assimakis Tseronis Second Reader: dr. Maryn Wilkinson University of Amsterdam: Media & Culture, Master Thesis Filmstudies Date of Completion: 03-02-2015 Word count: 22.897 2 Abstract The last decade is marked by unprecedented individual freedom, but also by anxiety and a feeling of insecurity. In this same period, superhero films have been met with substantial commercial success and popularity. Different from their predecessors, the superheroes in these films have become complicated characters that show anxiety, fears and doubts. This thesis is concerned with the relation between the individuality of the contemporary superhero character in film, and individuality in contemporary society. Its main research question is: How does the increased complexity of the 21st century superhero character in film reflect cultural fantasies and anxieties regarding individualism in contemporary society? It answers this question by introducing insights from sociology and philosophy: In a case study of the popular Iron Man trilogy, the concept of safety utopia is used to demonstrate how the 21st century superhero character reflects a specific contemporary utopian desire that not only overcomes the negative state of contemporary individual anxiety, but aims for the balance between maximum individual freedom and a maximum feeling of safety. Keywords: Superhero, 21st century superhero film, safety utopia, moral discontent, anxiety, individualism. 3 4 Table of Contents Introduction ...................................................................................................................................... 7 1. On genre and superheroes .................................................................................................... 12 1.1 What defines the superhero film genre? ................................................................................................... 12 1.2 Convergence and high concept Superheroes (1970’s – 2000) ......................................................... 15 1.3 The superhero film in the new millennium (2000’s – 2010’s) ........................................................ 16 2. The two-sided contemporary superhero ......................................................................... 20 2.1 Superheroes as powerful individuals ......................................................................................................... 21 2.2 The complex superhero .................................................................................................................................... 24 3. The individual in contemporary society .......................................................................... 28 3.1 The selfish individual ......................................................................................................................................... 29 3.2 The anxious individual ...................................................................................................................................... 32 3.3 Overcoming anxiety in the superhero film ............................................................................................... 34 4. 21st century superhero films as expressions of utopia ............................................... 37 4.1 Vitality and Safety ................................................................................................................................................ 38 4.2 Utopian desire ....................................................................................................................................................... 40 4.3 The safety utopia in the contemporary superhero film ...................................................................... 41 5. Case study: the safety utopia in Iron Man ........................................................................ 44 5.1 The Iron Man trilogy ........................................................................................................................................... 44 5.2 Iron Man as a vital character .......................................................................................................................... 49 5.3 Anxiety and moral discontent in Iron Man ............................................................................................... 54 5.4 Overcoming anxiety through vitality .......................................................................................................... 58 5.5 The utopian promise of technological progress ..................................................................................... 60 5.6 Becoming the ideal individual ........................................................................................................................ 63 Conclusion ....................................................................................................................................... 64 Acknowledgements ..................................................................................................................... 67 Works cited .................................................................................................................................... 68 5 6 Introduction You will give the people an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun. In time, you will help them accomplish wonders. (Jor-El, Man of steel, 2013) We live in an age of unprecedented individual freedom. We have ample choice in almost any field, such as education, food, lifestyle, nightlife and political party. People in the Western world have never been so rich and healthy, education is on the rise and criminality is in decline (Bregman 2014, 19). In other words: the world we live in seems in many ways to be an ideal one. However, our era is marked by depression and anxiety. The demise of ideological frameworks, the attacks of 9/11, terrorism and the 2008 credit crisis have made many contemporary individuals anxious, at times not feeling safe (Boutellier 2004, 18). It is in this context, the first decade of the 21st century, that superhero films have come to dominate Hollywood blockbuster production. The superhero film made its unexpected return with Bryan Singer’s X-Men (2000) and experienced mainstream commercial success with Sam Raimi’s Spider-Man (2002). Since then, superhero films like Iron Man (2008), The Dark Knight (2008), Captain America: The First Avenger (2011), and The Avengers (2012), have been among the most commercially successful films in their respective years. In total, more than fifty live-action superhero films have been produced between 2001 and 2014; of which fourteen appear in the one hundred highest all-time American grosses.1 Many of these are part of franchises with commodities ranging from toys to videogames. Superheroes, like those in the films of the 1970’s, have traditionally represented the ideals associated with individualism. They were often represented as warriors, entrepreneurs 1 These are: Marvel’s The Avengers ($760 million), The Dark Knight ($534 billion), The Dark Knight Rises ($448 million), Iron Man 3 ($409 million), Spider-Man ($403 million), Spider-Man 2 ($373 million), Spider- Man 3 ($336 million), Guardians of the Galaxy ($329 million), Iron Man ($318 million), Iron Man 2 ($312 million), Man of Steel ($219 million), The Amazing Spider-Man ($262 million), The Incredibles ($261 million), Captain America: The Winter Soldier ($259 million). Batman (1989) features at place 82 in the list with ($251 million). The number of superhero films to appear in the one hundred highest worldwide grosses is seventeen. This count only includes big-budget superhero blockbusters. The information above is found in Boxofficemojo.com. 7 and patriarchs that could rely on their power as an individual to overcome any obstacle (Ryan and Kellner 1988, 220). In contemporary superhero films, the characters are not only depicted as powerful individuals, they are also shown as burdened and conflicted. As Slovenian philosopher Slavoj Žižek states, contemporary superhero films can be seen as part of a ‘humanization trend.’ Much like the ‘ordinary individual,’ superheroes are depicted as human beings with their own fears and anxieties. Many of the films “dwell in detail over the uncertainties, weaknesses, doubts, fears and anxieties of the supernatural hero, his struggle with his inner demons, his confrontation with his own dark side, and so forth” (Žižek 2009, 37). It seems that there are two sides to the representation of the contemporary superhero character: the films offer an ideal of powerful individuals and yet these superheroes are also burdened, conflicted and anxious. Considering the humanization trend in superhero films in the context of contemporary individual anxiety, it is interesting to further explore the superhero character in the contemporary superhero film. Is there a connection between the ideals the contemporary individual strives for and the depiction of the superhero in the popular superhero blockbusters? Like Jor-El, Superman’s father, suggests in the citation above: do superheroes reflect a utopian ideal? The relation between film and ideology has often been studied in the field of film studies. In their book Camera Politica, Michael Ryan and Douglas
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