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Dissertation UvA-DARE (Digital Academic Repository) Superheroes and the Bush doctrine: narrative and politics in post­-9/11 discourse Hassler-Forest, D.A. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Hassler-Forest, D. A. (2011). Superheroes and the Bush doctrine: narrative and politics in post­-9/11 discourse. Eigen Beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:10 Oct 2021 Superheroes and the Bush Doctrine Narrative and Politics in Post-9/11 Discourse ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op donderdag 24 maart 2011, te 14:00 uur door Daniel Alfred Hassler-Forest geboren te New York, Verenigde Staten Promotiecommissie: Promotor: prof. dr. C.P. Lindner Overige leden: prof. dr. M. de Goede dr. J.W. Kooijman prof. dr. H.A. van der Liet prof. dr. R. Pearson prof. dr. T. Vaessens dr. N. Verhoeff Faculteit der Geesteswetenschappen Table of Contents Acknowledgments................................................................................................................... 3 Introduction.............................................................................................................................. 5 The Superhero Movie Genre ..........................................................................................................14 Chapter 1: 9/11 and Popular Culture – The Discursive Formation of the Superhero ................................................................................................................................29 Contradictions of 9/11 Discourse: Heroism, Victimization, and the Cultural Politics of Exceptionalism...............................................................................................................30 Superheroes and Theories of the Postmodern ......................................................................43 Postmodernity and the Crisis of Agency...................................................................................47 Of Myths, Mythologies, and Superheroes.................................................................................51 Superman Returns: “Truth, Justice, All That Stuff…”............................................................55 Conclusion .............................................................................................................................................62 Chapter 2: 9/11, Historical Trauma, and the Postmodern Subject ......................65 9/11 and the Construction of National Trauma....................................................................67 Falling Man: Language Games in Postmodern Limbo.........................................................70 Netherland: A Postcolonialist Gatsby.........................................................................................76 9/11 Trauma and the Superhero Film ......................................................................................84 The revisionary superhero narrative.........................................................................................86 Batman Begins: the “Othering” of an American Hero..........................................................87 V for Vendetta: the terrorist superhero.....................................................................................96 Conclusion ..........................................................................................................................................107 Chapter 3: Superheroes in the Postmodern Metropolis ....................................... 111 Film and the City: Fantasies and Fears...................................................................................113 The Post-9/11 flâneur: Spider-Man At Play in the New Global Village....................122 The Threat of Postmodern Finance: Dystopian Terror in Gotham City...................141 Conclusion ..........................................................................................................................................154 Chatper 4: The Panoptic Superhero: Surveillance, Control and Visibility in Post-9/11 Popular Culture.............................................................................................. 157 Foucault and Surveillance Culture: Panopticon and Synopticon................................159 24: Heroic Narratives of Post-9/11 Surveillance...............................................................166 The Wire: Articulating the Limitations of Panoptic Power............................................173 Discipline and Control in the Post-9/11 Superhero Film: The Panoptic Superhero Cyborg...................................................................................................................................................178 Panoptic Power and Neoliberalism: Visibility and Power in Watchmen.................193 The “Freaks” of Hellboy: Representing the Marginalized...............................................201 Conclusion ..........................................................................................................................................213 Chapter 5: Late Capitalism and the End of the World: The Disaster Film and Apocalyptic Superhero Narratives............................................................................... 215 Disaster Movies and America’s Addiction to Catastrophe.............................................219 The Dialectics of the 1950s Monster Movie .........................................................................221 Cloverfield and the Post-9/11 Disaster Film........................................................................226 9/11 and the End of History .......................................................................................................236 Heroes: Reversing the Flow of History ...................................................................................239 “The Big Other” in Post-9/11 Superhero Narratives........................................................245 Unwriting the Past: The Historical Vacuum of 9/11 ........................................................251 Conclusion ..........................................................................................................................................260 Conclusion ............................................................................................................................ 263 Nederlandstalige samenvatting .................................................................................... 269 Works cited .......................................................................................................................... 273 Primary literature ...........................................................................................................................284 Filmography.......................................................................................................................................284 Hassler-Forest Acknowledgments Although the bulk of the material in this dissertation was written in 2009-2010, it is the end product of a much longer period of research and development, in which I was fortunate enough to benefit from the knowledge, insight, and feedback from a variety of friends, colleagues, and students who either shared an interest in my field, or who were kind enough to let me impose upon them with endless questions and opinions. First among these is my good friend and colleague Joyce Goggin, who has been a constant source of moral and academic support throughout the many years in which I struggled to get this research project mounted and –ultimately- funded. Likewise, Thomas Elsaesser has given me much of his valuable time and advice over the years, and offered substantial contributions to my ongoing attempts to find ways of conceptualizing the genre that provides my main corpus. As my project began to take shape, the graduate seminar organized at Yale University in January 2009 by Jeremi Szaniawski and Victor Fan was an invaluable source of new ideas related to my topic, in large part because it introduced me to a number of brilliant people from around the globe who have become highly valued contacts. For their stimulating conversations, blog articles, and Facebook chat sessions, I wish to single out Jeremi, Jean-Guy Ducreux, and Gerry Canavan for their generous feedback and insights. Writing my dissertation in Amsterdam, I am fortunate to be surrounded
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