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The Economics, Geopolitics and Ideology of an Imperial Film

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The Economics, Geopolitics and Ideology of an Imperial Film economy is three times the size of the world’s next larg- critically interpret Iron Man with respect to the broad est, Japan. With only 4.6% of the world population, the economic, geopolitical and ideological forces and rela- U.S. accounts for about 27.5% of the world’s total Gross tions that shape it. Domestic Product (GDP). Iron Man exists in a world in which U.S.-based corporations are backed by the U.S. Department of Defense (DOD)—the Army, Navy, The Economic Power of Iron Man: A Synergistic Marine Corps, Air Force, and Coast Guard—which con- Blockbuster for the Walt Disney Company trols more than half a million troops, is equipped with Iron man is a blockbuster film and synergistic fran- nearly half of the world’s total weapons and has more than chise that supports the U.S. Empire’s economic power eight hundred and sixty five military bases in more than by extending Hollywood’s global market dominance, forty foreign countries. Iron Man is also part of globaliz- adding to the Walt Disney Company’s profits and per- ing Hollywood, major film companies that are located petuating the class power of Robert I. Ager, Disney’s in Los Angeles, California, but have business operations CEO, Chairman and major shareholder. that encircle the planet. Hollywood studios, distribution Like all blockbuster films, Iron Man was made with networks and exhibition platforms are largely controlled a big budget ($140,000,000) with the goal of making by six U.S.-based transnational media conglomerates Hollywood as much money as possible. To cultivate (TNMCs): the Walt Disney Company, Comcast-NBC- consumer demand for this film and attract viewers to Universal, News Corporation, Viacom, Time-Warner theatres, Marvel Studios and Paramount Pictures mass How to Read Iron Man and Sony Entertainment of America. TNMC-controlled marketed Iron Man using in-cinema previews, TV ad Hollywood exerts asymmetrical influence over the inter- spots (one during halftime of Super Bowl XLII), ads in nal structure, ownership patterns, distribution and exhi- newspapers and on billboards, buses, benches and web- The Economics, Geopolitics and bition process and standards of film of other national film sites, soft news interviews with actors, tie-ins at thou- industries without proportionate reciprocation of influ- sands of 7-Eleven stores and Burger King chains and Ideology of an Imperial Film Commodity ence by them. Hollywood’s worldwide box office reve- via social media platforms like Facebook. After creat- nues climbed in 2011 to $32.6 billion and in 2012, rose ing global hype, buzz and intrigue, Paramount Pictures even higher to $34.7 billion.1 Hollywood adds nearly mass-released Iron Man to theatres worldwide. Between $180 billion to the U.S. economy each year and sustains a April 14, 2008 and May 14, 2008, the Iron Man commod- near one-way flow of film commodities between the U.S. ity flowed across and was consumed in eighty countries by Tanner Mirrlees Stark announces that he will no longer sell WMDs, but and other countries. Hollywood TNMCs control the including Argentina, Brazil, China, Germany, Estonia, Obadiah Stane, the manager of Stark Industries, advises property rights to the top 30 all-time worldwide high- Iceland, India, Israel Malaysia, Mexico, New Zealand, him against this decision. To his dismay, Stark learns that est grossing films and in 2012, Hollywood made all of Pakistan, Russia, South Africa, Ukraine, the United Arab ron Man (2008) is a Hollywood film produced by the weapons Stark Industries sells are being used by the the top ten highest grossing films:The Avengers, Skyfall, Emirates and Vietnam. As Iron Man crossed the borders Marvel Studios and distributed by Viacom-owned Ten Rings to kill peasant Afghanis and also, that Stane The Dark Knight Rises, The Hobbit: An Unexpected Journey, of these and other countries, the title was translated or IParamount Pictures. Based on the Cold War-era wants to cut him out of Stark Industries. Stark engineers Ice Age: Continental Drift, The Twilight Saga, The Amazing dubbed into local languages. In Argentina, Iron Man Marvel comic by the same name, the film is about Tony a new weaponized armour suit, flies back to Afghanistan, Spider-Man, Madagascar 3, and The Hunger Games. In became El Hombre de hierro; in Brazil, Homem de Ferro; Stark (Robert Downey, Jr.), a multi-millionaire engi- kills the terrorists and saves the Afghani villagers. Pepper terms of its economic size, military preponderance and in Estonia, Raudmees; in Greece, O atsalenios anthro- neer whose Stark Industries (inherited from his father) Potts (Gwyneth Paltrow), Stark’s assistant, discovers that cultural power, the U.S. is an Empire. pos; in Japan, Aian Man; in Russia, Железный человек, researches, develops and sells weapons technologies to Stane supplied the Ten Rings with WMDs and also, hired In this article, I argue that Iron Man is one small in Vietnam, Nguoi Sat. Iron Man’s box office returns the U.S. Department of Defense (DOD). In the opening the terrorist group to kill Stark. At the film’s climax, Stark but important part of the U.S. Empire. While much has quadrupled the amount the film cost to make. Overall, scene, Stark is escorted to U.S.-occupied Afghanistan by a battles Stane (who dawns his own battle-suit) atop his been made of Iron Man’s spectacle as Hollywood enter- Iron Man took a total of $585.2 million: $318.4 at the friendly DOD liaison, Lieutenant Colonel James Rhodes Stark Industries and defeats him with a massive energy tainment media, this article examines how Iron Man is “North American” box office (54.5% of the total) and (Terrence Howard). There, Stark demonstrates the kill- blast. The film ends with Stark revealing his super-hero shaped by and supportive of the economic, military and $266.8 million at the worldwide box office (45.6% of ing power of a new commercialized weapon system (the identity to the press. ideological power of the U.S. Empire. I argue that Iron the total).2 Iron Man’s production budget was approxi- “Jericho Missile”) but is soon after ambushed and taken Iron Man was made in a world system in which Man supports U.S. economic power (as a Hollywood mately $140 million, meaning the film generated a little captive in a cave by a jihadist group called The Ten Rings. the U.S. is the dominant imperial power. Since at least blockbuster and synergistic franchise), U.S. military more than $445 million at the box office. This box office Stark is almost killed by IED shrapnel, which is lodged WWII, the U.S. state and U.S. corporations have strug- power (as DOD-Hollywood co-produced militainment) return made Iron Man the 89th highest grossing world- close to his heart. But Yinsen, Stark’s fellow captive, saves gled to rule markets across territories by building, pro- and cultural power (as a national and global relay for wide film of all time and set in motion Marvel Studios’ him by grafting an electromagnet into Stark’s chest to moting and policing a world system of states that share U.S. imperial ideologies). The nexus of the actual world production of Iron Man 2 (2010) (the 74th highest gross- keep the shrapnel from reaching his heart. The terrorist the U.S.’s core features: the capitalist mode of produc- of U.S. Empire and the reel world of Hollywood film ing worldwide film of all time) and Iron Man 3 (2013) , leader Raza then forces Stark and Yinsen to make weap- tion, the liberal democratic state form, and the consum- expressed by Iron Man highlights how popular film is the 3rd highest grossing film of all time. Clearly, Iron Man ons of mass destruction (WMDs) for them from the erist “way of life.” The U.S. fights for “hegemony” in not “just entertainment” that circulates in apolitical contributed to Hollywood’s global market dominance. cave. But instead of doing so, they engineer an electric the world system through the incorporation of others, theatre markets, but is linked to and supportive of the In addition to being a global blockbuster, Iron Man generator (the arc reactor) and a weaponized armoured using strategies of coercion and ideological persuasion, geopolitical-economy and ideology of the U.S. Empire. is a synergistic entertainment franchise, designed to gen- battle-suit, which Stark uses to escape. Yinsen is killed, brute force and consent building. In the early 21st cen- Combining the political-economy of communications erate as much revenue for its owners as possible, not only but Stark fights his way to freedom and is then rescued tury, the U.S. continues to be a dominant imperial power, and critical cultural studies methods, I explore the nexus through the accumulation of box office receipts, but also, by the DOD, which takes him back to the U.S. There, economically, militarily and media-culturally. The U.S. of the U.S. security state, Hollywood and film so as to through the sale of ancillary commodities. At the core 4 cineaction cineaction 5 of the Iron Man franchise is the comic book (stories and characters fashion Bulgari watches, LG phones and comic world offered “so many opportunities to mine [for The Military Power of Iron Man: characters), which prior to the film, already had a big fan Dell computers. value] both characters that are known and characters The DOD-Hollywood Complex and Militainment base and whose “high concept” was widely recognized Though Iron Man made money for Marvel Studios that are not widely known”.3 Stan Lee, Marvel’s founder, In addition to supporting U.S.
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