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Reflective Essay 3
The Rise & Positive Influence of Superhero Films

In the last two decades, the superhero movie has become one of the dominant genres
in the world cinema – a far cry from being merely a sub-genre related to comics and
literature for younger-aged audiences.

One of the factors that has facilitated genres’ rise to popularity and longevity in the
21st century is the adaptability, the ‘transformability’ of the genre phenomenon. As
Kregg McSweeney explained in an email to me, a superhero movie today has the
potential to adopt the trappings and structure of any or a combination of a number of
well-established genres. They can easily accommodate action, science fiction,
comedy, horror, period drama, etc. (McSweeney, 2020). This adaptability has helped
sustain the genre’s popularity as filmmakers can appeal to wider audiences by
intelligently adapting to these changing tastes. The Marvel Cinematic Universe
combines the flashy action and grand spectacle of the superhero genre with futuristic
tech and alien settings as in cases of Captain America. It also combines this duo of
genres (superheroes and science-fiction) with others in unique ways (eg, The
Avengers and Guardians of the Galaxy). The Deadpool series (2016-) adapted the
superhero genre to include self-aware, meta-humour, and enlists satirical comedy
sensibilities cutting across a tapestry of crude references and intense action.

Technological factors too have played a significant role. Film technologies have
progressed to a point where visual effects can make the powers of Superman, as well
as the elaborate supervillain bases, appear realer than ever before and allow for
breathtaking cinematic spectacle (McSweeney, 2020). Imagine the power Thor
wielding his hammer, the flight of Spider-Man or the manoeuvres of the Black
Panther – a film bounds the spectators’ imagination, leaving mental space for
spectators to imagine the characters’ powers and can provide us with nothing short of
cinematic spectacle. It is no surprise that the possibilities of the supervillainous
characters in Marvel Cinematic Universe (MCU, 2008-present) are virtually
unlimited, relying on the advancement of visual-effects technology. The MCU has a
large, diverse cast of characters and a variety of human abilities on display, including
characters where the visual effects are used to make incredibly spectacular
superhuman feats such as the likes of Thor, Iron Man etc, powered by computer-
generated imagery (CGI). For instance, movies such as The Avengers (2012) feature
both human-looking CGI superheroes who have powers of strength and flight which
the director blends on the big screen to create huge amounts of spectacle.

Common human strivings and troubles can be painted over countries and cultures,
age, ability, colour and gender to bring an archetype to their human life. Or, as
McSweeney (2020) put it: a scriptwriter can explore ‘perennial people-problems – the
personal loss of a parents; the burden of responsibility thrust upon a shoulder; tension
between private autonomy and public obligation – in ways that feel reflected in (their)
life experience’. Superheroes discuss things that come up daily for them and us as
humans. Peter Parker lost his Uncle Ben in one of the first Spider-Man stories, and
now he had to carry this torch that he didn’t desire; that many in his audience could
perhaps feel. Place your Superman with his rocket powers marooned somewhere
away from Krypton – what would happen to him? He might feel like you, discovering
how human and vicious your new society can be, and have to make a choice. It all
arises from our sense of curiosity, trying to know ourselves, our strengths and our
potential. The implication in many superpower movies is the inevitable responsibility
that comes with that potential: we need to learn how to use our powers carefully, as in
Iron Man, Doctor Strange, Scott Lang from Ant-Man, and so many of the other comic
book properties before them. Iron Man and Captain America quarrel against
government controls over their powers quite striking for viewers. On the other hand,
The Joker was a success because its imagery was dark and realistic, pondering serious
problems involving mental health, alienation, the risk of violence in our society and
more.
The superhero film genre’s globalization (Hall, 2022) has had a deep impact on
representation and diversity. Despite the fact that the genre has traditionally been
largely white male led, the success of films such as Black Panther (2018) and Shang-
Chi and the Legend of the Ten Rings (2021) have proved its commercial viability and
critical acclaim. The characters and stories in this approach are marginalized
communities centric, which is achieved by highlighting their experiences. This trend
might be instrumental in breaking down traditional stereotypes and creating positive
role models for audiences globally. For example, Black Panther became a global hit
because of its majority black cast that explored African culture and politics; it is
regarded as a milestone for representation and diversity in superhero genre.

Superhero movies’ globalization has also enabled international exchange through

them (Forbes & Mahan, 2017; Millar, 2011). Filmmakers from different cultural
backgrounds can now use these films to incorporate their own cultural history or
social-political issues. The genre has thrived, with themes and forms that question the
ideology's domination. For example, movies like India's "Krish" and Indonesia's
"Gundala" include elements from their cultures and traditions, providing their distinct
viewpoints.

Furthermore, the widespread availability of superhero films on platforms and digital

services increases their potential for social commentary and activism (McKoy, 2024).
Productions like "Captain Marvel" and HBO's "Watchmen" address problems
including misogyny, racial inequality, and historical tragedies like the Tulsa Race
Massacre. By addressing these issues, superhero films effectively engage audiences
and spark important conversations.

In essence, superhero movies have grown into a craze. Their success can be attributed
to its versatility and resonance with human experiences. On top of this, superhero
movies have also driven cultural interactions, enhanced diversity in representation and
serves as a focal channel for social commentary and advocacy. Hence, superhero films
have become an indispensable part in film industry.
 Reference

Forbes, B. D., & Mahan, J. H. (2017). Religion and Popular Culture in America, third

edition. Univ of California Press.

Hall, A. (2022). Audience responses to diverse superheroes: The roles of gender and

race in forging connections with media characters in superhero franchise

films. Psychology of Aesthetics, Creativity, and the Arts, 16(3), 414–425.

https://doi.org/10.1037/aca0000363

McKoy, M. (2024). Great Power and Great Responsibility: Exploring the Politics of

the Superhero Genre The International Politics of Superheroes , by Mariano

Turzi, Lanham, Maryland: Roman & Littlefield Publishers, 2022, 136 pp.,

$30.00 (paperback), ISBN: 978-1-538-16496-9. The Politics of the Marvel

Cinematic Universe , edited by Nicolas Carnes and Lilly J. Goren, Lawrence,

Kansas: Kansas University Press, 2022, 456 pp., $29.95 (paperback), ISBN:

978-0-700-63388-3. New Political Science, 1–6.

https://doi.org/10.1080/07393148.2024.2306743

McSweeney, T. (2020). The contemporary superhero film. In Columbia University

Press eBooks. https://doi.org/10.7312/mcsw19241

Millar, N. (2011). Myth, Magic and Masala: A Cross-Cultural Genre Study of Epic

Fantasy in Bollywood and Hollywood Film [MA thesis]. Australian Film,

Television and Radio School.