Final Draft!

“We’ve always been ready for female superheroes. Because women want to be them and men want to do them.”[1]

How are female characters represented in Heroes and how does this signal a break from superheroes of the past.

“Genres are flexible, subject to the constant process of change and adaptation”[2] hence the difficultly to define the superhero genre. Genres are “dynamic”[3] thus; they tend to reflect the zeitgeist, as they are changing over time and across cultures. As a result, the superhero genre should, in fact provide a modern representation of women, However, the hybrid nature of the genre, often a combination with fantasy, gangster and science fiction, a few examples to name a few, broadens the scope and flexibility in terms of representations and conventions. As a result, the various roles of women in society are reflected in heroes, suggesting a development in the superhero genre.

Originally, superheroes were represented as strong, powerful and gallant characters, and although is it problematic to define, and give fixed conventions to the superhero genre, Richard Reynolds[4] notes there is a list of key characteristics that most superheroes share. To name a few, the hero is marked out from society, he is devoted to justice, often overriding his devotion to the law, the superheroes extraordinary nature is contrasted to the ordinariness of the surroundings, the superhero shoes patriotism and moral loyalty, and lastly, the superhero often has a fatal weakness, which acts as a restraint to his powers. This idea of a fatal flaw is taken from the conventions of Shakespeare’s tragic play genre, where the lead character has an inner turmoil, leading to a destructive ending. Thus, the borrowed convention strengthens the argument that the superhero genre is fluid and often a hybrid. Superheroes also tend to hide their super powers, with the use of a costume, such as a cape and mask, which is commonly used. Both Superman: The Movie[5] and The New Adventures of Superman[6] T.V series employ these traits as Clark Kent transforms into Superman, hiding his identity with his costume. However, “to excel, a hero needs conflict”[7] therefore, it is inevitable that there will be a villain in order to push the narrative forward. This convention of the hero versus the villain also conforms to the Proppian character roles; furthermore, this establishes the “hero” is a male character. Heroes instantly shows a transformation in the typical conventions of superheroes, as none of the characters wear costumes, capes or masks, nor do they have an alternative superhero name in order to hide their true identity. Characters in Heroes such as Peter Petrelli and Claire actually go out to explore there powers, rather than try to hide them. This “difference in absolutely essential to the economy of genre”[8] as it ensures a wider target audience, and higher profit revenue. This is essential as Heroes, “in its home market, NBC Universal needs to sell the Heroes audience to advertisers. On NBC peak time audiences are sold to advertisers at a rate of $330,000 for 30 seconds”[9] demonstrating the focus of making money within a capitalist society.

Superheroes first originated from comic strips, they were first published within the newspapers. These comic strips began to develop and were published in their own comic books. DC comics created the Superman, in 1938, who soon became an American cultural icon. In 1963, Marvel Comics released the X-Men, a group of mutants, with superhuman abilities, similar to the Heroes. Missy Sullivan “defines [s] the golden age as 1938 to 1949 […] when you saw a lot of superheroes”[10] and companies released thousands of new superhero characters, due to the immense increase in popularity. The UK experiences the golden age just after American superheroes had become popular; however fundamental superheroes from the UK were “confined to anthology comics”[11], such as Warrior and Valiant. Superheroes became vastly popular during the Second World War, where superheroes symbolized “good versus evil.” This lead to the rise of patriotically themed superheroes, where “millions were happy to escape into a fantasy”[12] as they felt the need to be saved from the war. Additionally, all the soldiers fighting in the war were men, which were also reflected in the genre, as superheroes were represented as male heroes.

During this time, women also began working, and took on the roles of men, therefore obtaining more freedom, and equality between the two genders. This was reflected in the comics, as in 1941, Wonder Woman made her first appearance. It was clear there had been a change on society, as this soon became the second best selling comic in the DC line of superheroes. The Second World War instigated a “female warrior who could fight fascism while challenging the masculinist world of superhero adventures. But for most of her nearly 65 years, Wonder Woman has been thought of as merely a sexy bombshell in a star-spangled hot pants.”[13] This instantly suggests that the female role of superheroes had certainly emerged within the genre; however, they were still depicted in the same stereotypical representations of a sex object.

In the wake of the war, women experienced independence, and began working side by side with men, as a result, this encouraged women to fight for equality, leading to the Second Wave of Feminism in the 60’s throughout late 70’s. “The rebirth of feminism has obviously has something to do with the proliferation and redefinition of Wonder Woman”[14] as she has been “joined by other female superheroes”[15] such as Mary Marvel and Supergirl in the 40’s, to Invisible Women in the 70’s who starred in Fantastic Four, was later released as a film in 2005 and Xena, Warrior Princess in the 90’s.

Surely, the rise of feminism, and increasing number of women working post war should be reflected in the modern text Heroes, which was first broadcasted only 2 years ago, in 2006. However, Heroes does not fully reflect this, as women are still represented stereotypically. While the majority of male characters are represented as strong and macho, women are often presented as weak, emotional and passive. Therefore, suggesting that there seems to be a limit within the change of representation of women. Although some female characters such as Bionic Woman[16] and Cat Woman[17] had taken in similar roles to men, by having their own superpowers, and fighting, women were still expected to conform to the gender stereotype. The representations of women are distinct, as it is clear that the stereotypical view of women is still perceived by society.

One of the two female characters: Nikki Sanders “inhabits that traditional female role of mother,”[18] additionally who is a single parent. However, we soon discover that Nikki does not meet the expectation of being a “good mother”[19] and while having financial difficulties to support her son, she begins an “internet porn business”[20] in order to earn some money. This is immediately depicted when Nikki is first introduced in the first episode of Season one. The shot represents Nikki as a sex object, and is stereotyped as The Whore, while she strips in front of a web cam. The shot within shot allows the audience to see a close up of the web camera itself, while she undresses herself seductively. As Laura Mulvey pointed out, women are objectified in order to satisfy the “male gaze,”[21] this is furthermore emphasized in Heroes as the audiences “view the female voyeuristically.”

Yet, this representation of Nikki is immediately contradicted, as the audience instantly identifies her as extremely powerful and aggressive, as we see in one of the first scenes Nikki fighting against two other male characters. Nikki has an alter ego, allowing a hidden side of her persona hence enabling Nikki to be violent and feisty, indicate her “active” role.

The second female character, Claire, is also represented in a stereotypical manner as she reflects the typical American blonde cheerleader, wearing a short, school skirt. In converse to Nikki, Claire conforms to being The Madonna, as she is pure and innocent, however, “both are representations of women that emphasis their sexual attractiveness”[22] and ultimately their passive inferiority. Claire is still represented as weak, supported by the tagline “Save the cheerleader. Save the World” the word “save” connotes the idea that Claire is weak and vulnerable, and in the need of someone to protect her, which is done through all the other characters, such as her father, who constantly tries to protect her. As a result of the other characters constantly trying to protect Claire, it “legitimizes their inferior position”[23] as Claire is continually represented as subservient to men.

Nonetheless, there is a strong sense of Heroes reflecting the zeitgeist; therefore it challenges the traditional stereotypes of women. This is indicated in Heroes, as we see Claire is the main protagonist, who is central to the plot and all the other characters, which at once indicates that she is the focus of Heroes and initially taken the lead real, formerly expected to be lead by a male character. She is shown as a strong character, which is proven as Sylar, the “villain” wants to kill her, for the power she possess, further demonstrating the fact that she is vital for the whole program. As well as having superhuman powers, Claire fights against these “villains,” and saves a man from a burning fire. She is one of the only characters to have a “masculine” role as she partakes in physical strength. The first episode in Season one shows Claire running courageously into the burning house, and carrying the man out, an inter-textual reference to Superman, and the scene of him pushing an airplane, reinforcing the immense strength needed. The use of close up shots, dramatic “ethereal music and low key tones”[24] identifies Claire as a strong and powerful character. Although her appearance conforms to the stereotypical view of women, Claire’s role of being a savior and a hero subverts this stereotype.

Moreover, the fact that there is a “shocking lack of women”[25] indicates the fact that women are still being under represented in the media, as men seem to take the dominating roles. Claire and Nikki seem to be the only two leading female characters in the whole of the season, emphasizing their inferiority as they are over powered by the male dominated cast. This supports Gunters research, who found that “there were more women in leading roles, but still there were twice as many men on screen.”[26] Over all, this may imply that the superhero genre has remained the same in terms of gender representation, as the female character is yet again weak and passive; where as the male character is represented as heroic and superior.

Conversely, more female characters have begun to take more dominating roles in films and television programs. For example, the increased amount of female super heroines, who have similar superpowers to the previous male characters, depicts them taking the role of a man. The fact that women are taking on the role of men, could suggest a decline in the “masculinity” of men, where the “changing gender roles had thrown men into crisis.”[27]. This has resulted from the decline in manual jobs, which are male dominated, and the increasing number of women going out to work, taking on the expected “gender role” of men. The rise of female characters was shown in Thelma and Louise, this is significant as the film features two female lead characters “in a road movie, a genre previously identified as the preserve of men”[28] implying that women are able to replace the original character roles of men.

In order to enhance the idea of rejecting the “male gaze,” there is a “feminization of the camera in Heroes.”[29] The camera seems to linger “dreamily on the male characters”[30] such as Mohinder, Peter Nathan and Isaac. This supports Laura Mulvey’s developed theory, as she claims there can also be a “female gaze”[31] which accepts that women can also gain voyeuristic pleasure, and positioning the female audience to do so.

Yet, it is still vital to consider what allowed women to be accepted into such a male dominated genre. It can also be seen that the success of female characters has been due to their “refusal of femininity”[32] and adopting a masculine role, in order to be a man. Both characters Claire and Nikki are extremely powerful, and despite having the typical curvaceous body, and appeasing a male audience, they are both aggressive and vicious characters. For example, Nikki fights one of the most powerful men in Heroes (according to social hierarchy, and wealth) Linderman, placing herself in an action scene, typical being a male role. This does convey her as active, challenging the stereotype of women; however is this simple due to the fact that she has lost her femininity, and is trying to be a man. Nikki’s character is “reconstituted as masculine”[33] suggesting that her success and acceptance in the genre is only determined by the fact that she is trying to be a man. Thus establishing the representation of the female characters is difficult.

Due to the reformation of the female characters first of all entering the superhero genre, but also gaining their power, it lead to a break from the previous superheroes of the past. The emergence of female characters has allowed Heroes to become “feminised,” therefore; the male characters have also challenged the stereotypes of not only what is expected of a superhero, but also of a man. Hiro, challenges the common appearances of a superhero, as in the past, he would be represented as “lame,” similar to former superhero characters such as “Brother power of the geek”[34] who was weak and small. Hiro “is the geeky, modest hero”[35] who is “heroic in his attempts to do his best” yet, he is still a dominant character indicating the change of what is expected of a superhero and the importance of morals within the superheroes.

This is also shown through the character of Peter Petrelli, potentially one of the most powerful characters of Heroes; however he is a nurse, taking the role of a woman by caring and nurturing for other people. This decline in the macho masculine representation led to the “new man.”[36] Whom still took on all the roles of a man, but “with a more sensitive, thoughtful or caring side”[37] as Jeffords points out. This alternative representation was accepted as it reflected the changing gender roles within society.

The increase of female characters, also reflected in the past such as Cat Woman, and characters in Fantastic 4; Storm, has lead to a large female target audience. Heroes employ soap opera elements to appeal to women, developing a “hybrid” of the superhero and soap opera genres. The use of “several narrative strands”[38] ensures that audiences can find something will can relate to and enjoy. In a typical soap opera, the setting acts as a link for all the narratives, where as in Heroes, it is their “special abilities.”[39] Soap operas also integrate narratives about relationships within families in individuals. Heroes employs this trait as it allows the superheroes to be “humanised” and deal with “mortal” issues, such as Claire finding her biological mother, the love triangle between Isaac, Simone and Peter and Parkman’s marriage crisis. The large appeal to a wider audience thus explains the impressive ratings as it “beat BBC1 in the 9pm slot, on its first showing on BBC2, in July 2007”[40] indicating the sheer popularity of the show, as Heroes produced a higher viewer ship during prime time hours. The increased globalization also allows Heroes to be shown around the world, and not just the USA, consequently, increasing the audience range.

As a further development, superheroes of the past created a form of “escapism” during the hardships such as Second World War. However, in Heroes, there is a sense of confronting the issues in society, which is employed through a modern representation of women. This is moreover shown as Heroes “taps in to the zeitgeist and unlocks the thoughts, fears and anxieties of our modern (Western) world.”[41] In the first episode of Heroes, we see Peter Petrelli who is “considering jumping off a building” as he stands at the edge of a sky scraper in New York. This immediately reflects the fears of America, in “reference[s] the people who jumped off the World Trade Centre on September 11, 2001, to die on the sidewalk rather than burn.”[42] This evidently portrays Heroes political element as it continually refers to 9/11 incidents.

In conclusion, one can clearly see that the representation of women is complex. On the one hand, the emergence of female characters altogether in the superhero genre correlates a strong view of women having an equal representation in the media. As well as this, characters such as Claire in Heroes portrays the dominating role, further indicating the active position of women within the narrative, which is a development from the previous the stereotypical image of woman constantly being in the background. However, Claire herself contradicts the power of female characters, as she is weak and vulnerable, (regardless to the fact that she can regenerate, and will never die) and is always protected by a male figure. This is ironic and paradoxical that she is indestructible yet vulnerable – proving that representation of women is complex. The entrance of female characters, however allowed the superhero genre to change; as it is not necessary to conform to the macho masculine image of a superhero. It was such representations, which allows the superhero genre to break from the past, signifying the change of genre, as the audience is unsure whether Heroes is a “comic strip fantasy, a Hyper – realism or space opera.”[43] Heroes allows a form of fantasy through the hybridity of the show, however, it also confronts the issues and dilemmas we face within the society.

Bibliography

Books

Creed, Barbara. (1993) The Monstrous- Feminine: Film, Feminism, Psychoanalysis, Routledge

Gauntlett David (2002) Media, Gender and Identity: An Introduction. Routledge

Humm Maggie (1997) Feminism and Film, Edinburgh University Press.

Lacey Nick (1998) Image and Representation: Key Concepts in Media Studies, Macmillan.

Maltby Richard (1995) Hollywood Cinema, Blackwell Publishing, USA

Mulvey Laura (1975) Visual pleasure and narrative cinema.

Neale Steve (1980) Genre, British Film Institution.

Ramanathan Geetha (2006) Feminist Auteurs: Reading Women’s Films, Wall Flower Press,

Reynolds Richard (1994) Super Heroes: a Modern Mythology, University Press of Mississippi.

Robinson Lillian. (2004) Wonder Woman: Feminisms and Superheroes, Routledge

Simpson Paul (2004) The Rough Guide to Superheroes, Rough Guides Ltd.

Articles

Media Magazine (2007) Oridinary people, extraordinary powers.

Internet Websites

• http://www.popcultureaddict.com/comicbooks/lamestsuperheroes.htm

Unsuccessful superheroes of the past.

• http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

Key concept analysis of Heroes.

· http://en.wikipedia.org/wiki/Heroes_%28TV_series%29

Information and data on Heroes.

• http://www.brainyquote.com/quotes/authors/f/famke_janssen.html

General quote on female superheroes.

• http://www.imdb.com/

General information on different films

• http://www.boston.com/news/globe/ideas/articles/2004/04/04/wonder_working_power/

The rise of female superheroes such as Wonder Woman.

• http://en.wikipedia.org/wiki/Superhero#cite_note-3

History of superheroes.

• http://www.digitalspy.co.uk/forums/showthread.php?t=665854

A forum on the lack on women in Heroes.

Other Texts

Bionic Woman (2007) T.V series. David Eick, NBC

Cat Woman (2004) Pitof, Warner Brothers

Heroes (2006) Tim Kring, NBC

The New Adventures of Superman (1993) Deborah Joy Levine, ABC

Thelma and Louise, 1991, Ridley Scott.

Superman: The movie (1978) Richard Donner, Warner Bros

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[1] http://www.brainyquote.com/quotes/authors/f/famke_janssen.html

[2] Maltby Richard (1995) pg 24

[3] Ibid

[4] Reynolds Richard (1994)

[5] Superman: The movie (1978)

[6] The New Adventures of Superman (1993)

[7] Simpson Paul (2004) Pg 141

[8] Neale Steve (1980) pg 48/50

[9] http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

[10] Ibid

[11] http://en.wikipedia.org/wiki/Superhero#cite_note-3

[12]Simpson Paul (2004) Pg 4

[13] http://www.boston.com/news/globe/ideas/articles/2004/04/04/wonder_working_power/

[14] Robinson Lillian. (2004) pg 3

[15] Ibid pg 2

[16] Bionic Woman (2007) David Eick

[17] Cat Woman (2004) Pitof, Warner Brothers

[18] http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

[19] Humm Maggie (1997) Pg 3

[20] http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

[21] Mulvey Laura (1975) Visual pleasure and narrative cinema.

[22] http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

[23] Lacey Nick, (1998) pg 139

[24] Media Magazine (2007) Oridinary people, extraordinary powers.

[25] http://www.digitalspy.co.uk/forums/showthread.php?t=665854

[26] Gauntlett David (2002) Media, Gender and Identity: An Introduction. Routledge pg 43

[27] Ibid pg 251

[28] Tasker Yvonnes (1993) Spectacular Books: Gender, Genre and the Action Cinema, Routledge.

[29] Media Magazine (2007) Oridinary people, extraordinary powers.

[30] Ibid

[31] Mulvey Laura (1975) Visual pleasure and narrative cinema.

[32] Ramanathan Geetha (2006) pg 43

[33] Creed Barbara (1994) pg 155

[34] http://www.popcultureaddict.com/comicbooks/lamestsuperheroes.htm

[35] Media Magazine (2007) Ordinary people, extraordinary powers.

[36] Moore Stephen. Sociology AS, 2005

[37] Gauntlett David (2002) pg 66

[38] http://www.mediaedu.co.uk/page116/page525/analysingheroeslacey.php?

[39] Heroes (2006)

[40] http://en.wikipedia.org/wiki/Heroes_%28TV_series%29

[41] Media Magazine (2007) Ordinary people, extraordinary powers.

[42] Ibid

[43] Media Magazine (2007) Ordinary people, extraordinary powers.

Post 9/11

http://www.blather.net/shitegeist/2007/05/its_all_gone_grant_morrison_or_how_heroe.htm

"Episode after episode the show, visually and narratively, pushes the boundaries of its genre"


http://www.juancole.com/2007/05/cole-on-heroes-and-culture-wars-my.html

What explains the show's popularity, especially with younger viewers? I think it is that, like the Fox thriller "24," "Heroes" is a response to Sept. 11 and the rise of international terrorism. But while "24" skews to the right politically, "Heroes" seems like a left-wing response to those events.

First paragraph

“We’ve always been waiting for female superheroes. Because women want to be them and men want to do them.”

Although the past 50 years show the increasing number of women going out to work, and feminism rising to bring equality, why are women still portrayed as a “sex object.” Although this quote in the one hand says that women are portrayed as role models and idols for the rest of the female society, it yet again shows the stereotypical view of a women. Is this still the case with the superhero genre. Originally superheroes was a male dominated genre, the hero being a strong, powerful man, and female characters were simply subordinate and inferior. However, Heroes seems to represent women more equally, the protagonist: Claire, who is central to all the other characters and the main plot, taking the lead role.

Detailed Essay Plan

How is the Masculinity and Femininity of characters portrayed in superheroes, with close reference to "Heroes"

First paragraph:

Start with the quote – “We’ve always been waiting for female superheroes. Because women want to be them and men want to do them”

Explain the quote, contradicting itself, in one aspect female superheroes are portrayed as an idol or role model for other women, however the quote also reinforces the stereotypical view of women being a “sex object” The fact that men want to “do” women (sex) shows that there is no progress in the representation of women, and shows no respect towards them.

Is this still the case with superheroes? Originally superhero genre – male dominated. The hero was a strong male character, and if there was a female character she was represented as subordinate and inferior to the man (also had no superpowers)

-However, in women seem to be represented more equally such as wonder woman and in Heroes, the main character is Claire, who is central to all the other characters and the main plot.

Second Paragraph:

What is a superhero? What are the conventions, and what it takes to be a superhero?

Originally: wore a cape

Outfit – tightly fitted/skin tight.

Secret identity, therefore they have a second character – eg Clark Kent and superman.

Heroes does not conform to these common traits: None of the characters wear any time of costumes, no second name.

However, they do try to hide their ability as they are afraid they will be taken away, and “tested” on like an animals.

Similar to Smallville, superman is not shown in the stereotypical manner, and portrayed as “normal” which all the characters want to be.

Eg nikki, Nathan and Claire trying to hide and fight against their abilities, and lead a “normal” life.

This may indicated a change in the genre, superhero was seen as more of a fantasy, fairytale, in which enabled the audience to create a form of escapism.

However, now the superheroes portrayed – sci fri. thriller ( eg the murders in Heroes by sylar)

Third Paragraph

History of superheroes

Originated from comics e.g. dc comics created the first – superman.

First comic/first superhero firm. Examples.

The Golden Age of superheroes –

Why/When did they become increasingly popular =

World War Two – rise of superheroes. Presented a tale of good vs evil, and therefore created patriotically themed superheroes as they needed a hero – to be saved.

A form of escapism during the hardship of war.

Also during the second world war women started working and took on the roles of men. Therefore they obtained more freedom of will.

This was also reflected in the comics – 1941 – Wonder Woman made her first appearance.

It soon become the second best selling comic in the DC line of superhero characters.

Fourth paragraph

Various representations of characters and gender roles – presented in superheroes.

Originally men had always been portrayed as macho and masculine.

“masculinity is a socially constructed performance” (on paper)

Men feel the need to be masculine (– large, bigger than a female, powerful) in order to take on the role of a breadwinner and support the women.

e.g. Superman – high angle shot used to reinforce the superiority, and male dominance of the characters.

Commonly women were shown as passive, weak and emotional. No superpowers.

Just the typical role “a bit of skirt” (essay)

They were not regarded as important either, main focus on the male character.

“they were overshadowed by the apparent visibility of young men” (book)

Fifth Paragraph

Explain the theorists that you need to talk about.

Representations of women

Laura mulvey – the male gaze

Although women taking on similar roles to men, still wearing skimpy revealing clothing, fitting into the expected images – what the audience want.

They want a set genre and need they expectations to be met.

Cortese – perfect provocateur.

This was not only for women, but also accounted for men, and the new expected image of men shown. (similar to casino royale – and the fact that superheroes have always worn skin tight clothing)

Women shown as two ends of the spectrum –

Madonna – Claire – Thelma

Whore – Nikki – Louise

Sixth paragraph

Is this still represented in superheroes?

Women have progressed in the sense that they are also the main characters and have similar superpowers to male characters.

Taking on the role of men (men facing a masculinity crisis)

They are able to take on the similar roles to men – could indicate a decline in “masculinity”

However these characters still represented as sex objects.

Wonder woman – “infected with the need to conform to certain images of beauty” – Germaine Greer (ibid.: 23-24)

Thelma and Louise – taking on mans role. Road trip seen as a typical mans film.

Thelma – goofy housewife, married to a controlling husband. madonna

Louise – young, free single and more outgoing. – whore

Seventh Paragraph

Further indicated in Heroes

Claire is the main character, she is central to the plot and all the other characters, showing that she is the main focus and has taken over the male role.

Shown as a superhero, throughout the seasons sylar is after her power, showing that she is vital and the strongest character. Also characters such as Suresh reveal that they “need” Claire in order to live (her regenerating blood)

Fighting against men as well.

Saves the man from a burning fire, showing that she is the only character to have a “masculine” role as she partakes in physical strength e.g. running into the fire, and carrying the man out. Also enduring the pain of the fire – similar to superman (typical scene of him pushing an airplane)

On the other hand they are still shown as weak – “save the cheerleader” the tagline of the show indicated that she needs proctected – connotes she is weak and vulnerable. Needs support from a man.

Also shows the female character in a typical American stereotype of a cheerleader – also with blonde hair.

“shocking lack of women” –

Get the quote of women being under represented – more men are generally shown on tv.

Nikki conforms to the stereotype of women represented as “whores”

She is strips on camera – for money. Showing she has become desperate and in need of support. Is not financially able to support herself and her son.

Eighth Paragraph

This is similar to men

Men in older films were shown as more muscular – bulging biceps (popeye)

Emphasizing the fact that they can “abuse their power” over women and other characters for example the villain.

(Bryson, Valerie (1999) “Feminist debates” pg 37

Conversely, heroes does not conform to these traits of superheroes – characters such as Hiro is similar to “lame” characters like “Brother power of the geek” – not very strong, weak little man.

However Hiro is still a powerful character, fighting with the sword – phallic symbol to indicate his strength even though he looks like a “geek”

Peter Petrelli – is a nurse – showing the masculinity of men is difference. Had is declined. (

The new man)

.....

http://www.thefword.org.uk/features/2006/02/deconstructing_masculinity

"masculinity is rarely deconstructed in the same way as femininity"

"Masculinity must be deconstructed if it is to change"

.. historical stuff...

http://www.internationalhero.co.uk/g/goldenag.htm

During the 1940's there was a boom in the number of comics and superheroes. The success of Superman caused a number of companies to jump on the band-wagon and create their own crimefighting heroes, and then when America joined the War there was clearly perceived to be a need for patriotic heroes fighting the evil Axis force


Historical - superheroes become more popular during the war, as it indicated they needed to be saved, also showing unity within America.
Similar to Heroes, during the election, when Nathan Petrelli is running for congress, shows a very patriotic ideology.

Historical Texts

Superman: The movie. 1978.
Based on the DC comics character: Superman
Directed by Richard Donner.
Distributed by Warner Bros. Pictures.
Budget: 55 million (est)

Superman: Shown are very masculine and strong.
High angle shot used to portray superman as superior and strong.
Lois Lane: dies in the end - weak subirdinate character - falls in love with the hero.
Superman wears tight clothing - could indicate female gaze - showing the male character as a sex object (casino royale)
Baudrillard (in Seduction, 1990) - "Men, too, are seducers - a male version of the perfect provocateur. The ideal man in ads in young, handsome, clean cut and sexually alluring."
Anthony Cortese - "Women are often shown as the "perfect provocateur" (Ibid.: 54):
Cortese - "Today's man has pumped his pecs and shoulders and exhibits well-defined abs..." (Ibid.: 58)


WonderWoman - 1976
Fictional DC Comics superheroine
Created by: William Moulton Marston
First appearance: 1941
Abilities: Speed, superhuman strength, flight, regeneration (similar to claire)
ability to descern truth, resistance to magic.
Wearing skimy clothing to show shes still shown as a sex object - conforming to the stereotype.


Lois and Clark - The New Adventures of Superman
First aired on ABC between 1993 - 1997.
More focus placed on the relationship on Clark Kent and Lois Lane, rather than Clarks alter ego.
Reinforces the gender roles of the two main characters. Clark being the hero, and Lois falling in love with superman and often being saved by him. Not shown to have a powerful role.


Thelma and Louise
Released in 1991
By Ridlet Scott
Written by: Callie Khouri
Thelma - passive housewife, married to a controlling husband
Louise - single, strong minded woman, who has had her own past.
Breaking the stereotype of men taking a road trip.
Shows the changing role of women.

grades

I think my grade was fair, because to be honest i know that i havent put in all my effort and i need to concentrate more in lessons. I definately know that i can get a higher grade, therefore i need to concentrate on my work in lessons, and not let myself get distracted... and Make sure i get to work straight away.

10 key words!

Even though i have got the key words from the pack, i'll just repeat the work!!!


American Dream - refering to contradictions and conflicts in society.
conflict with culture of individualism.
corporate life
Fears of all kind - terrorism.
-Heroes - crisis of identity, have to be seen as "normal"


Laura Mulvey - Male Gaze, the portrayal of women, and the judgements made about them.
Women are often seen as passive and weak.
-Apparent as nikki has an alter ego, which is fighting back showing a more dominant character.


New Man - A more caring, and gentle role of a man, often as a father and husband who is able to show feelings.

-Male characters such as peter have issues with their identity, and what is expected of them and what they want to do.


Prime time is the time between 7.30 - 10.30 which has the largest number of viewers on tv.

-Extremely important as Heroes is aired on BBC2 at 9pm. Not only could this explain the popularity, however younger audiences also watch it.


Syntagm - a combination of signs that forms a chain of meaning. A certain symbol that has been recurring through out the season. Build up of tension as neither the audience nor the characters know the meaning.


Genre theory - Richard Dyer 1973, genres are pleasurable because they offer escapist fantasies into fictional worlds which remove the boredom and pressures of reality.
In a sense Heroes does the opposite because it is bringing topical issues to light, eg terrorism.



Sexism - discrimination on the basis of sex pften against women.
-both female characters nikki and claire face this.


Patriarchy - male domination where women are percieved as subordinate.
-similar to heroes the female characters are defined with the relation of a man.
Claire and her father or boyfriend.

Links....

Sigmund Freud
Penis envy - women wanting male roles eg taking on masculine roles...
Freud has also come under fire from many feminist critics. Although Freud was an early champion of both sexual freedom and education for women (Freud, "Civilized Sexual Morality and Modern Nervousness"), some feminists have argued that at worst his views of women's sexual development set the progress of women in Western culture back decades, and that at best they lent themselves to the ideology of female inferiority. Believing as he did that women are a kind of mutilated male, who must learn to accept their "deformity" (the "lack" of a penis) and submit to some imagined biological imperative, he contributed to the vocabulary of misogyny. Terms such as "penis envy" and "castration anxiety" contributed to discouraging women from entering any field dominated by men, until the 1970s.


http://en.wikipedia.org/wiki/Fantasy
Fantasy genre refering to superhuman powers and the role of heroes.


http://superheroes%20reflect%20society/

Stuff....

http://www.mediaed.org.uk/posted_documents/womenrep.html

The influence of female filmmakers does have an effect on the representation of women in films, it is clear that women avoid the representations of gender associated with Laura Mulvey’s theory of the ‘male gaze’ and strive for equality for women within their work. However, this idea of a ‘female gaze’ is limited due to the prevailing patriarchy within the film industry, which is evident in the state of women’s employment in the business.

More internet links...

http://mediagoldfish.blogspot.com/

Another blog that has looked at the conventions of superheroes.
Characters often have a back-story which explains their upbringing or how they got their powers in a short format. This provides us with a good idea of what sort of character they are, it also links the hero with the arch-nemesis, who are usually friends in the beginning.
Their appearance is very important to how we view the character. Heroes usually have big muscular physiques, chiseled features, bigger eyes, they are essentially the perfect human.
Names also guide our conception of a character. Heroes often have alliterative names, such as Peter Parker and Clark Kent. (In heroes - Peter Petrelli)
The arch-nemesis, however, is often not muscular and attractive, their eyes are smaller, they have wicked grins, they are often not human like creatures, features are distorted (particularly the head) and they are often dressed and speak in a much more sophisticated fashion than the hero.
Of course the defining feature of a superhero/villain is the costume. Not only the physical costume, but the alter-ego. A superheroes costume usually consists of a tight fitting number, that has some resemblance to their super-name.

The storyline of most superhero narratives are as follows. Establishing story, relates the characters to each other and explains how they got their superpowers. The love interest is usually introduced here too. The Hero goes out and saves someone, sparking a reaction from the nemesis. They attempt to kill the hero, someone he knows, or the entire world. The superhero tracks him down and tries to put a stop to the evil. The plan backfires and the hero is caught, on the brink of death or simply losing the fight. The villain reveals his plan to the hero in a laborious monologue. The hero over comes his problem, defeating the villain and stopping the evil plan. The villain may either escape, or be arrested, they rarely die. The story finishes with a scene with the superhero, with the love interest/collegue, talking and having a happy time.

Blog buddy meeting

What we discussed:

We found it hard to make links at first as our studies are not that similar. However, we managed to find some common areas of research that would be relevant to use both:
- Identity,
- Gender roles
- Genre theory

1) Identity:
In both of our studies the theme of identity is a key element. We will be looking at how identity is shaped in the texts.
For instance, ‘HSM’ identity is a major theme that runs throughout the film as the main characters Troy and Gabriella struggle to find their identities due to peer pressure etc .
In ‘Heroes’ identity also plays a major part as the heroes have dual identities.


2) Gender roles:
What are they?
What are audience expectations of these?
Why are they used?
Do our texts conform/reject them? Why?

3) Genre theory:
Find theorists that can be applied to both of our studies.

Blog buddy research...

American Dream...

"Our challenge is to create an America that lives up to the principles and ideals of our Founding Fathers."

The "Founding Fathers" being Thomas Jefferson, George Washington, Abraham Lincoln & Theodore Roosevelt.

In the Declaration of Independence, America's Founding Fathers laid out very clearly for us the true meaning of the American Dream ...
"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness"

It is clear that the "american dream" had become materialistic and there seems to be a "sign of moral decay"

Statistics:
90% feel uncertain about their future peace and security.
66% believe society is becoming much more materialistic.
50% believe Americans have lost the opportunity for the American Dream.
71% believe major change is necessary to regain American prosperity.

http://www.todaysamericandream.com/

Today the "American Dream" is often associated with immigrants as it is seen as the "land of oppurtunity" where people are able to make something of their lives. the immigrants are commonly from South Asia, and Latin America.

http://en.wikipedia.org/wiki/American_Dream


Ronnys' Research:

American Dream: a cultural myth based on the belief that the USA is a land of promise and opportunity where anyone who works hard can achieve all the good things in life, notably love, esteem and wealth.

The origins of the myth lie with the American Declaration of Independence which emphasises the equality of all humanity and the right to ‘life, liberty and the pursuit of happiness’. At the time this document many wealthy American colonial citizens were slave owners.

Belief in the American Dream can leas to a conflict between the desire for wealth and material happiness and the means by which this ideal is achieved.
The realities of US society are far from those of the idealised version and are sometimes called the American nightmare.

The myth of the American Dream is important because it forms the background ideology of media products from across all genres but in particular of film and television productions.