TopShelf TG Fiction in the BigCloset!
Interesting podcast from The Guardian
The portion on Superheroes starts at 27:20
Her thesis is that the film versions of superhero characters are typically hypermasculinised in comparison to the stories portrayed in the comics the characters are drawn from, and reduces the acceptable story arcs to a handful of "movie versions."
Checks can be made out & sent to:
Joyce Melton
1001 Third St.
Space 80
Calimesa, CA 92320
USA
Note: $6000 is the operating, maintenance and upgrade budget. Amounts received in excess of the $6000 will be applied to long term debt accrued over the last 19 years.
If you prefer, you can donate through Patreon:
Become a Patron!
Thank you!
Comments
Blame game
Somebody is always willing to blame the entertainer and the storyteller. They make such good targets.
Hugs,
Erin
= Give everyone the benefit of the doubt because certainty is a fragile thing that can be shattered by one overlooked fact.
= Give everyone the benefit of the doubt because certainty is a fragile thing that can be shattered by one overlooked fact.
I think her point is...
...that the "heroic" lives depicted in the "superhero" film genre are often quite narrowly proscribed, although I believe she gives one counterexample in the Spiderman film series, the hero of which, Peter Parker, is deeply conflicted about the tension between living a productive life, which he has a great deal of trouble doing, and being cursed, or blessed, with miraculous powers which don't, in fact, appear to contribute to his Darwinian fitness. Spiderman is a strange combination of the "slacker" film and the traditional "superhero" film, which has perhaps contributed to the generally excellent showing of these films at the box office, since they appeal to both males and females.
Spiderman's main female lead, and the love interest of Peter Parker, is singularly uninterested in romantic pairing to the exclusion of all else, and has a career to which she is committed, none of which conform to the romantic adulation Peter seems to feel that he deserves at times, since he's a superhero and all.
The wild popularity of the "Center" series of collaborative narratives seem to point to the same general theme of alternative narratives to the typical Jean-Claude Van Damme-style steroid-enhanced refugee from Wrestlemania, which may of course be a subjective viewpoint.
In general, though, I tend to agree.
Case in point.
Cheers,
Puddin'
A tender heart is an asset to an editor: it helps us be ruthless in a tactful way.
--- The Chicago Manual of Style
-
Cheers,
Puddin'
A tender heart is an asset to an editor: it helps us be ruthless in a tactful way.
--- The Chicago Manual of Style
Doesn't matter, really
Her point is, and this point has been made over and over, it's someone else's fault. Kids are unruly, must be the media. Kids are sluggards, must be the media. Crime in the streets, it's those damn movie makers in Hollywood.
Attacking the messenger, because fiction and storytelling are mirrors to society, is not going to solve problems. It's like a fighting cock attacking the rooster he sees in a hubcap while the car swerves a bit to run over him.
Look behind media presentations. What is causing kids to misbehave? Not the media, that's kind of remote and is just a reflection of popular tastes, anyway. Got to be something closer at hand. People the kids live with maybe? You think?
Hugs,
Erin
= Give everyone the benefit of the doubt because certainty is a fragile thing that can be shattered by one overlooked fact.
= Give everyone the benefit of the doubt because certainty is a fragile thing that can be shattered by one overlooked fact.