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Keeping the 'he' in 'heroes': A femi...

Stoltzfus, Laura.

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Keeping the 'he' in 'heroes': A feminist political economic look at DC and Marvel superhero film adaptations.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Keeping the 'he' in 'heroes': A feminist political economic look at DC and Marvel superhero film adaptations./
作者:	Stoltzfus, Laura.
面頁冊數:	120 p.
附註:	Source: Masters Abstracts International, Volume: 53-02.
Contained By:	Masters Abstracts International53-02(E).
標題:	Communication. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1559575
ISBN:	9781321003550

Keeping the 'he' in 'heroes': A feminist political economic look at DC and Marvel superhero film adaptations.
Stoltzfus, Laura.

Keeping the 'he' in 'heroes': A feminist political economic look at DC and Marvel superhero film adaptations. - 120 p.

Source: Masters Abstracts International, Volume: 53-02.

Thesis (M.A.)--The Florida State University, 2014.

The genre of superhero films has taken the movie industry by force, resulting in over a dozen comic book adaptations within the past decade alone. These films are based on intellectual properties originally appearing in comic books, and most of the adaptations are from DC and Marvel characters. As DC and Marvel, the two largest publishing houses, are wholly owned by TimeWarner and Disney, respectively, superheroes are easy and free content for media conglomerates to adapt. Due to the success of the superhero genre and its various offshoots like toys, video games, and merchandise, this work examines the top ten films since 2000 through the lens of feminist political economy of media. Issues like ownership within the comic book industry and the film industry, the inherent patriarchy of hierarchical capitalism, and gender representation in adaptations will be explored.

ISBN: 9781321003550Subjects--Topical Terms:

524709
Communication.

Keeping the 'he' in 'heroes': A feminist political economic look at DC and Marvel superhero film adaptations.
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520 $a The genre of superhero films has taken the movie industry by force, resulting in over a dozen comic book adaptations within the past decade alone. These films are based on intellectual properties originally appearing in comic books, and most of the adaptations are from DC and Marvel characters. As DC and Marvel, the two largest publishing houses, are wholly owned by TimeWarner and Disney, respectively, superheroes are easy and free content for media conglomerates to adapt. Due to the success of the superhero genre and its various offshoots like toys, video games, and merchandise, this work examines the top ten films since 2000 through the lens of feminist political economy of media. Issues like ownership within the comic book industry and the film industry, the inherent patriarchy of hierarchical capitalism, and gender representation in adaptations will be explored.
520 $a Concluding that superhero films as a genre of profitable adaptations perpetuate stereotypes of females as dangerous vixens or damsels in distress, and that females have less agency than their male counterparts, I argue that such representations are the result of a media oligopoly and are problematic in nature. Viewers of such movies respond in different ways, but the messages are reaching them and there is a likelihood that fans will echo the gendered roles portrayed on screen.
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