Underrepresentation In Superhero Comic Books

Movies and entertainment outlets speak volumes about the current state of a nation’s culture. Cinematic creations in the United States allow small voices to be heard and controversial issues to be addressed. However, a repetitive and monumental issue continues to be addressed, yet continues to persist in our 21st century culture, racial inequalities. Since the inception of the United States, black men and women alike have been disenfranchised at the hands of the “white man” in America. Instead of continuing the conversation today, the issue is continually silenced referencing the successes and achievements of the Civil Rights Movement in the 20th century. Nonetheless, an unfortunate reality looms upon this great land; racially based systems and structures continue to exist in 2015 the in United States. This paper synthesizes three films focused on racial inequalities in different time periods. Separate but Equal (1991), Selma (2015), and Crash (2005) illustrate how influential the Civil War amendments are, while serving as an uncanny reminder of how the racial prejudices during the 20th century continue to exist in our great nation today. Needless to say our nation has made great strides, but still has a long way to go.

When it comes to superheroes, most of them have costumes, nickname, and certain powers that make them unique. The Google definitions of the term “superhero” is “fictional characters with superhuman powers.” In today’s world, there are superheroes who do not have superhuman abilities but use human materials to fight crime. Are those with natural abilities denied the title of a “superhero?”

I believe we as a society are intrigued with shows like Dexter because they allow us a temporary escape from reality. A reality in which we witness injustices occur in our court systems such as a legal loop hole allowing a guilty person to essentially walk free and justice not being served for the victim. I will attempt to explain why these characters are thriving as pop culture icons.

The portrayal of superheroes in films has changed in terms of their character, appearance, style and strength. Superheroes has been a popular theme in hollywood films since its inception. They are what peoples imagination can only think of. A perfect human being who saves the world .The first time superhero appeared on T.V was “The Adventures of Captain Marvel” in 1941. Superheroes was on the rise within popular comic books in 1930′s to the 1940’s as well in which they were considered the ‘Golden Age of Comic Books’ . Comic books became widespread and popular which translated into making films about them.

In today 's society, equality is a big deal, with many people still fighting for their rights. People all over the world are still being discriminated against, a topic that is not uncommon for a vast amount of dystopian novels. In fact, it 's a very common theme for multiple dystopian pieces. Scott Westerfeld 's Uglies, Joelle Charbonneau 's The Testing, Liam Hughes ' The Social Classes, Kurt Vonnegut Jr. 's Harrison Bergeron, and Wes Ball 's interpretation of The Maze Runner all have social discrimination integrated into their story lines. Despite the many problems in dystopian societies, authors also present the classic hero that rises above those issues and works to rebuild their government or community. However, a hero isn 't just born, they 're made through a series of events such as problems with social class discrimination.

Television and film is a huge part of American culture. As the “face” of America changes, it is expected for our media to reflect it. Unfortunately, this is not the case. Since the beginning of film, minorities have been misrepresented and underrepresented. While there has been a significant increase in minority actors since the beginning of film, there is still a huge underrepresentation present in American television and film. Our media needs to reflect out diverse country. This topic is always important and relevant because race, gender, and sexuality, in general, have been issues throughout the growth of television and film. Even today, minorities are subject to

Darowski, Joseph J. The American Way: What Superman, Batman, Spider-Man, and the X-Men Reveal about America. N.p. 2006.

During the process of producing a television series, the demand for the producers to introduce their characters with only their highlighted traits make it impossible for viewers to gain a deep understanding of the community that the characters represent. One of the stereotypic traits that is usually seen on movies and television shows is societal difference that each race is placed into. Michael Omi in his article In Living Color: Race and American Culture stated that “in contemporary television and film, there is a tendency to present and equate racial minority groups and individuals with specific social problems” (546). There are many films and television shows found today that ground racial minorities into a specific social problems that are related to the color of their skin. It can be inferred from the current popular culture that this stereotype still persists.

I have chosen the issue of “miss/underrepresentation of minorities in American television and film.” As America has changed over the years to become much more accepting and inclusive, American media seems to be a bit behind. There are countless instances in which characters from a book or graphic novel has been white-washed once they make it to the big screen. Some may argue these choices are made because the actor is very strong at their craft or they are a star and will bring in the big bucks in theaters. While this may be true, it completely discredits not only the original art and meaning of the work but also the community of talented non-white artist in America. I want to delve deep into the reason this can be happening in a generally

Comic books are all too often dismissed as frivolous and not a medium of hard hitting social commentary, however, just like any other form of media they can be powerful tools in examining society. Captain America is no exception to this, and while often associated with the Second World War and jingoism, the latest installment of his franchise within the Marvel Cinematic Universe Captain America: The Winter Soldier is not only paying homage to the 1970s spy genre, but examines America’s current political landscape by approaching hot button topics born from the War on Terror from the obvious issues like domestic surveillance and questionable methods of national security to less obvious topics such as the effects of war on soldiers. Captain America: The Winter Soldier invites the audience to question what society has given up in the name of national security and what the cost of relinquishing that freedom is.

In 2014, growth has been made but there are new hindrances that stand in the way of Black representation. One problem is in the use of ethnic recasting, make normally white characters and casting them as people of color, which works in theory but has downsides in practice. Another is a form is representation that is not truly representation. Now, instead of creating stories that have black heroes, many stories have biracial characters. Others have characters whose race is not easily clear, or purposefully left undefinable. These characters are then called a

Through a number of important essays, Marleen Barr’s “Afro-Futurism” opens up a conversation about racial autonomy and collective agency in a literary space that seems to have been reluctant to even whisper about such things: namely, Science Fiction. Maybe that is not all that surprising given the genre’s predominantly white(ned?) literary categorization that, while it has no outright barred people-of-color, has not in turn seemed to make any meaningful space for them, either . Indeed, there is such an implicit racial claim of science fiction by White Culture that when a person-of-color is cast in one of the starring roles of a major Science Fiction production – oh, let’s say “Star Wars: The Force Awakens” – that there is a massive outcry and calls for boycott and existential fears of white erasure.

Films have the power to both influence and reflect society. The stereotypes prevalent throughout American culture are reflected in most films. While the United States is becoming an increasingly diverse country, this diversity is not portrayed within American cinema. Minority figures often occupy

If it was not for All-New Ultimates by written by Michael Fiffe and illustrated by Amilcar Pinna, the reader may not had learned certain lessons about live and identities. They may not had learned that it is perfectly fine if they’re querre and that they should worry if people accept it or not. They many not had learned that there is a difference between moving forward to become a more tolerant and open-minded person and simply ignoring the problems of past wrong doings that would be considered discriminatory. They may not have learned the effects of economic difficulties and what it feels like to live in an impoverished neighborhood that is actually being protected. Moreover, int would had been impossible for this comics to be able to touch

A superhero’s main characteristic is to be able to a unique individual which will separate them from being categorized with the typical other “heroes”. Coogan states that a “superhero” is an individual that exemplifies the three main characteristics mission, power and identity. A unique superhero must have a mission that involves the main motive to save civilians without there being any personal gain from this experience. Coogan states that without this personal mission that this “superhero” would just be a ordinary person that would be an extremely helpful in the event of a dilemma. A unique superhero must posses these extraordinary but mystical powers that reflect their human identity or personality. These powers have been greatly exaggerated