Masterarbeit, 2011
49 Seiten, Note: 1,5
1.Explanation of quoting style
2.Introduction
3.History of superhero comics
3.1.Before the superheroes came
3.2.The Golden Age of Comics
3.3.The comic book regression of the 1950s
3.4.The Silver Age of Comics
3.5.The Bronze Age of Comics
3.6.The Modern Age of Comics
4.What are Superheroes?
5.Kinds of revisionism
5.1.Additive Revisions
5.2.Fundamental Revisions
5.3.Conceptual Revisions
5.4.Critical Revisions
5.5.Critique on Wandtke's classification
5.6.Maturing of the medium
6.Wonder Woman 1941 vs. 2009: Comparing two origin stories and their messages
6.1.William Moulton Marston and his idea of an ideal world
6.2.Wonder Woman in the 1940s
6.3.Wonder Woman in 2009
6.4.Comparing the two stories
7.Captain America
7.1.Captain America in the late 1940s and 1950s
7.2.Captain America in the 1960 and 1970s
7.3.The War on Terror and the Death of Captain America
8.Batman
8.1.Batman and accusations of homosexuality
8.2.Impact of Wertham's accusations on Batman comics
8.3.Batman revisited: The “New Look“
9.Example for an English-lesson involving superhero comics
10.Conclusion
This thesis examines how American superhero comics have evolved over time to maintain social and political relevance, hypothesizing that these narratives function as reflective mirrors of their respective eras. By analyzing specific characters such as Wonder Woman, Captain America, and Batman, the work explores how comic book storytelling adapts to shifting cultural values and political climates, ultimately demonstrating that these media serve as vital, immediate witnesses to history.
3.3.The comic book regression of the 1950s
The era between the late 1940s and the first half of the 1950s brought change to the superhero comic market. Superman, Batman and Wonder Woman were still being published but apart from that the big sellers of the comic industry were horror and crime comics. Other famous genres of that era were funny animals, romance comics and westerns (see Duncan & Smith p.37; Fingeroth 2008 p.14).
In 1947, there were ten crime comic book titles, one year later, in 1948 they “were joined by twenty-three new crime titles – ten of them beginning with the word crime or criminal” (Duncan & Smith p.37).
That year also marked the time when comic books became vilified by parts of the public. It was the first time a well established psychiatrist by the name Dr. Frederic Wertham, who was the senior psychiatrist for the New York Department of Hospitals, spoke out against comics in a symposium on “The Psychopathology of Comic Books”. At the same time “[c]itizen's groups formed to push for regulation or banning of comic books. Some towns even held comic book burnings in order to exorcise the threat of crime comics from their communities” (Duncan & Smith p.37).
This encouraged some comic book publishers to form the Association of Comics Magazine Publishers (ACMP) in July 1948. They created a code of standards and a seal, which could be put on comic book covers that followed those standards. The code, however, was ignored by most publishers as they did not care for the public outcry as long as the business was growing.
1.Explanation of quoting style: Details the departure from standard APA citation formats to better accommodate the specific needs of referencing comic book issues.
2.Introduction: Sets out the hypothesis that superhero comics act as reflective markers of their socio-political environments and outlines the structure of the comparative analysis.
3.History of superhero comics: Provides a chronological overview of the comic book industry, tracing its evolution from newspaper origins through the Golden, Silver, Bronze, and Modern Ages.
4.What are Superheroes?: Investigates the definitions of heroism and the superhero archetype, arguing that these figures ultimately represent the evolving values of the society that creates them.
5.Kinds of revisionism: Categorizes and defines various forms of narrative adjustment—Additive, Fundamental, Conceptual, and Critical—used by writers to keep superhero myths current.
6.Wonder Woman 1941 vs. 2009: Comparing two origin stories and their messages: Analyzes shifts in gender roles and feminism by comparing the character’s original inception with its 2009 animated reimagining.
7.Captain America: Explores the character as a political indicator, tracing his transition from a WWII anti-Nazi figure to a Cold War "Commie Smasher" and finally a disillusioned hero in the Watergate era.
8.Batman: Examines the 1950s moral panic surrounding the character, focusing on Wertham’s accusations of homosexuality and the subsequent editorial changes to his narrative tone.
9.Example for an English-lesson involving superhero comics: Outlines a practical lesson plan for utilizing comic books to teach history and language to tenth-grade students.
10.Conclusion: Synthesizes the findings, confirming that while the superhero medium is reactive and market-driven, its capacity for narrative change makes it an essential tool for historical and cultural analysis.
Superhero, Comics, Revisionism, Social Change, Cultural History, Gender Roles, Wonder Woman, Captain America, Batman, McCarthyism, Comics Code Authority, Frederic Wertham, Patriotism, Narrative Adaptation, Educational Media
The paper posits that superhero comics act as mirrors of their society, evolving over time to remain relevant. By analyzing key figures, the reader can draw meaningful conclusions about the social, cultural, and political climates in which these stories were created.
The work focuses on the intersection of popular culture and history, specifically examining how superhero narratives adapt through revisionism to reflect changing public concerns, gender perceptions, and political tensions.
The objective is to prove that superhero comics are not just static entertainment but dynamic mediums that react to external world events, making them valuable sources for historical research.
The author uses a qualitative, comparative approach, analyzing primary source material (comic books) alongside secondary literature to document shifts in narrative style, character representation, and societal reception.
The main part focuses on three case studies: Wonder Woman, Captain America, and Batman. It details how their individual histories have been revised or reshaped to align with shifting American social and political landscapes.
The work is characterized by terms such as superhero, comic book revisionism, social change, gender roles, cultural history, and political representation in media.
The scandal prompted Marvel to create the "Secret Empire" story arc, where Captain America's faith in the U.S. government was shattered, leading him to briefly abandon his identity in favor of "Nomad" to preserve his moral integrity.
Following Dr. Frederic Wertham's accusations that Batman and Robin were in a homosexual relationship, DC Comics introduced female characters like Batwoman and Batgirl to provide a "pro-feminine" and heterosexual romantic interest for the protagonists, fundamentally altering the tone of the stories.
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