Superhero Genre: The Sub-Genre of the Action Film

Though an amazing film, the following is not a review of The Dark Knight but an observation on or definition of a genre that has grown in popularity, the superhero genre. This genre is a sub-genre of the Action film. I say this because, at their core, the two genres deal with the same problems, they dance in the same themes, but they come to two divergent conclusions to a question that has plagued recent society, what does it mean to be a man?

In his article, “I Married Rambo: Spectacle and Melodrama in the Hollywood Action Film,” Mark Gallagher attributes the success of the action film to the way they act in response to social problems. “The Contemporary action film, the most profitable of post modern film genres, uses various formal and narrative strategies to respond to cultural crises about masculinity and male social roles.” Because the male role has been blurred (and some may say rightly so) by the acceptance of feminism, culture has undergone crisis in what it means to be a man. Action films are the response to this insecurity. The action hero is muscular beyond all reason. He totes large phallic weapons to defeat anyone who opposes him. The action hero is adored by unnaturally beautiful women. He is able to drive amazing cars and fly jets and helicopters. See almost any Arnold Schwarzenegger, Sylvester Stallone, or Vin Diesel movie for examples. The spectacle of these films is to be viewed, not only in the large, smooth, muscular form of the action hero, but also in the special effects and stunt work. “[W]hile most viewers observe real physical violence at some point in their lives, action films both locate viewers at a safe remove from conflict and choreograph action in a lyrical or spectacular style.” The action film’s answer to our crisis then is a spectacle of manhood. Susan Jeffords, in the article, “Can Masculinity Be Terminated?” suggests the external spectacle of the male body in action films points not only to action film’s answer to what a man is, but an answer for the culture.

“The male body – principally the white body – became increasingly a vehicle of display – of musculature, of beauty, of physical feats, and of a gritty toughness. External spectacle – weaponry, explosions, infernos, crashes, high-speed chases, ostentation luxuries – offered companion evidence of both the sufficiency and the volatility of this display. That externality itself confirmed that the outer parameters of the male body were to be the focus of the audience attention, desire, and politics.”

The bigger and harder the male bodies, the more of a man they are. The bigger the gun, the more of a man. The more you can kill, the more of a man. This is our answer?
Like me, most men feel discouraged by this. I do not want to believe that this is what makes a man. I, of course, am not alone in my assumptions about a stereotype I cannot live up to. My comic book brethren, the nerds, the dorks, the geeks, the superhero fans, have indeed created a new answer.

To define the superhero genre, we will look at several films that have firmly placed themselves in the realm of film icons. They do this by shattering box office records and creating some of the most memorable characters and scenes in all of cinema. Superman (Donnor 1978), Spiderman (Raimi 2002), and Batman (the original, Burton, 1989 and The Dark Knight, Nolan, 2008) These films are similar to action films. They begin in action, are set in an urban setting, are violent, and, most importantly, give an answer to the crisis of masculinity. If one doubts the validity of whether or not they are purposefully giving us a look at this cultural fear, simply look at the names. SpiderMAN, SuperMAN, BatMAN!

So, what is the answer that suoperhero films give us and how is it different than action films? Though the answer is obscured by lack of phallic weaponry and a covering of the male body (costumes), it can be found. A real man is moral and responsible.

“With great power comes great responsibility.” Ben Parker (Spiderman)

Superheroes rarely ever kill. They subdue. They play by the rules. They don’t besmirch their goodness with killings. Though Peter Parker confronts the man who killed his uncle, he does not kill him. Though Batman only needs to let go of the Joker, he does not (in both films). Though Superman confronts criminals all the time, he always returns them to the proper authorities. Superheroes are the “good” guys in almost every sense of the word.

They are also the reluctant heroes, the “weeping prophets.” They each have a choice. Continue on fighting crime and doing good at a high price or leave it to someone else. The very fact that they are in possession of such power forces them to do it. If one has the ability to stop an atrocity, one cannot deny this. . According to these films, a real man is courageous and comes to the aid of those in trouble. He does not resist the authorities put in place, but works with them. He values human life. He is intelligent and hardworking, able to hold a job and be a superhero. He longs for love in his life and a connection to other humans.

Superman relates to the audience at the end of his film displacing any critique that was to say the male viewer cannot relate to such a fictional character. He brings Lex Luthor and his stooge, Otis, to justice and then looks into the camera saying, “we are all part of the same team.” This invites the viewer to participate in being a man like Superman, one that is responsible and does what is right despite personal risk.
In The Dark Knight, Batman realizes his role is not the poster child for hope and what is right. He understands his exact niche and succumbs to that by the end of the film. He gives up the possibility for parades and flowers and adoring fans. He plays the role of the “Dark” knight, contrasted to the “white” knight, Harvey Dent, the law.

These films protest that what makes a person a man is not the numbers of killed bad guys, the size of the gun, the damage created, or the woman that is won. What makes a man a man is his ability to take responsibility, to do what is right. This, finally, is a portrait of manhood that is, not only realistic in theme but, moral. I want to be that kind of man.

This is a summary of an article I have written, detailing the super hero genre as a sub-genre of film. The entire article dives into each of these films in greater depth and lists six attributes that will set apart this genre from others. It includes a guide on how to spot the role-model characters by contrasting them with the emasculated characters of these films, the ones who have been feminized (to a spectacular degree in some cases). If you care to view the entire article please contact me at gilbertfilm@gmail.com. I cannot conclude this entry though without praising the superb acting of Heath Ledger. The film community has lost a very dear friend and artist. It is indeed a tragedy.