By Jason Dittmer
Nationalist superheroes - corresponding to Captain the USA, Captain Canuck and Union Jack - usually symbolize the "nation-state" for readers, yet how do those characters and comedian books deal with problems with multiculturalism and geopolitical order? In his enticing booklet, Superpowers, geographer Jason Dittmer lines the evolution of the comedian ebook style because it tailored to new nationwide audiences. He argues that those iconic superheroes give a contribution to our modern understandings of nationwide id, the righteous use of strength, and the position of the united states, Canada, and Britain on the planet. Tracing the nationalist superhero style from its global conflict II origins to its modern manifestations in the course of the international, Superpowers analyzes approximately 1000 comedian books, and contains interviews with key comedian e-book writers from Stan Lee and J.M. DeMatteis to Steve Englehart and Paul Cornell. At a time while pop culture is saturated with superheroes and their exploits, Superpowers highlights the original dating among pop culture and diplomacy.
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Additional info for Captain America and the Nationalist Superhero: Metaphors, Narratives, and Geopolitics
While none of the Liberty Legionnaires received enough pages to flesh out their modern personalities, Miss America functioned as a point of romantic tension, especially in her relationship with the Whizzer (whom she eventually married). ”33 In many ways Miss America can be held as the icon of classically feminine nationalist superhero— subordinate to, and understandable in relation to, the men in her life. Sabra, on the other hand, is an Israeli nationalist superhero who appears occasionally in various Marvel comics.
The twentieth-century emergence of the nationalist superhero in the United States and its subsequent spread to the United Kingdom and Canada is indicative of the times; the prime modernity of the United States during its hegemony heightened the appeal of American cultural products in other parts of the world, however oddly these superheroes fit in with local forms of nationalism. The dependence of British and Canadian nationalist superhero comics on American capital and markets hints at the economic dimension of American hegemony in the twentieth century.
Canadian attempts at superhero publishing tend to be much more self-consciously nationalist; perhaps as a result of Canadian concern over being subsumed within American culture, the producers always seem to be contrasting the Canadian product with the American. As a consequence, virtually all Canadian-made superheroes can be categorized as nationalist superheroes while virtually all British-made superheroes are not. While the thriving British comics industry was producing its own heroes, it was up to Marvel Comics to introduce the notion of nationalist superheroes such as those already found in the United States and Canada.
Captain America and the Nationalist Superhero: Metaphors, Narratives, and Geopolitics by Jason Dittmer