Superheroes: Metaphors for Ideal American Values

In the 1930’s emerged a new form of entertainment. The comic universe was one which combined strong storylines with dynamic graphics. The social context and style within which they were constructed was such that superheroes emphasized classic American values. These values of chivalry, strength and leadership were regarded as concepts that created a sense of solidarity and national sentiment among readers, all belonging primarily to America. These heroes were advocates not just for these American ideals; they were also seen as those intended to safeguard it. They were considered a metaphor for the “ideal American”. This nationalistic sentiment was originally what made superheroes popular, but as their popularity increased, publishers, fuelled

Superheroes such as Captain America are a good example of this. Everything from his name, stars-and-stripes costume, and defence of truth, justice, and the American way is saturated with nationalistic symbolism. And if exposure to nationalistic symbolism bolsters nationalistic sentiment, take a moment to think on just how much we're exposed to American superhero media. They're in everything from comics, movies, and TV shows, to clothing, toys, and school supplies. And it is this, the osmosis of superheroes and comics into almost every stream of life which must raise important questions as: how and by whom are these superheroes being constructed? This paper will therefore look into how the nationalistic superhero genre emerged, and will explore the various methods and intents by which it has been reproduced so as to have a determined impact upon national sentiment and American branding in the geopolitical world, with emphasis upon the connection between America and other particular territories or

It is a set of guidelines which, over time, become ingrained within the general public by various mediums of formal institutions, socialisation and the media. Hegemony, once established, becomes so deeply entrenched amongst the masses that it begins to become the accepted norm, a ‘common sense’ of sorts which becomes inherent, obvious and unchallenged. Gramsci’s notion of hegemony, which is the foundation of a sturdy domestic administration, becomes concretised within society by unanimous conformity to it or consensus. Even though Gramsci’s concept of hegemony was originally propounded during the time of the Marxist revolution, its nuances resound strongly with capitalist understandings of what a nation should be like. Joanne Sharp, a professor of geography at the University of Glasgow, uses Gramsci’s concept of hegemony and inserts within it an understanding of popular culture as a crucial part of the literature of nationalism and identity. She comments that Hegemony is not only affirmed via political ideology but also, more effectively, by the modelling of the most everyday of activities, which is where it lends credit to popular culture. It garbs itself with a cloak of a nonconflictual nature and eventually permeates everyday life. Any political investigation of