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Superhero’s are a strange phenomena, generated mostly from humans own insecurities about the control which they have on their own lives. The need for control is paramount in establishing the re-emergence of the superhero genre into cinema. With the improvements in technology over the last decade people no longer feel in control of their lives, computers act as many people’s interface with the outside world. As such the need for a role model who is completely in control of their own destiny is empowering to the general public. With a film such as Spiderman it is shown that the changes that affect Peter Parker could affect anyone. Especially considering the film’s targeted age range. Tobey Maguire’s everyman representation shows that anyone can change their own destiny. For a society that encourages children to mimic each other, be it in fashion, tastes or hobbies, the film takes a strong anti-establishment viewpoint.
Similarly, M.J is a classic example of the damsel in distress, in many ways she is only present so as to be rescued by Spider-man. However, Sam Raimi is not content with this and constructs a powerful love triangle between the principle protagonists which is the central force which guides the films narrative. By having the beautiful Kirsten Dunst fall for Maguire in this way the film lives out the fantasies of many boys in their teens without ever alienating the female audience. Crucially the audience will want to be Spider-man. Spider-man can fly between buildings, defeat the evil green goblin and still get the girl. The influence of Maguire on this believability is huge. The diametrically opposed character construction of Parker from his superhero alter-ego is strong enough to convince the audience that Mary Jane would not notice the similarities between the two. This is imperative as it convinces people that one incident could change their lives forever.
Spider-man is set to become the first in a long line of comic-book heroes “re-imagined” for the big screen. This would have been surprising had it not been for the events of September the 11th. America is no longer a safe place. In many ways the indestructible American way of life has been threatened and people no longer feel comfortable. Therefore it is clear that superhero’s have been brought forward. This is obviously not the only reason, Spider-man was already in production when the horrific events occurred, but the green-lighting of projects such as The Hulk and Daredevil is no co-incidence. Yet it is a big gamble. By the time the projects are finished will the American public still need the heroic good versus evil metaphorical boasts that they feel they need at the moment? Spider-man counters this in that its primary message that power comes with great responsibility is a clear warning to the world’s biggest superpower that it has a responsibility to the rest of the world to react with restraint in its fight against international terrorism. Perhaps somebody should show the film to George W..
Similarly, M.J is a classic example of the damsel in distress, in many ways she is only present so as to be rescued by Spider-man. However, Sam Raimi is not content with this and constructs a powerful love triangle between the principle protagonists which is the central force which guides the films narrative. By having the beautiful Kirsten Dunst fall for Maguire in this way the film lives out the fantasies of many boys in their teens without ever alienating the female audience. Crucially the audience will want to be Spider-man. Spider-man can fly between buildings, defeat the evil green goblin and still get the girl. The influence of Maguire on this believability is huge. The diametrically opposed character construction of Parker from his superhero alter-ego is strong enough to convince the audience that Mary Jane would not notice the similarities between the two. This is imperative as it convinces people that one incident could change their lives forever.
Spider-man is set to become the first in a long line of comic-book heroes “re-imagined” for the big screen. This would have been surprising had it not been for the events of September the 11th. America is no longer a safe place. In many ways the indestructible American way of life has been threatened and people no longer feel comfortable. Therefore it is clear that superhero’s have been brought forward. This is obviously not the only reason, Spider-man was already in production when the horrific events occurred, but the green-lighting of projects such as The Hulk and Daredevil is no co-incidence. Yet it is a big gamble. By the time the projects are finished will the American public still need the heroic good versus evil metaphorical boasts that they feel they need at the moment? Spider-man counters this in that its primary message that power comes with great responsibility is a clear warning to the world’s biggest superpower that it has a responsibility to the rest of the world to react with restraint in its fight against international terrorism. Perhaps somebody should show the film to George W..
Amen.
(have you ever thought of writing film reviews?)
(have you ever thought of writing film reviews?)
Superhero’s are a strange phenomena, generated mostly from humans own insecurities about the control which they have on their own lives. The need for control is paramount in establishing the re-emergence of the superhero genre into cinema. With the improvements in technology over the last decade people no longer feel in control of their lives, computers act as many people’s interface with the outside world. As such the need for a role model who is completely in control of their own destiny is empowering to the general public. With a film such as Spiderman it is shown that the changes that affect Peter Parker could affect anyone. Especially considering the film’s targeted age range. Tobey Maguire’s everyman representation shows that anyone can change their own destiny. For a society that encourages children to mimic each other, be it in fashion, tastes or hobbies, the film takes a strong anti-establishment viewpoint.
Similarly, M.J is a classic example of the damsel in distress, in many ways she is only present so as to be rescued by Spider-man. However, Sam Raimi is not content with this and constructs a powerful love triangle between the principle protagonists which is the central force which guides the films narrative. By having the beautiful Kirsten Dunst fall for Maguire in this way the film lives out the fantasies of many boys in their teens without ever alienating the female audience. Crucially the audience will want to be Spider-man. Spider-man can fly between buildings, defeat the evil green goblin and still get the girl. The influence of Maguire on this believability is huge. The diametrically opposed character construction of Parker from his superhero alter-ego is strong enough to convince the audience that Mary Jane would not notice the similarities between the two. This is imperative as it convinces people that one incident could change their lives forever.
Spider-man is set to become the first in a long line of comic-book heroes “re-imagined” for the big screen. This would have been surprising had it not been for the events of September the 11th. America is no longer a safe place. In many ways the indestructible American way of life has been threatened and people no longer feel comfortable. Therefore it is clear that superhero’s have been brought forward. This is obviously not the only reason, Spider-man was already in production when the horrific events occurred, but the green-lighting of projects such as The Hulk and Daredevil is no co-incidence. Yet it is a big gamble. By the time the projects are finished will the American public still need the heroic good versus evil metaphorical boasts that they feel they need at the moment? Spider-man counters this in that its primary message that power comes with great responsibility is a clear warning to the world’s biggest superpower that it has a responsibility to the rest of the world to react with restraint in its fight against international terrorism. Perhaps somebody should show the film to George W..
Similarly, M.J is a classic example of the damsel in distress, in many ways she is only present so as to be rescued by Spider-man. However, Sam Raimi is not content with this and constructs a powerful love triangle between the principle protagonists which is the central force which guides the films narrative. By having the beautiful Kirsten Dunst fall for Maguire in this way the film lives out the fantasies of many boys in their teens without ever alienating the female audience. Crucially the audience will want to be Spider-man. Spider-man can fly between buildings, defeat the evil green goblin and still get the girl. The influence of Maguire on this believability is huge. The diametrically opposed character construction of Parker from his superhero alter-ego is strong enough to convince the audience that Mary Jane would not notice the similarities between the two. This is imperative as it convinces people that one incident could change their lives forever.
Spider-man is set to become the first in a long line of comic-book heroes “re-imagined” for the big screen. This would have been surprising had it not been for the events of September the 11th. America is no longer a safe place. In many ways the indestructible American way of life has been threatened and people no longer feel comfortable. Therefore it is clear that superhero’s have been brought forward. This is obviously not the only reason, Spider-man was already in production when the horrific events occurred, but the green-lighting of projects such as The Hulk and Daredevil is no co-incidence. Yet it is a big gamble. By the time the projects are finished will the American public still need the heroic good versus evil metaphorical boasts that they feel they need at the moment? Spider-man counters this in that its primary message that power comes with great responsibility is a clear warning to the world’s biggest superpower that it has a responsibility to the rest of the world to react with restraint in its fight against international terrorism. Perhaps somebody should show the film to George W..