Capes of Equality The female superhero in modern solo superhero films
Authors
Ahmadileh, Peivand ; Rune, Saskia Salomine
Term
4. term
Education
Publication year
2021
Submitted on
2021-06-02
Pages
81
Abstract
This thesis examines how four modern female-led superhero solo films—Catwoman (2004), Elektra (2005), Wonder Woman (2017), and Captain Marvel (2019)—portray their heroines in both narrative structure and on-screen representation. Combining Joseph Campbell’s Hero’s Journey and Maureen Murdock’s Heroine’s Journey with feminist film theory on the male gaze and debates around a possible female gaze, the study conducts a comparative, close reading of character arcs, story design, and visual framing. It situates these films within the post‑9/11 expansion of superhero cinema and the four waves of feminism to identify which stereotypes and tropes persist and where ruptures and innovations emerge. The thesis also discusses objectification (including male objectification), sexualization, political messaging, and backlash culture in the reception of these works. The excerpt indicates that earlier portrayals often leaned on tropes and the male gaze while suggesting a more recent shift toward varied and progressive depictions; detailed findings are developed in later analytical and discussion chapters.
Dette speciale undersøger, hvordan fire moderne solofilm med kvindelige superhelte – Catwoman (2004), Elektra (2005), Wonder Woman (2017) og Captain Marvel (2019) – fremstiller deres heltinder i både fortælling og visuel repræsentation. Med udgangspunkt i Joseph Campbells helterejse og Maureen Murdocks heroine-rejse samt feministisk filmteori om blandt andet det mandlige blik og debatten om et muligt kvindeligt blik, foretager studiet en komparativ, tekstnær analyse af heltenes narrativer, karaktertræk og iscenesættelse. Specialet sætter udviklingen i kontekst af superheltegenrens vækst efter 9/11 og de fire bølger af feminisme for at belyse, hvilke stereotyper og troper der gentages, og hvor der optræder brud og fornyelse. Det diskuterer også objektificering (herunder mandlig objektificering), seksualisering, politiske budskaber og backlash-kultur i modtagelsen af disse film. Uddraget peger på, at tidligere fremstillinger ofte har lænet sig op ad troper og det mandlige blik, men antyder samtidig et nyere skifte mod mere varierede og progressive skildringer; de detaljerede resultater præsenteres i de efterfølgende analyser og diskussioner.
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Keywords