Estimated Reading Time: 48 minutes
A friend convinced me to take my “fake PhD” and actually apply to a Media Studies PhD program. I discovered that I had a woeful lack of suitable material for a writing sample. My brilliant idea? To write a new article completely from scratch. The following is my 9000+ word piece written in one month with only public library database access and an actual mental breakdown thrown in there for kicks. For future purposes, consider this a draft version of any subsequently published material. First completed December 1, 2015.
Spoilers for: Nolan’s Dark Knight trilogy and basically the entire MCU. Additional warning that this is in serious academic-speak.
The official Bush Administration rhetoric contextualized the terrorist attacks of September 11, 2001 as a large-scale battle between the forces of good and evil, and freedom and oppression. The American public was content accepting that narrative for a time, but as doubts began to form it increasingly processed the national trauma of 9/11 through fantasy and popular culture. During the 2000s, the superhero film genre flourished, breaking box office records and providing a platform for both complicity in the official good vs. evil narrative and dissent from such a simplistic worldview. Two of the most popular and complex characters to launch into the public consciousness were DC’s famous tycoon Batman in Christopher Nolan’s The Dark Knight trilogy and Marvel Studio’s answering billionaire arms dealer: Iron Man. Nolan’s Batman films religiously adhere to the heroic traditions of moral simplicity and a battle between good and evil while rigidly maintaining the comic book conventions of lone men, hyper-masculinity, and secret identities. The Iron Man films intentionally toy with and discard all of these conventions, preferring a more nuanced narrative that exposes the underlying imperialistic intentions of the American capitalist and questioning the demonization of foreign peoples. Both film series are in dialogue with the prevailing political narrative, offering audiences the chance to process the 9/11 attacks while also providing an avenue of dissent in a cultural climate that had silenced all objection to nationalistic war.