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Bibliografie tematiche / Asian Superheroes

Letteratura scientifica selezionata sul tema "Asian Superheroes"

Autore: Grafiati

Pubblicato: 27 luglio 2024

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Asian Superheroes"

1

C. Van Vleet, Samuel, Everrett Moore, Alvin Akibar, Azlynn Osborne e Yolanda Flores Niemann. "“With Great Power Comes Great Impressionability” A Study Of The Relation Between Stereotypes And Superheroes". International Journal of Arts, Humanities & Social Science 04, n. 02 (12 febbraio 2023): 06–17. http://dx.doi.org/10.56734/ijahss.v4n2a2.

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Abstract (sommario):

The present multimethod research examines different stereotypes about race via a comic book superhero lens. This study focuses on the ascription of traits to a superhero figure developed specifically for this research, examining differences in trait ascription based on the race and sexual orientation of the hero. A diverse sample of participants (N= 371) were presented random drawings of either White, African American, Hispanic, Middle Eastern, Asian, or Native American superhero images and asked questions about their perceptions of the hero’s traits, character role (hero, villain, sidekick), powers, and socioeconomic status. Additionally, hero sexual orientation was manipulated (Heterosexual x Gay), bringing 12 conditions of hero identity that were randomly assigned to participants in a 6 (Race: White x Black x Latinx x Asian x Arab x Native American) x 2 (Sexual Orientation: Heterosexual x Gay) cross-sectional design. Results indicated that participants ascribed certain traits differently based on the race of the hero as well as how race and sexuality of the hero interacted. Additionally, results supported the use of original, fictional images as a means of examining participant perceptions of race and sexuality. These empirical findings can be helpful in the creation and real-world adaptations of comic book superhero media and understanding effects of comic media on the development and dissemination of stereotypes.

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2

Powell, Tina. "‘You’re a refugee, are you not?’ ‘Extraordinary bodies’, monstrous outsiders and US refugee policies in superhero comics". Australasian Journal of Popular Culture 12, n. 1 (1 giugno 2023): 9–20. http://dx.doi.org/10.1386/ajpc_00065_1.

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In the 1970s and 1980s, comic book publishing giants DC and Marvel sought to diversify their cast of superheroes to better represent their US readership. While the publishers’ increasingly diverse cast of numerous US constituencies sought to reflect a shift towards greater representation, the flow of migrants/immigrants/refugees that marked the cold war years of the 1960s, 1970s and 1980s remained largely out of the pages of mainstream comics. However, Marvel’s Chris Claremont and DC’s Marv Wolfman and George Perez introduced Vietnamese refugees to two teenage teams in the early 1980s. This article seeks to examine the way these characters, Marvel’s Karma and DC’s Thunder and Lightning, reflect US political rhetoric concerning the South East Asian refugee crisis in the late 1970s/early 1980s. Marvel’s and DC’s characters represent two poles of political thought concerning refugees; Karma is depicted as a victim of communism who is rescued by the United States, while Thunder and Lightning are villains who seek to upend US patriarchal relationships with Asian nations. Using comic studies’ scholarship and current discussions in critical refugee studies, this article argues that the depictions of these refugees reflect national discourse concerning the ideals of the United States.

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3

Schlund-Vials, Cathy J. "Drawing from Resistance: Folklore, Race, andSecret Identities: The Asian American Superhero Anthology". Amerasia Journal 39, n. 2 (gennaio 2013): 1–24. http://dx.doi.org/10.17953/amer.39.2.nx64666g14361481.

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4

Thouny, Christophe. "Lu Yang". Screen Bodies 7, n. 1 (1 giugno 2022): 183–87. http://dx.doi.org/10.3167/screen.2022.070112.

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Abstract (sommario):

Where is Lu Yang? Not here nor there; they might well be this new supernatural life form Maupassant could feel invading his everyday when the world became planetary, an invisible entity coming from abroad and unstoppable. Indeed, Lu Yang (LY) is unstoppable, unlocalizable, out of time and space. Planetary being? Asian superhero? Their aesthetics are avowedly Asianesque, with clear references to Japanese otaku culture, Buddhism, Chinese characters. This is 1990s techno-orientalism on speed opening onto what Livia Monnet calls a planetary unconscious.

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5

Billah, Zakiyah Dania. "Watchmen (2019): Is it an African-American superhero narrative or another traditional way to present racism?" Leksika: Jurnal Bahasa, Sastra dan Pengajarannya 17, n. 1 (20 febbraio 2023): 56. http://dx.doi.org/10.30595/lks.v17i1.15797.

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There have been many studies on race relations between African-American and White-American or Asian-American and White-American. However, there are few studies regarding the portrayal of these three races in media, such as film. The purpose of this study is to expose the Watchmen (2019) television series’ African-American superhero narrative and its racial relationship between white Americans, African Americans, and Vietnamese Americans (Asian Americans). In the United States, recent race relation is considered better than in the past, as proved by Obama serving the country for two terms, but the media is still preserving each race’s labels. This study argues that this series is proof of racist behavior in media. This qualitative study uses narrative and non-narrative to analyze the data gained from the series. This television series, uncommonly, shows the White-American as the villain while the African American as the hero, which makes this series worth analyzing. The series finally attained a complex racial relationship when a Vietnamese-American character was introduced. Racial stereotypes are frequently depicted in popular culture, including movies and television shows. Consequently, it is interesting to investigate its intricacy in light of white supremacy. This series presents several shots and events indicating a racist community, even from the very beginning of the series. Thus, this study argues that the series does not portray White-American as a villain but perpetuates the stereotypes of African-Americans and Asian-American.

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6

Lee, Derek. "Is Psylocke Asian? The Racial Fantasy and Ambiguity of an Uncanny Oriental". Inks: The Journal of the Comics Studies Society 8, n. 1 (marzo 2024): 53–77. http://dx.doi.org/10.1353/ink.2024.a927236.

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ABSTRACT: The X-Man Psylocke is often dismissed as a hopelessly problematic character: a white Englishwoman in the body of a Japanese ninja with a convoluted backstory and a sexualized costume. This essay reinterprets her as a seminal character in comics history who serves as a visual index for Asianness by revealing both America’s volatile racial politics and the enduring legacy of Orientalism in the superhero genre. Drawing on theories of racial ambiguity, Orientalist stereotyping, and interethnic transformation, I argue that Betsy Braddock’s perpetually evolving face and outfits showcase mass media’s vexed relationship with the Asian diaspora, including its obsession with Asian females, fear of miscegenation, and fascination with the martial arts. Following her original Asianification in the 1980s to her eventual return to whiteness in the 2010s, this study employs Psylocke as an illuminating figure for exploring histories of racialization, yellowface, biological essentialism, and colorblindness in mainstream comics.

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7

Krugliak, M., e N. Bohach. "STEREOTYPES OF THE IMAGE OF THE “COLOR” POPULATION IN AMERICAN MOVIES OF THE XX – FIRST QUARTER OF THE XXI CENTURY". National Technical University of Ukraine Journal. Political science. Sociology. Law, n. 1(53) (8 luglio 2022): 6–13. http://dx.doi.org/10.20535/2308-5053.2022.1(53).261097.

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The article considers the peculiarities of the stereotypical image of the “color” population in the US film industry of the XX – first quarter of the XXI century as one of the manifestations of racism; the reasons for the transfer of “ethnic stereotypes” in cinema have been identified. The brightest ethnic stereotypes in film and television are presented in the form of so-called “tropes”. The heroes of films of Asian descent were endowed with excessive militancy and the ability to master martial arts (tropes “All Asians know martial arts”, “All Chinese people know kung-fu”); Asian women were portrayed as defenseless as opposed to a strong white man (“Mighty Whitey and Mellow Yellow” trope); to describe the black hero took the trails “Humble Servant” (“Mammy”), “African-American criminal” (“Blaxploitation”), “White Savior”, “Magic Negro”, “Black Best Friend”. Latin American heroes are physically perfect, sexual and romantic (tropes “Latin Lover”, “Spicy Latina”). In 2010–2020, the “color” population in Hollywood movies is portrayed from a new angle. The main “non-white” heroes show absolute equality with whites, and sometimes dominance over them. This is a social film about problems of general scale and their perception in society, in particular homosexuality (“Moonlight”); a movie with a black superhero (“Black Panther”); a thriller about the confrontation of a black guy with a group of white killers (“Get Out”). Films of this genre are focused on the “color” spectator. The catalysts for changes in Hollywood policy were the #OscarsSoWhite (2016) and Black Lives Matter (2020) movements. As a result, there was a review of the composition of film production teams with an approximation to the proportion typical of the national population of the United States – 40 % (2020, the share of “color” actors in films was 39. %, directors – 25.4 %, writers – 25.9 %); implementation of new requirements for the Oscar (“Best Film” nomination, from 2024) with quotas on gender and racial composition of the production team, etc.

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8

Woo, Ji-Woon, Kwang-Woo Noh e Jae-Woong Kwon. "The Discourse of Capitalist Society on East Asian Pop Culture: A TV Series of Superhero Animation". Cartoon and Animation Studies 37 (31 dicembre 2014): 45–82. http://dx.doi.org/10.7230/koscas.2014.37.045.

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9

Gutiérrez, Itzayana. "Remediating Kalimán: Digital Evolutions of Eugenic Agents". Asian Diasporic Visual Cultures and the Americas 5, n. 1-2 (11 aprile 2019): 57–78. http://dx.doi.org/10.1163/23523085-00501004.

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Abstract (sommario):

Kalimán is a Mexican superhero that has circulated Orientalist eugenic values for over fifty years across Latin America. Although Indian, and wearing traditional Indian subcontinental clothing, distinguishable only by a jewel-encased “K” on his turban, Kalimán is a muscular, blue-eyed, and white character. He was created in 1963 as the main protagonist of a radio series that spawned a comic magazine in 1965, two films in 1972 and 1976, and animations and video games in the early 2010s, in a massive process of remediation that has guaranteed a solid mark in the cultural patrimony of the Americas. Since Kalimán incarnates impulses of punishment and desire over racially contaminated brown and black characters, his undisturbed, easy-to-access, and enduring presence provides evidence of deeply ingrained anti-Asian violence in Latin American popular culture, as well as the urge to develop a critical look at graphic violence traditions which continue to be treasured.

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10

Sari, Ayu Titis Rukmana, e Wahyudi. "Representation of the panji figure as a millennial-era avenger". JURNAL PENDIDIKAN DASAR NUSANTARA 9, n. 1 (31 luglio 2023): 158–67. http://dx.doi.org/10.29407/jpdn.v9i1.20810.

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The purpose of this research is to explore how the character of Panji is represented in the millennial era. The Panji stories are a treasured historical legacy that once flourished in the past, particularly during the Majapahit era, and spread to various regions in the archipelago and some Southeast Asian countries. Panji is closely associated with being a protagonist figure, which is why he is considered a role model for living a righteous life. In the realm of education, the Panji stories can be thoughtfully incorporated as teaching materials for students, particularly in character education.The character of Panji can serve as a model or avenger, akin to a Nusantara superhero. This research adopts a qualitative research method, and data is collected through secondary sources, such as literature, books, articles, documents, and websites. The findings of this research represent Panji as an avenger in the millennial era, combating the growing influence of Western culture that has seeped into the paradigm of the millennial generation in Indonesia. Moreover, it fosters a sense of patriotism by appreciating the rich cultural heritage of the nation.

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Libri sul tema "Asian Superheroes"

1

(Editor), Jeff Yang, Parry Shen (Editor), Keith Chow (Editor) e Jerry Ma (Editor), a cura di. Secret Identities: The Asian American Superhero Anthology. New York, NY: New Press, 2009.

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2

ill, Liew Sonny 1974, a cura di. The Shadow Hero. New York: Roaring Brook Press, 2014.

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3

Takeuchi, Naoko. Pretty guardian #4: Sailor Moon. New York: Kodansha Comics, 2011.

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4

Takeuchi, Naoko. Sailor Moon, Vol. 4. [Los Angeles, Calif.?]: Mixx Entertainment, 1999.

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5

Hiyokosha, a cura di. Gēmu & anime kyarakutā dezain bukku: Heroes & heroines : Japanese video games + animation illustration. Tōkyō: Pai Intānashonaru, 2011.

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6

Shen, Parry, e Jeff Yang. Secret Identities: The Asian American Superhero Anthology. New Press, The, 2009.

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7

Shen, Parry, Keith Chow, Jerry Ma e Jeff Yang. Secret Identities: The Asian American Superhero Anthology. New Press, The, 2012.

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8

Shen, Parry, Keith Chow e Jeff Yang. Secret Identities: The Asian American Superhero Anthology. New Press, The, 2009.

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9

Kŭkchang pak ŭi Hich'i K'ok'ŭ. Kyŏnggi-do Koyang-si: Giant Books, 2020.

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10

Shen, Parry, Keith Chow, Jerry Ma e Jeff Yang. Shattered: The Asian American Comics Anthology. New Press, The, 2012.

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Più fonti

Capitoli di libri sul tema "Asian Superheroes"

1

Underberg-Goode, Natalie M. "U.S. Asian, Black, and Latino Storytellers Create Their Own Superheroes". In Multiplicity and Cultural Representation in Transmedia Storytelling, 127–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003158905-5.

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2

Dharmasiri, Kanchuka. "From Villain to Superhero". In Frontiers of South Asian Culture, 233–48. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003428572-21.

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3

Enderwitz, Susanne. "“The 99”: Islamic Superheroes – A New Species?" In Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context, 83–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-18393-5_4.

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4

C. Van Vleet, Samuel, Everrett Moore, Alvin Akibar, Azlynn Osborne e Yolanda Flores Niemann. "“With Great Power Comes Great Impressionability”: A Study of the Relation between Stereotypes and Superheroes". In Minorities - New Studies and Perspectives. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.110004.

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Abstract (sommario):

The present multimethod research examines different stereotypes about race and ethnicity via a comic book superhero lens. This study focuses on the ascription of traits to a superhero figure developed specifically for this research, examining differences in trait ascription based on the race and sexual orientation of the hero. A diverse sample of participants (N = 371) were presented random drawings of either White, African American, Hispanic, Middle Eastern, Asian, or Native American superhero images and asked questions about their perceptions of the hero’s traits, character role (hero, villain, and sidekick), powers, and socio-economic status. Additionally, hero sexual orientation was manipulated (Heterosexual × Gay), bringing 12 conditions of hero identity that were randomly assigned to participants in a 6 (Race: White × Black × Latinx × Asian × Arab × Native American) × 2 (Sexual Orientation: Heterosexual × Gay) cross-sectional design. Results indicated that participants ascribed certain traits differently based on the race of the hero as well as how race and sexuality of the hero interacted. Additionally, results supported the use of original, fictional images as a means of examining participant perceptions of race and sexuality. These empirical findings can be helpful in the creation and real-world adaptations of comic book superhero media and understanding effects of comic media on the development and dissemination of stereotypes.

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5

Benson, Josef, e Doug Singsen. "Race and Racism in The Birth of the Superhero". In Bandits, Misfits, and Superheroes, 16–42. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838339.003.0002.

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Abstract (sommario):

Chapter One traces the genealogy of superheroes to the philosophy of Friedrich Nietzsche, early twentieth-century pulp heroes, the eugenics movement, science fiction fandom, and the Ku Klux Klan, among other sources. The chapter also delineates the racist discourse of the Yellow Peril, the supposed threat of invasion from East Asia, and the complicated early contributions of Jewish comic book creators who subtly encoded their ethnic and religious heritage in their work while directing their ire on minorities further down the racial hierarchy.

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6

Rivera, Takeo. "Never Stop Making Them Pay". In Model Minority Masochism, 68–91. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197557488.003.0004.

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Chapter 4 turns to the 2006–2007 run of Marvel Comics’ Incredible Hulk penned by Korean American writer and filmmaker Greg Pak, entitled Planet Hulk and World War Hulk. In these two sequential storylines of superhero comics, Pak reinterprets the Hulk as a loose allegory of Asian American ressentiment who becomes a utopian revolutionary leader of other fellow abjected monsters, only for his own rage to bring everything to ruin. Yet, the Hulk opens greater political possibilities not through the moral economy of ressentiment, but through the embrace of his penetrability and pleasurable de-subjectification, that is to say, masochism. Pak’s Hulk demonstrates the crucial differences between ressentiment’s “politics of woundedness” and the pleasures of masochism, ultimately offering a contentiously optimistic vision of masochism as a potential dialectical corrective to contemporary Asian American cultural politics.

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7

Dagbovie-Mullins, Sika A., e Eric Berlatsky. "“The Only Nerdy Pakistani-American-Slash-Inhuman in the Entire Universe”". In Ms. Marvel's America, 65–88. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827029.003.0005.

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As a Muslim Pakistani-American whose parents are immigrants, Kamala Khan occupies a neither/nor position familiar in both American “mulatto” literature and in postcolonial immigrant literature, wherein the mixed-race character is frequently marginalized, alienated, and Other. She is one of many examples in contemporary superhero comics both of an increased attention to the representation of people of color, and of a potentially ahistorical/apolitical postracialism. Ms. Marvel’s metaphorical mixed-racedness serves to place her in the vicinity of the postracial or in the lineage of the “multicultural” which preceded it, a vision of the world (or at least the nation) wherein race no longer has political significance, but is instead merely a signifier of multiculturalism. The political facts of being a Muslim and/or South Asian in America, and particularly in Jersey City, are either underplayed or ignored throughout Khan’s first Ms. Marvel series.

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