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- Ahmed, Maaheen, et al.
(författare)
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‘We’re all Avengers now’ : Community-building, civil religion and nominal multiculturalism in Marvel Comics’ Fear Itself
- 2016
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Ingår i: European Journal of American Culture. - : Intellect Ltd.. - 1466-0407 .- 1758-9118. ; 35:2, s. 77-95
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses Marvel Comics’ 2011 crossover ‘event’ ‘Fear Itself’. It suggests that the event argues for national unity in a time of crisis by mobilizing America’s self-definition as a multicultural nation as well as civil religion. The article discusses ‘Fear Itself’s’ attempted construction of national myth through looking at the way it represents the media, US multiculturalism (in a generalized form that nominally includes non-white groups while frequently failing to account for them) and ‘sacralized’ civil religious aspects of US history. Especially salient in this connection is the event’s engagement with the Roosevelt years. In doing so, it is argued, ‘Fear Itself’ presents an Americanness that relies on an idealized and nostalgic notion of the so-called ‘Greatest Generation’, a tightly knit, self-sacrificing civil society that supposedly came into being during that period.
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- Lund, Martin, 1984-
(författare)
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Comics Activism, A (Partial) Introduction
- 2018
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Ingår i: Scandinavian Journal of Comic Art. - : Scandinavian Journal of Comic Art. - 2001-3620. ; 3:2, s. 39-54
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 9. |
- Lund, Martin, 1984-
(författare)
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‘Every day is 9/11!’ : Re-constructing Ground Zero in three US comics
- 2017
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Ingår i: Journal of Urban Cultural Studies. - : Intellect Ltd.. - 2050-9790 .- 2050-9804. ; 4:1-2, s. 241-261
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Tidskriftsartikel (refereegranskat)abstract
- This article analyses three comics series: writer Brian K. Vaughan and artist Tony Harris’ Ex Machina (August 2004–August 2010); writer Brian Wood and artist Riccardo Burchielli’s DMZ (November 2005–February 2012); and writer Garth Ennis and artist Darick Robertson’s The Boys (October 2006–November 2012). Taking literary critic Laura Frost’s concept of ‘archifictions’ as its starting point, the article discusses how these series frame the September 11 attacks on New York and their aftermath, but its primary concern is with their engagement with the larger social ramifications of 9/11 and with the War on Terror, and with how this engagement is rooted in and centred on Ground Zero. It argues that this rooting allows these comics’ creators to critique post-9/11 US culture and foreign policy, but that it also, ultimately, serves to disarm the critique that each series voices in favour of closure through recourse to recuperative architecture.
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| 10. |
- Lund, Martin, 1984-
(författare)
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‘Introducing the Sensational Black Panther!’ : Fantastic Four #52–53, the Cold War, and Marvel’s Imagined Africa
- 2016
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Ingår i: Comics Grid. - : Open Library of the Humanities. - 2048-0792. ; 6:1, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses Fantastic Four #52–53 (July–August 1966), in which Black Panther, Marvel’s first black superhero, premiered. It argues that the character as he appeared in these issues is best read as an example of ‘white on black’ representation, or white images of blacks centered on white interests, filtered through Marvel’s then-prevalent Cold War focus. The article first looks at the Fantastic Four as Cold Warriors to contextualize Black Panther. It then goes on to look at how Wakanda, Black Panther’s tribe, and Klaw, the storyline’s villain, are configured in relation to this context, in order to highlight the importance in the story of Cold War conceptions of and fears about the process of decolonization that was taking place on the African continent. Finally, it argues that Black Panther is rhetorically ‘Americanized,’ to better fit with US self-conceptions and to alleviate worries about what Africa’s then-recent decolonization might mean for United States of America.
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