Casual Analysis of a Superhero Movie Trend - Essay Example

All the movie makers want a piece of the share of the market, thus resulting in a large number of feature films about a superhero of all forms. As the mass development of superhero films progresses, this raises the query of how many superheroes are required in the lives of human beings. It is also intriguing that the identical movie characters have existed throughout the days, with no decrease in the movie market supply or demand (King 67). This paper will analyze the origin, causes and probable consequences of superhero movies.

The classic superhero model stemmed from comic books, but their eminence in widespread culture has enlarged to film and television. These superheroes were initially merely narrative means employed to mirror the present-day need for a guardian of public justice. Since that period, the superhero has developed into a versatile and timeless entertainment symbol. Just as the television industry, the movie sector has made a large number of remakes of superhero movies. Spiderman is one of the utmost glaring films of all-time (King 46).

In addition, the regard behind the superhero movies lies in their reliability and their predictability. For example, the superhero trope is without doubt identified with moviegoers. Moviegoers go to the movie theaters with a reasonably proper comprehension of the common story line; have an encounter with the superhero, observe their flamboyant powers; have an encounter with the baddies, dread their menacing strategies of evil. The plot frequently entails a rescue operation, which in due course finishes to the culmination of a heroic battle between virtuous versus wicked.

There may be differences between the varying narratives, but the expectation of the viewers will always remain consistent (King 33). People are aware of what they are receiving from the superhero films. Nonetheless, the model is also varied enough to give numerous varying explanations in its characterization. Superhero characters are adaptable and may be categorized under different areas of ethical scale from a morally confusing antihero, for example, Catwoman to a straight-laced protector of justice, for example, Captain America.

Consequently, the storytelling capacity could have infinite probabilities. While the plots may be the same, the dissimilarities in the directorial techniques, the cinematography, and in the characters differentiate one film from the other. Prior to Spiderman, superhero movies tended to lie in between different categories with regard to urban staging. They characteristically also failed or did not try to extensively deconstruct the goal of the comic-book superhero, and it still may be argued that, to a large degree, both of these concerns are still prevalent to the genre.

But the puzzle trailer for Spiderman suggested both a new form of superhero city and also a prolonged unsettled take on urban slump that had been moderately absent from action cinema (DeScioli and Kurzban 248). Roland Emmerich’s work had and still continues to teach viewers that the CGI’s epiphany is the absolute annihilation of the urban surrounding. With Spiderman, there was not only the World Trade Center, but also a sign of the urban literally intertwined with the superheroic. Even