Anatomy of the Superhero Film by Larrie Dudenhoeffer

Author:Larrie Dudenhoeffer
Language: eng
Format: epub
Publisher: Springer International Publishing, Cham

Conclusion

The exo-prosthetic somatotype, in that it designates the objective correlatives of our corpora that superbodies discharge into faraway diegetic spaces and that never return from them, might thus seem to concern the dejecta that we excrete or expectorate from our cavities. Certain characters, such as Deadpool and Spider-Man , in fact, refigure in their super-abilities the textures, functions, and virtual capacities of feces, urine, semen, sputum, tears, vomit, saliva, sweat, rheum, or some other substance. However, the exo-prosthetic superbody does not only re-elaborate the sensual qualities and attempt to fathom the more inaccessible dimensions of these fluids and semisolids. Hawkeye and the Black Widow derive their super-abilities from the complex sensori-perceptual mechanisms that coordinate our ocular and fine motor movements, demonstrating that characters that share this somatotype can transcode, over and above our waste matter, the functions of our organs, appendages, cells, and neural adaptations. These characters can even translate our more abstract emissions, such as our thoughts, into their extraordinary weapons, skills, and abilities, with Batman, for example, refiguring the close connection of our cranial skeleton to our cerebral centers into different Bat-items. What about those characters, though, who must maintain a close connection with the objective correlatives of their corpora that they thrust outside themselves, always at risk of forfeiting their superpowers in the event that this connection fails? The next chapter, then, on the conceptual nuances of the epi-prosthetic somatotype, treats those characters whose super-abilities derive from their mutual orbit with the corporeal objects that they transpose into diegetic space.

Anatomy of the Superhero Film Will Continue…

Notes

1.The term “techno-Orientalism” comes from David S. Roh, Betsy Huang, and Greta A. Niu (2015), who define it as “the phenomenon of imagining Asia and Asians in hypo- or hypertechnological terms in cultural productions and political discourse” (2). This notion indicates that Western cultures fear “losing their perceived ‘edge’ over others” (3).

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