Heroes : négociation d’une hiérarchie de culture populaire
The TV show Heroes, which debuted on NBC in September 2006 to become an international popular success is explicitly based on the super hero mythology, which Hollywood movies have been exploring for the last ten years. However, Heroes presents us with a specific treatment of the genre, since it does...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/rrca, |
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| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Français |
| Baskı/Yayın Bilgisi: |
Revue de recherche en civilisation américaine
2010
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| Konular: | |
| Online Erişim: | Accès Université d'Orléans et IFPM |
| Özet: | The TV show Heroes, which debuted on NBC in September 2006 to become an international popular success is explicitly based on the super hero mythology, which Hollywood movies have been exploring for the last ten years. However, Heroes presents us with a specific treatment of the genre, since it does not seek to function as an adaptation: the super-hero figure in the show is explicitly defined in connection with and in opposition to its medium of origin, comic books. Heroes thus reminds the viewers of the existence of super-hero comics but simultaneously tries to establish its own superiority to this previous incarnation. This process of differentiation is at work not only through a willingly “realistic” treatment of the notion of super-powered individuals, but also through a biased presentation of comic books and comic book readers within the show. Heroes disqualifies comics as a medium, by describing it as a mass culture product. While the series has been read as an homage to comic book superheroes, it seeks to define these comic books as a counter-model in order to promote itself, a process of distinction which can only be achieved through a simplistic and a times derogatory representation of comics. |
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