When Martin Scorsese dared to dare a less fervent opinion about Marvel's ubiquitous superhero films, something snapped in the collective consciousness. With the drama of a cinematic universe in which beautiful people in tights beat each other to save the universe, suddenly began a great fight on the Internet. Could Scorsese, as one of the most renowned filmmakers in the world, make a legitimate statement on the state of mainstream film? Or is he just an old jerk who does not enjoy CGI punch-ups and has something to say about anyone who likes it?
Weeks after the fight, we did not get closer to the answer that would bring us the long-awaited truce. Even after Scorsese produced a sensible, well articulated elaboration in his opinion Marvel Stars [1
Esquire . reviews a 2016 interview between Moore and the Brazilian writer Raphael Sassaki in an article published today which has recently surfaced thanks to the Alan Moore World fan site. In it, Moore is asked for his thoughts on how superheroes had "influence … on our culture" and why he considers "people [are] to be intrigued by alternative realities."
Moore does not waste words. "I think the influence of superheroes on popular culture is both embarrassing and worrying," he begins. "While these characters were originally perfectly suited to stimulate the imagination of their twelve- or thirteen-year-old audience, today's franchisee supriers targeting a supposedly adult audience appear to serve a different function and meet different needs." 19659004] The Reaction Continues:
In the first place, mass-market superhero films seem to inspire an audience that does not want to give up (a) its relatively reassuring childhood or (b) the relatively calming 20th century. The continued popularity of these films suggests a deliberate, self-imposed state of emotional attachment, coupled with an anaesthetizing state of cultural stagnation seen in comics, movies, popular music and, indeed, throughout the cultural spectrum. The superheroes themselves – mostly written and drawn by creators who have never stood up for their rights against the companies that use them, let alone the rights of Jack Kirby or Jerry Siegel or Joe Schuster – seem to be mostly used as cowardice compensators a bit like the pistol on the bedside table.
Moore is unwilling to stop, without expressing the fullness of his opinion, and concludes his answer with the words: "Apart from some non-white characters (and not white creators), these books and these iconic characters are still very white Supremacist dreams of the master race. To the finale, he adds: "In fact, I think that a good argument for DW can be made Griffith's Birth of a Nation as the first American superhero film and starting point of all those cloaks and masks. "
While we're curious to see how Bob Iger or Kevin Feige would react to it. With all these observations, it's hard to imagine that an equally compelling counterpoint comes too early.
Settle for the time being to read the remainder of the interview and be prepared to ruin your nieces and their nephew's acknowledgments by telling them that their Iron Man Toy is just a KKK action figure in disguise.
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