Abishai100
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- Sep 22, 2013
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This is a modernism-concern vignette inspired by the (albeit parody) film Big Trouble in Little China.
Signing off,
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Was urbanization conducive to multiculturalism/pluralism in America? Certainly, copycat crimed modelled after the populism-violence glorification film Natural Born Killers revealed that Americans were willing to use metaphysical masquerade as a justification for experiments with anarchy (e.g., Los Angeles Race Riots). Halloween was quite popular in America, and every Halloween Eve, countless kids wearing masks masked their ethnic identities in ways that were considered 'festive.' The same sociological process was seen in the use of identity-masking Internet aliases (or 'avatars') which made politics-theory (and confluence!) dialogue more important than perspectives on culture-based biases.
In the new millennium, Hollywood began experimenting (heavily) with comic book adapted films such as The Dark Knight and The Avengers. Since comics presented social interest in civics-intrigue and vigilantism-daydreams, these comics-adapted films signified a new age social interest in general mobilization dialogue, and most of this was related to urbanization-paranoia (e.g., illegal immigration related crimes). Captain America (Marvel Comics) was suddenly a movie star (and kids loved it)! Comic book characters often wielded outlandish weapons (e.g., ice-guns) and wore outlandish costumes (e.g., bat-suit) as if they were Halloween characters!
Media and access to it made censorship and globalization very symbolic issues for new age commerce-minded social leaders such as U.S. President Donald Trump (a former casino-mogul and the first celebrity-president since Ronald Reagan). As Trump rolled out his 'Trumponomics' consciousness for the new Americans, social critics wondered if patriotism and civics-passionate outlandish comic book characters such as Captain America would be considered 'firebrands' for general political grudges --- e.g., "Does Captain America care about the plight of immigrants dealing with unemployment and homelessness?"; "Does Captain America care about the KKK (Ku Klux Klan)?
When the Batman (DC Comics) adapted origin-series Gotham aired on Fox TV (a major cable network in the USA), many comic book fans and general American TV audiences started pondering about the fact that urbanization anxieties made rebelliousness seem...almost 'chic.' Sure, Batman was a valiant defender of democracy and capitalism, but his 'pseudo-romanticized' nemeses such as Poison Ivy (a gorgeous radical eco-terrorist) and Two-Face (a disfigured fanatic wielding fate as a key-word against the 'prestige' of policemen) seemed like they were alarmingly 'perceptive' about urban malaise (even though they were 'technically' criminally-insane!).
One New Yorker writer (named Stan Muse) suggested that all of this modernism 'metaphysics' was best summarized in an earlier comics-adapted Hollywood (USA) film, Superman IV: The Quest for Peace, in which America's most iconic superhero, Superman (DC Comics), tackles an artificially-generated 'super-human' brute named Nuclear Man (who wields nuclear powers inherited from solar radiation and manipulated genotype-phenotype). Stan Muse suggested that Nuclear Man's overtly terrorism-symbolic powers signified a modern anxiety regarding the basic frailties associated with urbanization/globalization-related confluence (e.g., race-crimes, 9/11, etc.). All of this intrigue was about to get more complicated as global warming made eco-terrorism a new 'negotiation.'
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Signing off,
====
Was urbanization conducive to multiculturalism/pluralism in America? Certainly, copycat crimed modelled after the populism-violence glorification film Natural Born Killers revealed that Americans were willing to use metaphysical masquerade as a justification for experiments with anarchy (e.g., Los Angeles Race Riots). Halloween was quite popular in America, and every Halloween Eve, countless kids wearing masks masked their ethnic identities in ways that were considered 'festive.' The same sociological process was seen in the use of identity-masking Internet aliases (or 'avatars') which made politics-theory (and confluence!) dialogue more important than perspectives on culture-based biases.
In the new millennium, Hollywood began experimenting (heavily) with comic book adapted films such as The Dark Knight and The Avengers. Since comics presented social interest in civics-intrigue and vigilantism-daydreams, these comics-adapted films signified a new age social interest in general mobilization dialogue, and most of this was related to urbanization-paranoia (e.g., illegal immigration related crimes). Captain America (Marvel Comics) was suddenly a movie star (and kids loved it)! Comic book characters often wielded outlandish weapons (e.g., ice-guns) and wore outlandish costumes (e.g., bat-suit) as if they were Halloween characters!
Media and access to it made censorship and globalization very symbolic issues for new age commerce-minded social leaders such as U.S. President Donald Trump (a former casino-mogul and the first celebrity-president since Ronald Reagan). As Trump rolled out his 'Trumponomics' consciousness for the new Americans, social critics wondered if patriotism and civics-passionate outlandish comic book characters such as Captain America would be considered 'firebrands' for general political grudges --- e.g., "Does Captain America care about the plight of immigrants dealing with unemployment and homelessness?"; "Does Captain America care about the KKK (Ku Klux Klan)?
When the Batman (DC Comics) adapted origin-series Gotham aired on Fox TV (a major cable network in the USA), many comic book fans and general American TV audiences started pondering about the fact that urbanization anxieties made rebelliousness seem...almost 'chic.' Sure, Batman was a valiant defender of democracy and capitalism, but his 'pseudo-romanticized' nemeses such as Poison Ivy (a gorgeous radical eco-terrorist) and Two-Face (a disfigured fanatic wielding fate as a key-word against the 'prestige' of policemen) seemed like they were alarmingly 'perceptive' about urban malaise (even though they were 'technically' criminally-insane!).
One New Yorker writer (named Stan Muse) suggested that all of this modernism 'metaphysics' was best summarized in an earlier comics-adapted Hollywood (USA) film, Superman IV: The Quest for Peace, in which America's most iconic superhero, Superman (DC Comics), tackles an artificially-generated 'super-human' brute named Nuclear Man (who wields nuclear powers inherited from solar radiation and manipulated genotype-phenotype). Stan Muse suggested that Nuclear Man's overtly terrorism-symbolic powers signified a modern anxiety regarding the basic frailties associated with urbanization/globalization-related confluence (e.g., race-crimes, 9/11, etc.). All of this intrigue was about to get more complicated as global warming made eco-terrorism a new 'negotiation.'
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