The Impact of American Superheroes around the World (Panel)


Cultural Studies and Media Studies / Comparative Literature

Rafael Ponce-Cordero (Keene State College)

No one escapes Marvel’s Endgame: the economic and cultural impact of the past few decades’ boom in superhero movies, and more broadly superhero narratives, is evident well beyond the boundaries of the United States. In fact, the presence and influence of American comic-book superheroes abroad started shortly after the debut of DC's Superman in 1938, and has been growing ever since. This session welcomes abstracts considering, among other objects of study, international emulations of the genre (such as Canada’s Nelvana of the Northern Lights, Britain’s Marvelman, the Philippines’ Durna, Israel’s Sabraman, Kuwait’s The 99, Chile’s Mirageman, Nigeria’s Guardian Prime, Pakistan’s Burka Avenger, France’s Ladybug, or South Africa’s Kwezi), looser adaptations (Mexico’s Santo and the lucha libre filmography in general, Japan’s Ultraman, China’s The Heroic Trio, Argentina’s Cybersix, India’s Krrish, Russia’s Black Lightning), critical parodies (France’s Astérix, Mexico’s Chapulín Colorado, Spain’s Superlópez, Finland’s Peräsmies, Japan’s Zebraman, Malaysia’s Cicak Man), unofficial appropriations (Italy’s Three Fantastic Supermen, Turkey’s 3 Dev Adam, India’s Superman, the Philippines’ Alyas Batman en Robin), as well as influences on art style and narrative structure (Japan’s One-Punch Man and My Hero Academia).
No one escapes Marvel’s Endgame: the economic and cultural impact of the past few decades’ boom in superhero movies, and more broadly superhero narratives, is evident well beyond the boundaries of the US. This session welcomes abstracts considering international emulations of the genre (from Canada’s Nelvana to Pakistan’s Burka Avenger), looser adaptations (from Mexico’s Santo to India’s Krrish), critical parodies (from France’s Astérix to Malaysia’s Cicak Man), unofficial appropriations (e.g. Turkey’s 3 Dev Adam), and influences on art style and narrative structure (e.g. Japan’s My Hero Academia) in both comics and audiovisual media.