The objective of this paper is to reconstruct the transformation of the myth of Spider-Man into the transition from the years of its creation,thanks to the intuition of Stan Lee, to its staging in the first film, Spider-Man (2002) by Sam Raimi. In particular, on the basis of the analytical tools of the sociology of cultural processes, we will first explore the way in which the figure of Spider-Man renders the anxieties of teenagers in the Sixties. This message is conveyed in comic-strip narratives clearly focused on the traumas caused by social change and by collective and individual identity mutations. Secondly, we will investigate the ways in which the myth of Spider-Man is redesigned in the panorama of digita lcommunication from the first film in the trilogy dedicated to the NewYork hero, directed by Sam Raimi. The blockbuster taken in analysis allows us to highlight how the concept of nostalgia is articulated, in the proper meaning of postmodern aesthetics (Jameson, 2007), and of monomyth (Campbell, 2000), within a narrative that reproposes, relaunches and revises the mythography of Spider-Man in a global and fluid sociocultural context, which significantly differs from that of the genesis of the superhero.
La ragnatela del mito. Adolescenza, nostalgia e supereroismo in Spider-man dal fumetto al cinema
Mario Tirino
2019-01-01
Abstract
The objective of this paper is to reconstruct the transformation of the myth of Spider-Man into the transition from the years of its creation,thanks to the intuition of Stan Lee, to its staging in the first film, Spider-Man (2002) by Sam Raimi. In particular, on the basis of the analytical tools of the sociology of cultural processes, we will first explore the way in which the figure of Spider-Man renders the anxieties of teenagers in the Sixties. This message is conveyed in comic-strip narratives clearly focused on the traumas caused by social change and by collective and individual identity mutations. Secondly, we will investigate the ways in which the myth of Spider-Man is redesigned in the panorama of digita lcommunication from the first film in the trilogy dedicated to the NewYork hero, directed by Sam Raimi. The blockbuster taken in analysis allows us to highlight how the concept of nostalgia is articulated, in the proper meaning of postmodern aesthetics (Jameson, 2007), and of monomyth (Campbell, 2000), within a narrative that reproposes, relaunches and revises the mythography of Spider-Man in a global and fluid sociocultural context, which significantly differs from that of the genesis of the superhero.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
