Forging Man of Steel: A Review of the Film

I like Superman—as a character, as a superhero, as an embodiment of (certain) values. I had looked forward to seeing Man of Steel. Although I was disappointed (more on that later), I’ll start with what I liked. Warning: I’m assuming that readers have a basic knowledge of Superman’s origin story. I discuss some details of the film, so you may want to see the film before reading this review.

First, I liked this incarnation of the “villain” of Zod. In What Is a Superhero?, I have an essay on the typology of supervillains (“Sorting out Villainy”). According to my classification scheme, Zod is a heroic villain. His actions are motivated by—what is to him—an altruistic cause (saving Krypton/Kryptonians). This is made explicit at the beginning of the film, when Zod says to Jor-El (Superman’s father) that he’s taken up the sword against his own people for a greater good. Jor-El, too, could be considered a heroic villain in that he’s done something against Kryptonian law, but is doing so for what he believes is a greater good. The importance of point-of-view in defining “good” versus “evil” is nicely portrayed. It’s not a “black and white” morality tale.

Second, I like the way the film (accurately) portrayed the social challenge of being gifted (i.e., “super”). Like many superheroes, gifted children in our world sometime hide their talents and abilities from others for fear of social ostracism or harassment. (In Clark Kent’s case, though, it was because the government might want to “take” him.) Like some gifted people in our world, the young Clark views his budding powers as burdens—to be hidden. Clark’s father explains that one day he’ll view his abilities as gifts, not burdens. This is also true for gifted people in our world. (For more about the ways that superheroes are similar to and different from gifted individuals, see my essay with psychologist Ellen Winner, “Are Superheroes Just SuperGifted?” in Our Superheroes, Ourselves.)

Third, this version of Lois Lane is the best screen version thus far. She’s smart and spunky but not high strung or temperamental. It’s easy to see why Clark would like her (which isn’t true of the Loises in the other films). She’s an admirable character. Way to go!

The aspects of the film that I didn’t like were, unfortunately, numerous. One fundamental flaw rests on the reason for Jor-El and Lara trying to conceive “naturally” on Krypton: To bring a child into the world that wasn’t pre-conceived or pre-programmed with a destiny. (On this version of Krypton, it seems that children’s DNA is genetically engineered to fill society’s niches—soldier, scientist, etc.—and fetuses are externally incubated.) Yet the young adult Clark, on Earth, discovers a holographic-type projection of his long-dead father, and this Jor-El tells Clark what Clark’s destiny is—why he was sent to Earth!! He’s “supposed to guide humans, to be a force for good. You will help them to accomplish wonders.” This hypocritical stance about destiny versus free choice is a major plot flaw, in my mind.

Another significant problem with the plot rests on the idea that humans would freak out if they knew an alien lived among us. Yet by the end of the film, after downtown Metropolis has been practically laid waste by aliens, there is no sense that humans are freaking out about Superman being an alien, or even freaking out that there was an alien battle on Earth. This basic fear of people’s response to knowing about aliens, which drives much of story of Clark’s childhood, is carelessly thrown off by the end of the film.

And then there is the wanton destruction, the endless fight scenes, explosions, buildings collapsing. It became boring. I couldn’t help but notice that the Daily Planet building took its share of damage, yet by the end of the film, the Planet’s office looks fine, and there no sense of the trauma that Metropolis’s citizens must have experienced since their city was a center ring in which the aliens fought. And the city is magically clean and rebuilt by the end! Yes, we have to suspend disbelief in most superhero films (perhaps Christopher Nolan’s Batman films being the exception), but not this much.

The film was called Man of Steel, but it felt that too little of the film was actually about Superman. It was really about Jor-El versus Zod, with Superman acting as proxy for Jor-El. I wanted to see more character development about the adult Clark/Superman. In a film over two hours long, it seemed that his screen time—when he wasn’t in a fight scene—was too brief, totaling perhaps 20 minutes. (If you were to time it, it’s possible that there was more screen time on this. But it felt too brief and his “character development” superficial.)

This contrasts dramatically with the Nolan Batman films. Which is ironic because the script was written by the same folks who wrote Batman Begins: Jonathan Nolan and David Goyer. Whereas Batman Begins provides wonderful and psychologically insightful character development, Man of Steel does not.

References:

Rosenberg, R. S. (2013). Sorting out villainy: A typology of villains and their effects on superheroes. In R. S. Rosenberg & P. Coogan (Eds). What is a Superhero? New York: Oxford University Press.

Rosenberg, R. S., and Winner, E. (2013). Are superheroes just supergifted? In R. S. Rosenberg (Ed). Our Superheroes, Ourselves. New York: Oxford University Press.

Copyright 2013 by Robin S. Rosenberg.

Robin S. Rosenberg, Ph.D., ABPP is a clinical psychologist in private practice in San Francisco and Menlo Park, Calif. She often writes about the psychology of superheroes. Her latest books are What Is a Superhero? and Our Superheroes, Ourselves. Her website is www.DrRobinRosenberg.com.

SXSW: What's the Matter With Batman?

Here's the link to my talk at South by Southwest about  What’s the Matter With Batman? An Unauthorized Clinical Look Under the Mask of the Caped Crusader

https://soundcloud.com/officialsxsw/whats-the-matter-with-batman

Superhero for children with cancer

Superheroes inspire some of us to be “heroes” in our everyday lives. For others of us, simply surviving can be a heroic effort on a daily basis. People who are depressed or otherwise suffer from debilitating forms of mental illness “fight to survive” on a daily basis. People with certain medical illnesses or conditions similarly “fight” heroically each day.

Nistar is a comic book story about the heroic fight against cancer—specifically pediatric cancer. The protagonist is a superhero who fights the good fight against cancer. Shira Frimer, the author of Nistar, is trying to raise enough money to publish the book and give free copies to children with cancer throughout the world. Click here to find out more about Nistar and how you can help.

Superheroes To The Rescue--For Real

Flying like Superman in virtual reality can make you more helpful in real life. That's what my colleagues and I found in a recent study. At Stanford's Virtual Human Interaction Lab, Shawnee Baugman, Jeremy Bailenson, and I had participants enter a virtual environment and they were either given the power of flight or rode as passengers in a helicopter. They were then assigned one of two tasks: help find a missing diabetic child or tour a virtual city. Regardless of which task they performed, people who had the power of flight were significantly more likely to help a researcher pick up spilled pens in real life than the helicopter passengers were. 

Embodying a superpower in virtual reality may prime players to ‘think like superheroes’ and thus facilitate subsequent helpful behavior in the real world. Alternately, participants who could fly in the game may have felt like more active participants than those who passively sat in the helicopter while performing tasks, and this more active involvement may have induced their subsequent behavior.

To read the paper in the journal PLOS ONE, click here. To see a short video clip about the study, click here.

And for more about superheroes, take a gander at my new book:

Superhero Origins: What Makes Superheroes Tick and Why We Care

This is a book about seven superhero origins stories, what they reveal about the superheroes' personality, how they reflect the findings of psychological research, why we're interested in their origin stories, and what their stories can teach us about ourselves.

[photo credit: Cody Karutz]

Another Cosplay Survey: The Psychology of Cosplay 2

Hello to all you folks who cosplay. Here’s the link to a survey on cosplay that my colleague, Andrea Letamendi, and I are conducting.

http://tinyurl.com/cosplaysurvey

We want to know more about the psychology of cosplay and hope you can help us. We’ll post the results this summer.

Thanks!

The Psychology Behind Superhero Origin Stories

From my article in Smithsonian Magazine:

“Why is every superhero movie an origin story?” complained Entertainment Weekly film critic Adam Markovitz after seeing a trailer for this summer’s Man of Steel—yet another version of the 75-year-old Superman saga. Perhaps we love origin stories, Markovitz suggested, because they “show the exact moment when a normal guy goes from being Just Like Us to being somehow better, faster, stronger.”

I’m inclined to disagree. As a clinical psychologist who has written books about the psychology of superheroes, I think origin stories show us not how to become super but how to be heroes, choosing altruism over the pursuit of wealth and power. I’ve learned this through hundreds of conversations at comic book conventions, where fans have been remarkably candid about their lives and the inspiration they draw from superhero stories.

Read more: http://www.smithsonianmag.com/arts-culture/The-Psychology-Behind-Superhero-Origin-Stories-187938991.

Holy Wonder Woman! A Review of Wonder Women! The Untold Story of American Superheroines

I had the opportunity to see documentary Wonder Women! The Untold Story of American Superheroines recently. The film provides a history of superheroines, beginning with Wonder Woman, overlaid with a history of women in American culture and women’s rights during the same decades. It was interesting to see Gloria Steinem talking about feminism, Ms. Magazine, and Wonder Woman in the same breath, and to see many women (and men)—some famous, some not—talk about the ways in which Wonder Woman has been an icon of female power and inspiration.

The film also includes what the director or interviewees see as the descendants of Wonder Woman in popular culture:The Bionic Woman, Ripley in the Alien films, Sara Conner ofTerminator, Xena, Buffy the Vampire Slayer, and evenCharlie’s Angels. Charlie’s Angels seems like a bit of a stretch, but the film makes a case for it.

More interesting psychologically are the parts of the film that talk about how icons in general, and superheroines in particular, inform us about what we should aspire to be. How they create templates to which we gravitate and fuel our imaginations, our self-images, and who we might want to become. Some of us may resonate with (or aspire to) Sara Conner’s tough, capable, and single-minded way of being strong. Others of us may resonate with Wonder Woman’s model of compassion, bravery, and strength. Or Buffy’s sense of humor in the face of adversity. There is something for everyone in the pantheon of superheroines.

I wish the film had spent more time on the sexualization of superheroines. We all know that superheroines in comic books are drawn with marvelous figures in skimpy costumes, and film and TV superheroines as similarly endowed and attired. The film touched on the issue of superheroines always being sexy, and sexy being equated with power, but a longer discussion of the implications of this for the audience would have been welcome. For instance, what does it mean that superheroines sometimes use their attractive physical appearance to achieve their goals? (Though Wonder Woman rarely does this, other superheroines do.) And what are the effects on females in the audience who see that superheroines only come in a certain size “package,” adorned a particular way. (For interesting research related to this in computer games, see Lissa Behm-Morawitz’s research). What does it mean for women and men that superheroines are, by and large, also seen as sex objects in our world? (Click here for research aboutobjectification, in which the experience of being treated as an object results in coming to see oneself that way. Objectification theory was originally conceived of as primarily pertaining to females. The original article by Barbara Frederickson and Tomi-Ann Roberts in 1997.)

I suppose that’s the subject for another documentary.

Copyright 2013 by Robin S. Rosenberg

All rights reserved.
 Robin S. Rosenberg is a clinical psychologist. Her website is DrRobinRosenberg.com. Her most recent book is What’s the Matter with Batman? An Unauthorized Clinical Look Under the Mask of the Caped Crusader.