In the reflective essay “Secret Skin: An Essay in Unitard Theory”, Michael Chabon explores the origin of superhero costumes and discovers that these costumes are “secret skins” of the superheros, rather than a disguise that they wear to hide their identity. Their identities are revealed in their costumes, where their past and secrets are displayed on cloth. Chabon supports this theory by exploring and explaining the detail upon the costumes of our favorite superheroes. For example, Chabon explains how the “S” engraved in Superman’s costume is actually “the coat of arms of the ancient Kryptonian House of El, from which he descends” and not actually the “S” for the first letter of the word “Superman”. Furthermore, the spider on Spiderman’s
The nature of humanity frequently masks and distorts an individual’s concept of their own true self-identity. By creating unique and controversial symbolic objects, Ralph Ellison conveys this notion in his novel Invisible Man. Ellison uses the symbolic objects the briefcase, the bank, and the Sambo doll to demonstrate the idea that human stereotypes, different ideologies, and an individual’s past all control personal identity. However, one can only discover self-identity if they give up interaction with these aspects of life.
The narrator strongly claimed that his clothes have failed him when he recalled the green jacket he wore on his fifth and sixth grade. He believed that instead of looking like a champion, his day-old guacamole colored jacket has embarrassed him that lead him to think it has failed him (Soto, 473). He had actually hoped and requested to his mom a different jacket. It is the kind of jacket that the bikers wear which is black leather and silver stud with enough belts that will make him look brave. But disappointment struck him when he found an ordinary green jacket instead. He stared at the jacket and wanted to cry because to him it was ugly and so big. Moreover, he knew he will have to bear with the fact that he will be wearing that ugly jacket for a very long time. For a brief moment he was still in denial and was expecting it was his brother’s jacket. Acceptance came later since he has no other choice but to wear it. With a heavy heart he slipped into his jacket and decided to head out of the house.
The mythology of Superman is a paradigm that embodies the cultural reality of the era; constructed around an archetype of ideology, fantasies of human spiritual ambiguity, a religious messiah, and a semiotic representation of modernity. In further study, Superman can be identified to have specifically changed to adhere to American culture in three distinctive periods; midst the Great Depression and WWII, post WWII and finally the socially progressive change of the Vietnam period. In each chapter Superman was re-imagined to meet the definition of the period, a tool of propaganda over that of entertainment. Currently, America is entering a new phase of cultural shift, and thus Superman will be redefined to represent the ideologies of truth, justice, and the American way of that required era. Yet, the mere surface mythology of Superman has applications to cultural ideologies, questions of human freedom, dreams in a Freudian nature, and the complex relation of fantasy and reality which required introduction before in-depth research.
Regardless of the origins, regardless of the propriety? the existence of the masquerade as a part of popular urban culture in the eighteenth century cannot be denied. The masquerade was a much needed outlet for the people of this time who constantly had to keep their behavior within the strict confines of what was socially acceptable. By putting one mask on, the masqueraders were able to take a more fundamental mask off.
To conclude, the graphic novel Watchmen presents the non-fantastic representation of a superhero, implying that not all heroes are like Superman. This notion is explored within the novel by mentioning the realistic motives of the characters choosing to become superheroes, by Rorschach’s representation and through the heroic reactions of the New Yorkers to a street crime. These elements all contribute to Watchmen’s uniqueness and complexity as a superhero comic.
From time immemorial, hell was an inspiration for the costumes used during Halloween. In the contemporary society, turning up for Halloween dressed up as a goblin, zombie or ghost is less likely to make a staunch follower of the event to receive sufficient appreciation. Popular culture has succeeded in replacing the underworld in terms of providing influential costumes for the event. The aspect of individuals from different races increasingly dominating pop culture is causing costume lovers to face a number of issues. The most dominant question has always been whether it is ethical to dress or appear dressed up like someone from a different race during Halloween. This factor largely bases on the costume an individual chooses, and the manner he or she ends up presenting the costume. It also depends on what the individual wearing the costume is representing or duplicating during the event. In view of all the complexities involved in choosing an appropriate dress code, it remains imperative to display keenness while settling on certain attire. Observing one’s dress code prevents an individual from making a racial gaffe that may occur when the person wears attire that derogates another race.
For the essay, I have chosen to conduct an analysis on Hoodies. Firstly I will discuss the background of hoodies, who they were originally aimed at and marketed towards. I will then move onto analysing the relationship the product has in regards to specific identities, communities, places and ideas and what types of consumer theories are specifically linked to the consumption of hoodies.
... an impact on people all throughout America. From having 130,000 people visit the Superman panel at comic-con to having an original Action Comic Book being sold at more than $2,000,000. Superman is known for wearing his blue suit with a red and yellow ‘S’ but many artists have their own color tones and facial and body features.
56). Despite the origin of the word cosplay, cosplay is largely thought of as directly inspired by Japanese popular culture (Okabe, 2012). Many of the conventions that these cosplayers attend, also known as ‘Cons’ for short, began popping up in many cities in the United States in the 1990s (Pollak, 2006). Currently, conventions are held in around 30 states in the United States (Leng, 2013, p.90). As popularity for these conventions grow, more and more people have started to participate in the act of cosplay (Leng, 2013, p.90). With the emergence of cosplay trends such as gender-bending, cross-playing, and mashups it is interesting to look into how traditional expressions of gender roles and identity are undermined in the cosplay community. In this paper, I plan to investigate the relationship between gender roles, gender identity and gender expression through participation in
I fully accept that I am a geek when it comes to the Marvel superhero comics. I could not help but note that after watching Captain America, my favorite from the Avenger’s series, I noticed Chris Evans capitalized on the classic iconic American Hero. Typically when we hear superhero we think of a man that begins with Bat, Spider or Super. Yet none of these men fully embody the American icon of comic heroism. While using a narrative paradigm and Bourke I will examine our icon in comparison to a Norwegian Viking through a postmodern lens. Comparing these two icons may seem as an odd comparison, however their similarity might shed light into who the American hero really is.
Piatti-Farnell (2013) stresses the symbolic value of costume in cinema, and its effect on characterisation and the relationship between a character and its audience. Morpheus once lived as a human in the matrix, he wears mostly black, including full length leather trench coat, mirrored sunglasses and black combat boots. Street (2001) talks of costumes that power to make individuals stand out and to show an individual’s affiliation to a group. Although we are first meeting Morpheus, we are able to establish a lot about his character. We can link him to the matrix, and his coat makes us feel fearful of his authority and power.
Throughout the year hotels, convention centers, and other high capacity venues are transformed into a social haven and meeting ground for fellow Otakus and cosplay fans or cosplayers for short. The act of cosplay, the abbreviated form of “costume play”, is defined by Oxford Dictionary as “the practice of dressing up as a character from a movie, book, or video game, especially one from the Japanese genres of manga and anime”. However, there is much more to a cosplayer than this simple definition leads one to believe. To its most dedicated patrons, cosplay is an art form incorporating unlimited mediums, such as textile fabrication, woodworking, clay sculpting, resin casting, and even theatrical makeup. Some enthusiasts take cosplay far more seriously than a weekend social hobby. While some would be content with purchasing a commissioned piece or mass produced costume for their convention adventures others are not satisfied until they have handcrafted a masterpiece with 100% accuracy. These cosplayers will spend week or months and hundreds of dollars insure their costume is a perfect adaption of their selected character. Yet for some that is still not enough. There are those who will not be content until they have become the living embodiment of their chosen character. They become the method actors of cosplay, memorizing the characters personality, walk, quirks, and vocalics. Going even deeper into the realm of cosplay, there are still those who are so obsessed with becoming a character they will paint their skin, whether it be pink, grey, green, or any color in between. This is where a sensitive debate explodes. Coloring yourself grey or pink for your Marceline or Princess Bubblegum adventure time cosplays will ...
...o contextual influences and past experiences. Therefore it is almost impossible to pre-empt the ways in which others will perceive you. Over time ideas will change and therefore alter the ways in which we look back on past clothing choices. Whilst symbolism in fashion may no longer be subject to laws as it was in the 14th century or defined by strict social rules in the 17th century, the clothes we wear are still today subject to imposed social ideals. Apart from distinguishing one status group from another, a style of dress may also aid group cohesiveness, provide the individual with an identity and a feeling of belonging, and communicate the wearer’s attitudes and interests. The ways in which we interpret others and present ourselves for interpretation is the only true way that we can be individual. Symbolism in clothing may not seem as obvious or important nowadays as it was in times of extreme social bigotry, but it is still highly prevalent and has remained one of the most effective ways to project our desired image to those around us. ‘The state of a person’s clothes is synonymous with self respect and is a sign of responsibility’ (www. Pemberley.com/janeinfo/vebleis7.html)
There are many criticisms of functionalism and their theories: Ø Functionalist ideas almost portray humans as being autonomous and that only socialisation determines our lives. They do not really see humans as the unpredictable creatures they are, not possible to stray away from the predictable ideas that functionalists have of people. Too much stress is placed on harmony and the potential for conflict and its affects are generally ignored. Ø There is no recognition of difference by class, region or ethnic group. The functionalist picture is simply reflective of happy middle-class American families.
Clothing is something that defines a person, and allows society to have an outlook on an individual’s lifestyle and beliefs. Unlike criticizing other material things like a car, a home or even something as simple as a television set, criticism of clothing is very personal. This suggests that there is a high correlation between clothing and personal identity and values. (Breward, pg.1) Clothing in a sense has the ability to communicate thought. However, similarly to art interpretations, this does not mean that any two people will perceive these visual aesthetics similarly.