Dawid Przywalny

Post-9/11 Dilemma over the Priority of National Security or Civil Liberties in Marvel Comics (2001-2004)

Introduction

Post-9/11 dilemma over the priority of national security or civil liberties in marvel comics (2001-2004). Explore Marvel Comics (2001-2004) analyzing the post-9/11 dilemma: national security vs. civil liberties. Research determines political tone and artists' views on Bush administration policy.

Abstract

The article contains an analysis of comics from Marvel Comics, published between the second half of 2001 and the end of 2004. With the mixed methods approach (quantitative and qualitative research), the criterion for the analysis is appearance of and references to the socio-political dilemma of the conflict between ensuring national security and respecting civil liberties. It was one of the most important topics of debate for American society after the terrorist attacks of 9/11 in the sphere of politics and law in the US. The analysis aims to discover the number of comics that dealt with the subject of this post-9/11 dilemma, as well as to categorize individual stories, with the use of Jonathan Culler’s over-interpretation, as supporting the priority of national security or advocating for the importance of civil liberties. With these data, it will be possible to determine the political tone of individual comics, as well as to establish the views of the artists working for Marvel Comics and their attitudes to the policy pursued by the administration of President George W. Bush. The article uses studies conducted as part of doctoral research from the unpublished dissertation Terrorism, politics, and civil liberties in the American comics after September 11, 2001, based on a comics analysis of Marvel Comics, DC Comics, and Image Comics.

Review

This article proposes a timely and significant analysis of Marvel Comics published between 2001 and 2004, examining how these popular cultural texts engaged with the pressing post-9/11 dilemma concerning national security versus civil liberties. The chosen period is critically important, directly following the terrorist attacks, making the investigation into how this socio-political conflict manifested in mainstream American comics highly relevant to cultural studies, political science, and comics scholarship. By focusing on a specific, influential publisher during a contentious political era, the research promises to offer valuable insights into how societal anxieties and governmental policies are reflected and shaped within popular narratives, thereby contributing to our understanding of the cultural impact of major historical events. The methodology outlined appears robust, employing a mixed-methods approach that combines quantitative and qualitative research. The quantitative aspect seeks to identify the frequency with which the national security/civil liberties dilemma appeared in Marvel comics during the specified timeframe. This is complemented by a sophisticated qualitative analysis, which aims to categorize individual narratives based on whether they prioritize national security or advocate for civil liberties, explicitly utilizing Jonathan Culler’s concept of "over-interpretation." This theoretical framework, while potentially open to discussion regarding its application in maintaining analytical objectivity, offers a sophisticated lens through which to decode the political undercurrents of these stories. The ultimate goals of determining the political tone of comics and inferring the artists' attitudes towards the Bush administration's policies are ambitious, yet grounded in the author's extensive doctoral research, lending significant academic weight to the project. The paper's greatest strength lies in its interdisciplinary approach and its focus on a specific, culturally resonant period and medium. The detailed analysis of how superhero narratives grapple with complex real-world political and legal issues offers a unique perspective on the intersection of popular culture and public discourse. While the ambition to determine artists' views directly from comic content might require careful qualification, given the collaborative and often editorially guided nature of comic book production, the overall attempt to map ideological stances within the medium is commendable. This research is poised to be a significant contribution, providing a granular examination of how a major cultural institution like Marvel Comics navigated one of the most defining socio-political challenges of the early 21st century, making it of considerable interest to scholars in various humanities and social science fields.

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