![]() ![]() Such ceases to be metaphor even, trading subtext for text throughout. The film unflinchingly focuses in on a singular narrative motif, committing consistently and completely to the Christological reading of Superman. ![]() Not so with Batman V Superman: Dawn of Justice. In trying to say too much, the film said nothing coherent at all. And 3) the messianic metaphor, whereby a god descends from the heavens to walk the earth in the likeness of a man as a light to show the way and a Savior to all mankind.Īny one of these could have infused the subtext of Man of Steel with added depth, but in their fight for screen time, such metaphors became mixed and muddled. 2) The American-immigrant metaphor, whereby a single refugee carries in him the hopes and dreams of all his people, fleeing the Old World where one’s place in society is predetermined for the New World where a man can make a life of his own choosing. Three repeating metaphors weaved their way throughout the narrative: 1) The environmental metaphor, whereby Kryptonians’ drilling for resources resulted in anthropogenic damage to the environment on a global scale, with Earth later under threat of having its environment altered to the point of inhabitability. While such criticisms certainly have merit, a deeper structural flaw of the film went altogether unobserved. The main charges levied against it were Superman’s use of lethal force in executing General Zod and the gratuitous destruction porn as Metropolis was leveled, both indicating a callousness and lack of concern on the part of a hero normally renowned for his high esteem of human life. When Man of Steel debuted three years ago, it was a divisive film. ![]()
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