Superman! Batman! Wonder Woman! The Flash! Green Lantern! Aquaman! The Martian Manhunter! The Justice League of America in its very own series! But will their first adventure be their last? Featuring the first appearance of the mind-controlling villain Despero!

Contributions by Dorian L. Alexander, Janine Coleman, Gabriel Gianola, Mel Gibson, Michael Goodrum, Tim Hanley, Vanessa Hemovich, Christina Knopf, Christopher McGunnigle, Samira Nadkarni, Ryan North, Lisa Perdigao, Tara Prescott-Johnson, Philip Smith, and Maite Ucaregui The explosive popularity of San Diego’s Comic-Con, Star Wars: The Force Awakens and Rogue One, and Netflix’s Jessica Jones and Luke Cage all signal the tidal change in superhero narratives and mainstreaming of what were once considered niche interests. Yet just as these areas have become more openly inclusive to an audience beyond heterosexual white men, there has also been an intense backlash, most famously in 2015’s Gamergate controversy, when the tension between feminist bloggers, misogynistic gamers, and internet journalists came to a head. The place for gender in superhero narratives now represents a sort of battleground, with important changes in the industry at stake. These seismic shifts—both in the creation of superhero media and in their critical and reader reception—need reassessment not only of the role of women in comics, but also of how American society conceives of masculinity. Gender and the Superhero Narrative launches ten essays that explore the point where social justice meets the Justice League. Ranging from comics such as Ms. Marvel, Batwoman: Elegy, and Bitch Planet to video games, Netflix, and cosplay, this volume builds a platform for important voices in comics research, engaging with controversy and community to provide deeper insight and thus inspire change.

ÒUNDER THE MOONS OF EARTH!Ó The entire Justice League of America is assembled as earthquakes, volcanic eruptions and various other disasters break out across the world when the planet Regna suddenly appears in the sky over Earth!

2017 The Association for the Studies of the Present Book Prize Finalist Mention, 2017 Lora Romero First Book Award Presented by the American Studies Association Winner of the 2012 CLAGS Fellowship Award for Best First Book Project in LGBT Studies How fantasy meets reality as popular culture evolves and ignites postwar gender, sexual, and race revolutions. In 1964, noted literary critic Leslie Fiedler described American youth as “new mutants,” social rebels severing their attachments to American culture to remake themselves in their own image. 1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and “freaks” soon came to embody the social and political aspirations of America’s most marginalized groups, including women, racial and sexual minorities, and the working classes. In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women’s and Gay Liberation Movements. Through a series of comic book case studies—including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants—alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.

Perhaps the most famous of all the Green Lanterns, Hal Jordan put on the lantern’s ring for the first time in 1959. A re-envisioning of the original crime-fighting Green Lantern (Alan Scott), created by John Broome in the 1940s, this new Green Lantern was a science fiction adventurer. He battled aliens, giant monsters, wealthy sociopaths out to steal his power ring...and the efforts of his lady love, Carol Ferris, to discover his true identity. As the Green Lantern of the Silver Age of comic books, Hal Jordan captured the imagination of a space-minded society of the ’50s and ’60s. GREEN LANTERN: THE SILVER AGE VOLUME 1 collects the adventures of Hal Jordan as he takes on the responsibility of the ring and the lantern for the first time in SHOWCASE #22-24 and GREEN LANTERN #1-9.Perhaps the most famous of all the Green Lanterns, Hal Jordan put on the lantern’s ring for the first time in 1959. A re-envisioning of the original crime-fighting Green Lantern (Alan Scott), created by John Broome in the 1940s, this new Green Lantern was a science fiction adventurer. He battled aliens, giant monsters, wealthy sociopaths out to steal his power ring...and the efforts of his lady love, Carol Ferris, to discover his true identity. As the Green Lantern of the Silver Age of comic books, Hal Jordan captured the imagination of a space-minded society of the ’50s and ’60s. GREEN LANTERN: THE SILVER AGE VOLUME 1 collects the adventures of Hal Jordan as he takes on the responsibility of the ring and the lantern for the first time in SHOWCASE #22-24 and GREEN LANTERN #1-9.

Harness the Therapeutic Power of the Superhero! Application of the Star Wars Adoption Narrative Emotional Literacy and the Incredible Hulk Batman and Trauma What Would Superman Do--An Adlerian Approach? With an incisive historical foreword by John Shelton Lawrence and insight from contributors such as Michael Brody, Patty Scanlon, and Roger Kaufman, Lawrence Rubin takes us on a dynamic tour of the benefits of using these icons of popular culture and fantasy in counseling and play therapy. Not only can superheroes assist in clinical work with children, but Rubin demonstrates how they can facilitate growth and change with teen and adults. Early childhood memories of how we felt pretending to have the power to save the world or our families in the face of impending danger still resonate in our adult lives, making the use of superheroes attractive as well, to the creative counselor. In presenting case studies and wisdom gleaned from practicing therapists' experience, Lawrence Rubin shows how it is possible to uncover children's secret identities, assist treatment of adolescents with sexual behavior problems, and inspire the journey of individuation for gay and lesbian clients, all by paying attention to our intrinsic social need for superhero fantasy and play.

From the late 1940s until the early 1990s, the Cold War was perhaps the most critical and defining aspect of American culture, influencing television, music, and movies, among other forms of popular entertainment. Films in particular were at the center of the battle for the hearts and minds of the American public. Throughout this period, the Cold War influenced what movies got produced, how such movies were made, and how audiences understood the films they watched. In the post–Cold War era, some genres of film suffered from the shift in our national narratives, while others were quickly reimagined for an audience with different political and social fears. In Hollywood and the End of the Cold War: Signs of Cinematic Change, Bryn Upton compares films from the late Cold War era with movies of similar themes from the post–Cold War era. In this volume, Upton pays particular attention to shifts in narrative that reflect changes in American culture, attitudes, and ideas. In exploring how the absence of the Cold War has changed the way we understand and interpret film, this volume seeks to answer several key questions such as: Has the end of the Cold War altered how we tell our stories? Has it changed how we perceive ourselves? In what ways has our popular culture been affected by the absence of this once dominant presence? With its focus on themes that are central to the concerns of many historians—including civil religion, social fracture, and the culture wars—Hollywood and the End of the Cold War will serve as a useful tool for those seeking to integrate film into the classroom, as well as for film scholars exploring representations of sociopolitical change on screen.