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ReFocus: The Films of Michel Gondry$
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Marcelline Block and Jennifer Kirby

Print publication date: 2020

Print ISBN-13: 9781474456012

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474456012.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 18 September 2021

Playing with Superheroes: Genre, Aesthetics, and Deconstruction in The Green Hornet

Playing with Superheroes: Genre, Aesthetics, and Deconstruction in The Green Hornet

Chapter:
(p.184) Chapter 11 Playing with Superheroes: Genre, Aesthetics, and Deconstruction in The Green Hornet
Source:
ReFocus: The Films of Michel Gondry
Author(s):

Jennifer Kirby

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474456012.003.0012

In this chapter, Jennifer Kirby analyses Michel Gondry’s big-budget superhero film The Green Hornet (2011). The film generally provoked a negative critical response due to its seemingly insignificant subject matter. However, Kirby here argues that the vitriolic criticism fails to acknowledge the extent to which this film can be read as a deconstruction of the generic codes and aesthetics of the predominantly American superhero genre from an outsider’s perspective. She demonstrates how, just as The Green Hornet’s incompetent playboy, Britt Reid (Seth Rogen), plays at his childhood ambition of being a super-hero in the film, Gondry plays with the conventions of the superhero movie through both humorous revisionism and, more successfully, the use of analogue visual effects rather than using predominantly digital visual effects as is typical in most Hollywood superhero films.

Keywords:   The Green Hornet, Superhero, Genre, Visual effects, Analogue

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