"With great power comes great responsibility"
Uncle Ben Parker, Spiderman
Superman is one of the most popular super-heroes in the history of comics, in fact, Annovati innumerable cousins \u200b\u200bfilm and television.
The comic was born from the pencil and imagination of Jerry Siegel and Joe Shuster in 1938 and was published by DC Comics. "A man can lift a car with a blue suit and wearing a red cloak on his shoulders, surrounded by a group of frightened passers-by: this is the first image of Superman, the one which makes its U.S. debut newsstands.
The character, however, even for his choice of the authors, is not a superman in Nietzsche's sense, but most embodies the myth of a man Emerson representative of our lust for power, a man with super powers, which brings to the community "(see Wikpedia).
Our super-hero debut in Italy on "Albi audacity" July 2, 1939 as "Cyclone, the Man steel "and, after many vicissitudes and editorial onomastic, since August 2006," De Agostini "has released a new weekly magazine called" The Adventures of Superman. "
Several were also reductions in films, including quote "Superman," "Superman II", "Superman III", "Superman IV" and "Superman Returns". But what will be the subject of our analysis is the recent television series "Smallville."
The interest in this television series comes from its mongrel character of intersection between the evergreen appeal of the figure of Superman and a vein of "deepening sentimental and psychological "(even if this" compound adjective "connected to this series seems almost an oxymoron) that reminds a bit 'all sentimental series for teenagers last decade (Dawson's Creek or The OC, just to name a few).
For "Smallville" follows the adventures of Clark Kent, a teenager struggling with the discovery of his superpowers, his Kryptonian heritage and reporting "sexual-emotional."
In my analysis, I will venture to read almost psychoanalytic universe "Clark Kent-teenager." Our hero, whose very name reminds me of the profession bourgeois par excellence ("Clerk" in English means used), it shows all the frustrations and existential neurosis typical of his status as an employee.
I mean, the protagonist is perpetually disturbed by his instincts, which impel them to seek fulfillment of their selfish needs (ie, a sexual and romantic relationship with Lana Lang, the girl who has always loved). He is deterred by the knowledge dall'appagare these desires (venutagli by the endless series of misfortunes occurred to his beloved because of her) to endanger the life of the object of his drives. Symptomatic of this danger is the strange event that will accompany the onset of sexual ardor. Indeed, as Clark Kent tries for the first time a sexual drive (as a result of an embrace with Lana), a flame will gush forth from his eyes, threatening to burn the barn attached to the birthplace. This event will be a warning of the danger of sexuality, which must be controlled and tamed, like fire, in fact.
But his desires are not confined exclusively to the possibility of starting a relationship with Lana, Clark often will want to live their lives more carefree, free of his binding superpowers. At this point the parallelism superpowers-social obligations is a must. Our hero is burdened with all the bourgeois social constraints do not allow them to give free rein to his instincts. In an episode of the series, wear a ring set with a stone of red kryptonite. The radiation of this stone frees him from all his inhibitions. Clark leaves Smallville (his hometown and "prison") at a time of Metropolis (large city near its "birthplace") and here, riding a bike (true icon of rebellion against social constraints and freedoms) , will be given to robbery (earned money without "having to pay a pledge" by frustrating the clerical work) and other pleasures, always negatigli from his "native prison."
will return to Smallville when the ring is no longer on her finger and will therefore come to his senses; that is, when the sense of guilt, due to satisfaction of his deepest instincts, will prevail. Returned to its initial condition, they will forgive all his acts, as performed by an alter-ego. Here is evident the schizophrenic split in our character, which does not identify how its actions too "alien" to his work ethic and common sense (made by a real Mr. Hyde hidden in the depths of his unconscious). Another important figure in the universe
psychological Clark are the parents, Jonathan and Martha Kent. These characters are the real "superego" of our hero. In the best tradition of the "family of Mulino Bianco" inculcherà the father's "sense of discipline" and the mother will be his most trusted confidant (male giving primacy to being on pragmatism and the "art of living", and the mother's primacy over emotional). Another interesting feature of these parents will be their status as adoptive parents.
Almost all parents as if the world were actually adopted, and our "natural parents" were in fact our "nature" that lead us to follow our desires, socially self-destructive if not diluted dall'ammaestramento of our "adoptive parents / Super-ego. "
In fact, the natural father of our hero is a Jor-El (inhabitant of the planet Krypton sends his son to Earth before his home planet exploded.) Jor-El called (with a voiceover and deep, true voice that comes from the unconscious of our protagonist) Kal-El, Clark Kent's Kryptonian name (the naming is different here as the materialization of a independent person of our hero), to fulfill its mission: to conquer the Earth.
This is the turning point that will put the crisis in our protagonist, who will be in a balance between Clark Kent is intended to be a "gray giornalistinculo" Kal-El and a Cast in a selfish and violent assertion of the ego.
Salvo Di Rosa
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