American Soft Power Through Hollywood Superhero Movies: The Case of the Trilogy of Captain America

The Captain America trilogy exemplifies American ideals: individuality, democracy, liberty, equality, and patriotism through the life and identity of its protagonist Steve Rogers. From the blatant display of American cultures to American values to the artistic imitation of American policies, the Captain America trilogy incorporates all mentioned elements and presents the world the compelling stories where heroes are created, sacrifices are made, damages are done—all for the protection of humanity. As the curtain closes, superheroes always emerge as the saviors—to all. The assertion of power, as the trilogy demonstrates, is no longer through the brutal force of military power but wielded through soft power, namely culture, values, and policies. Only through careful analysis of the storyline, character traits, dialogues, and images, one may discover hidden messages in the art that imitates life. As stated by Joseph Nye (1990), a political scientist, “the best propaganda is not propaganda”.

Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger

In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to his plans. During the conversation a portrait is being painted of the Red Skull, but we cannot see his face, only that the artist uses a huge amount of red paint. In the background, excerpts of Wagner’s operas are being played, which is very unusual in a Marvel movie. The question is, should the viewer recognize the diegetic music and notice the possible reference to the painting Las Meninas by Velázquez? How the detection of these intermedial references and the awareness of the act of trespassing media borders would affect the semiotic processes of interpretation? And also, how would the more precise identification of the cited materials change the semiotic modality of intermediality here? The article tries to answer these questions by interpreting the scene and the role of the references in question within the entire film through the prism of intermedial semiotics.

Captain America protecting digital rights: “old school” national law vs. emerging internet complexities in Azerbaijan

It is indicated in the article that emerging information technologies influences human rights norms in any democratic society. Especially, the Internet has changed the traditional approach to methods of ensuring human rights, while adding new challenges at the same time, such as regulating cybersecurity, digital data protection, digital freedom of information, privacy, discrimination in the Internet, etc. The traditional flow of information through newspapers, radio and television is currently combined with new means of exchanging digital information, mobile and satellite communications, the Internet and other technological advances. Of course, these innovations make governments to review traditional human rights legislation to stay fit and updated. Yet, some fundamental norms of national human rights legislation should remain unchangeable. Simply put, it looks like Captain America from the movie “Avengers” – a very old guy who develops his abilities to defeat dangers, but also preserves “old school” strength and leadership skills. In the light of these issues, the present article is devoted to the analysis of the conceptual foundations of national legislation in Azerbaijan on the protection of digital rights in the Internet. The article emphasizes that digital rights themselves are one of the factors demonstrating the strong impact of communication technologies on human rights, especially information rights and freedom of expression.

Acordos de Sokovia e os Limites do Poder: Capitão América e Reflexões Sobre o Papel da Superpotência no Sistema Internacional

Ao observar o sistema unipolar que emergiu do final da Guerra Fria, é marcante o sentimento de insegurança geopolítica gerada pela existência de apenas uma superpotência global e as dúvidas da atuação do Estado soberano nessa conjuntura. Nesse paradigma, Capitão América: Guerra Civil é lançado com uma simbologia contestadora do papel do hegemon no sistema internacional. Com isso, inicialmente é exposto o enredo do filme, seguido das teorias liberal e realista das Relações Internacionais e da semiótica greimasiana. Com isso em vista, é feita a análise dos símbolos do longa-metragem e, por fim, se conclui que os autores do texto tinham como objetivo disseminar uma mensagem de união política entre os americanos. Abstract: Observing the unipolar system emerging from the closure of the Cold War, is remarkable the sentiment of geopolitical insecurity generated by the existence of only one global superpower and the doubts about the role of the sovereign State in such system. In this paradigm, Captain America: Civil War is released with a contesting symbology about the role of the hegemon in the international system. Therefore, first it is exposed the movie plot, followed by the liberal and realist theories of international relations and the French semiotics. With this in mind, the symbols in the feature are analised and, in conclusion, it is stated that the authors wish to convey a message in bipartisan union amongst the American people. Keywords: International Relations Theory, Semiotics, Captain America. Recebido em: setembro/2019. Aprovado em: maio/2020.