Since 9/11, Hollywood revived the genre of the comic-superhero film which meant an increase in productions that featured comic-superheroes. While we can observe the emergence of new security and surveillance regimes during the war on terror, Men of Steel and Dark Knights exercise their powers in the cinemas for nothing less than the creation of collective security.
When we see how power relations and the use of violence within security discourses are being negotiated and legitimised, the question arises if film is merely a representation of these discourses or if film itself isn’t constituting and narrativizing these discourses so that the line between fiction and reality becomes blurred.
Dealing with the link between security discourses on a national and international level and popular culture such as Hollywood film can reveal to us how these discourses are being (re)produced and what we as scholars can do about it.
