Bátori Anna
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The Universal Message of the United States: The Hero and National Typology of Captain America: The First Avenger (2011)

„ A myth aims to synchronize individual and society (…) as well as eliminating bothersome ideas, ideas, which are indifferent towards the individual. This necessitates the passionate representation of the idea, (…) with thought always referencing something superior.”(Berkes-Nemes)

Several genre films have been made which themes are interwoven with the Second World War: from this vast historical material, romantic films, historical dramas, crime films and even comedies have been made, but the opus titled Captain America: The First Avenger (Johnston, 2011) does more than any other of its companions: the story of the film adapted from comic shows more than an American hero can defeat everybody if it is about his country; in the meantime it does something that cinema has yet to endeavor: it elevates Hitler’s Germany to the level of miracles. It achieves this by putting a number of fantastic plot threads apart from the classic hero-rising story into the main plotline: the enemy of Captain America is a group called Hydra, who are in possession of an ancient material of vast magical capabilities, which is not only stronger than Hitler, but could destroy the whole world in the wrong hands.
The familiar ‘the world is in danger and it must be saved by an American’ – story would not be interesting, if there was not a strong supplementary – and attributive – ideological plane added to the usual hero story. The main desire of Captain America is namely „to kill Nazis in the World War” (Captain America: The First Avenger).

1. American Stories

The story of the movie is simple and basic: there is a good-hearted and determined – but physically handicapped – main character (Steve Rogers played by Chris Evans), whose greatest dream is to protect his country. The themes of the film bring no surprise: even though our hero is weak, he „still knows the force, and he has compassion”. His heart is therefore in the right place, and gets the chance to wage war, granted that he takes part in a super-soldier program. It is at this point that fantasy enters the story: due to the effects of a machine and a serum, the weak boy instantly becomes a muscular soldier with super-strength, who has to fight Johann Schmidt, the Red Skull, in the employ and as the symbol of Nazi Germany.
Love accompanies war as usual, which is also present in the story through a soldier, Peggy Carter (Hayley Atwell). It is this way how Captain America gets everything that a hero is obviously granted: duty, fight, success and the woman.
The formula of the fantasy movie Captain America is not that simple however. Joe Johnston’s work is not only more than other war themed films because it embeds miracles into reality, but also because it manages to make this process ridiculous. The ascent of Captain America is not as easy as it usually is in classic American works: although Steve Rogers has to go through the usual trials, his trial do not represent physical force, but the (in)stability of American ideology. This is how the movie both glorifies and denounces the American mythos in the constraints of a single work.

2. The process of becoming a hero

Steve Rogers has two faces: one is that of shame (the face of the past); and that of glory (the face of the present). The story can also thus be divided into two parts: the actions before becoming a hero, and the things which happen to Rogers after achieving special status.
Captain America’s past suffers in the cage of his own body. Although he has those inner characteristics that can make a hero out of him (desperation, endurance, courage), but first of all he has to become physically exercised. The war itself appears firstly as a barrier in this process. The protagonist – due to his health conditions – will be send down from the army.
The strength of Captain America – as it emerges in the first half of the movie – is to be found in the American ideology: The particular picture sequence of the exposition also refers to this, where we recognize the loser side of Rogers. The man walks disappointed on the streets while the camera – using his subjective point of view – shows pictures about recruitments for us, viewers. The street, the cinema, the alley: all of these are in the service of the iconography of war. The eyes of Rogers are always on advertisements that are praising the greatness of war with such titles as „Join us in the army”, while in the cinema he watches a news installment, which is there to show the valor of the American army.

America is the home of images so Captain America himself has to transform into an image. He cannot step on the road of objectification until he has not got the status of the appropriate physical condition and musculature. This imperfection is highlighted by the picture sequences in which Rogers tries to fit his face on the head of a mannequin-soldier but he cannot reach it. This is the particular scene in which the imperfection of our hero is clarified: He is the loser, whose story about rising is set from the roads of disgrace to the reach of his goal.
His special status is the American myth itself, namely the heroic fights and the ideology of the perfectness of nation. For the faith in this („Bucky, people are risking their lives. I don’t even have the right to do less than this. (…) This isn’t about me”) he gets a reward in exchange: His inner characteristics will be complemented with the ones of the mannequins’ and he finally becomes a muscular, physically trained man.

The story’s turning point comes afterwards: due to the German doctor’s experiment, the little man (loser) becomes a hero who serves the American collective. Rogers takes the particular attributes[1], which are stick to him due to the faith in American ideology: His clothes shine in the white-red-blue colors of the United States, while his steel shield – that is present as a perfect description that of Achilles’ and Captain America – takes the American colors also on it.
Before becoming a true hero, such as in the myths, some trials are awaiting for Rogers: He has to battle himself through the apparatus of the American ideology. The Captain – although having already superpowers – cannot serve on the front: Others are handling his fate. His mission is to buy and sell the currencies of war.
This trial is necessary for our superhero to help him to integrate into that society what makes him an ideal. If this step did not come true, the rise of Rogers would not be authentic, because the process of becoming a hero always comes alive within a collective. The general public could not avoid the Nazi’s Hydra-attack without the trials of Rogers.
Captain America’s mission – as it states in the movie – “isn’t a big deal: you sell some bonds, bonds are worth a bullet and the bullets are killing Nazis”. The formula is simple but Rogers did not really imagine the process of becoming a hero like this: He has to jump here and there like a marionette in blow-outs that are there for popularizing the bonds of war. So his fully objectification becomes true: He becomes from an imagined mannequin to a living marionette. This montage sequence is – the scene with the circus as an allegory of show-business – that of reflecting the ideological matter of the film (the greatness of America). The director represents the United States as the peak of the capitalist settlement that seeks only profit and goods (even in war) and makes money from it. Johnston makes all this explicit as soon as he pushes Rogers onto the stage. Captain America takes his costume on and tries to convert war into money. The mythology of freedom and brotherhood fails itself during these scenes.
However, the ideological downfall is necessary to the rise of a hero. Rogers calls the „magic of personality, the direct unity of man and cosmos, that is not consigned to transmitting apparatus, the guaranteed unforeseen plus that is awaken by the jump into the act and that is coming from openness and harmony”, and because of Peggy’s influence[2] he stands firm, i.e. he steps right back into his own mythology so thus the consequences and main conflict will be the classic fight between good and evil.

The necessary consequence of the awakening of Captain America’s self-awareness[3] would be the ignoring of the American ideological attributes i.e. the dismiss of the shield and cape, but Rogers puts up his environment seeing him as the objective carrier of the American ideology and proudly takes on the hero’s signs of homeland.
The awake of the self-awareness is the point where Rogers, as an individual falls and becomes Captain America: „I have been dreaming about that I help my country and now (…) I have a fancy dress. I feel that I am more than this”. Rogers, the loser becomes an American hero, who serves the general public and – after saving his fellows from the Austrian lager – the society finally agnizes him. Even so, the last showdown with the Evil is still has to come: as the representative of his country, Captain America has the chance to use another program of the American myth: The idea of multiculturalism. 3. In the cross-section of crucibles

„ America is neither a dream, nor reality: It’s hyperreality. A hyperreality, because it’s an utopia that worked from the very beginning as if it came true. Here is everything real but nothing takes our dream away. Maybe the American truth can only be seen with European eyes (…) our look is attracted by a mythical and analytical enthusiasm”.[4]

Due to the work of a German scientist, Captain America physically becomes a hero. The “Germanness” is a key point of the movie: the power that created the idol, as well as the force that wants him to be destroyed, is German. The film’s absurd point could be the above mentioned connection, if the plot was not a very classic American hero-story, where every character, who stands by Americans – or at least speaks English – is a positive individual or moreover a positive person.

The director of Captain America, Johnston does not forget to attract our attention of the complex role of the USA. The country does not only serves as the savior of the world (and occupies Europe because of this in the forties), but at the same time does not forget to have friendship with other nations. The United States of America is well-known one of the greatest crucibles; melting point of the world, i.e. numerous nations live their everyday lives with/next to each other. The common thing among strangers is the fact of migration: these people have left their homelands in the hope of having better living conditions in the New World. Despite the fact, that the USA is one of the most populous countries of fugitives, the migration – that has begun in the 16th century – is still going on.

Although the States does not have such narratives like Europe, it could win both World Wars while becoming one of the leading economic force in the world. The emphasis of histrorio-political successes as well as the educational; economic; cultural factors did assent to make the American identity being one of the strongest among the nations.[5] The mechanic development of self-confidence (manifest destiny) placed to the point that the USA became the symbol of multiculturalism and citadel of national cooperations.

Howsoever, behind this quasi success of the American society’s well-oiled machine there are many problems to be found, albeit the topic of the identity’s crisis rarely comes to light when one thinks of the great American culture and affiliation. As the French philosopher, Baudrillard states, „the Americans live in an idyllic conviction where they think that they are the middle of the world, the supreme power, the ultimate sample and they are never wrong. (…) They believe that their own society is (…) the realization of all those ideals from what the others can’t even dream of – the truth, wealth, rights, economy and freedom – they know this, they believe it and at the end the others will believe them too”.[6]

The social settlement of the ultimate sample is strongly individualistic: the American citizens respect self-reliance (“self-determination theory”) which can be found as some kind of national flavor in their everyday life. This is the reason why there is one central hero enough to take the whole narrative: the individualistic adjustment does not throw obstacles in this way.
As mentioned before, besides the individual, the small- and big communities play important roles too: the close cooperation of different groups, representatives of interest and classes are the keystone of American democracy. The collectives integrate into the ideological unity – i.e. American community – that trains its members for being proud citizens of the great national apparatus.

The national cohesion, the small- and big communities, the individual, as well as the geographical changing zones (frontiers) are elements of a myth that of representation leads to the illustration of American ideology. The Captain America is able to handle all these mythical[7] elements simultaneously: The individual-line comes alive along with that of the hero, while the spaces of communities (military, privates) controlled by Rogers become part of the film’s program and plot. The last mythical element, i.e. the geographical point is argued out by Johnston, who expands his point along the disciplines of multiculturalism and ethnocentrism.

The friendly cooperation among nations takes a prominent part in the film. The German scientist mentioned before stood by Hitler, and searched the secrets of super soldiery with Red Skull together. The latter turned to the ’dark side’ i.e. his fate became sealed, so thus he escaped and settled down in the States that protects all of its citizens, while giving them the idea of freedom. On the land of opportunities, Red Skull experimentalised the superhero serum and found his test person, Rogers.
The doctor represents the positive side since – with an accent though – he speaks English i.e. he picked up the language of the country so thus he resigned himself to the American system. His partner was undisposed to do this: he staid and begun to search the negative energy in Germany. That is the reason why he still speaks German and – emphasizing his German attributes – his look also varies from the well-combed ideal of an American citizen. Red Skull – as his name hints to – wears a red mask: the Evil can never become a personality, a persona, since he has lost himself (i.e. does not have a face) and became insane while searching for the transcendental power. Due to this he can never become American either: as well as the community as well the special status is missing out of him, though these could raise him to the level with Rogers.

The other attribute that could make a hero from Captain America’s enemy, is the community itself, but Red Skull is at odds with that too, since he does not have any audience. One cannot find people to work as a small community to support him, and unity of the German nation (i.e. big community) does not interest him. The figure of the arch enemy is so thus based on the absence; on attributes that Captain America is in possession of, but his enemies can never have.
Consequently, an other multicultural line emerges: Rogers recruits a group with international soldiers around him.[8] This special force obviously enjoys the guidance of the United States and obeys to its command i.e. it works like the American society itself. In Rogers’ team there are South-Koreans, French, English people as well as Austrians: their national affiliation can be concluded by their iconography only, since they all do communicate the language of Captain America. An interesting scene is where one of the privates tries to interact in French but his speaking is followed by deep silence and confusion, so he finally turns back to English.
This is the way how the multicultural-capitalist crucible reproduces itself in miniature proportions, with the help and cooperation of foreigners, who we do not know anything about except that they are good fighters and can drink a lot. The stereotype so thus becomes universal, but one must not forget that this image is also controlled by American hands.

4. The ideologies pull out

The denouement of the final reckoning does not cause surprise: Captain America – sacrificing himself for the big community – sends the raider of his homeland to death. However, besides the actual, physical clash, it is worth to mention the verbal fight between Red Skull and Captain America. The German arch enemy, Schmidt means that Rogers „could have got the power of gods but he stills wear flag on his breast and fights the war of nations”[9]. With this statement Red Skull again admits the fact that even if he wants to, he never can be American: he does not understand why Rogers and the United States did a political intervention by joining the war namely. „I have seen the future, captain, there are no flags!”– argues Schmidt by the actual system of Europe. In response to, Captain America weighs him down and kills the very enemy of his land.

The unquestionable stability of American identity and ideology can be seen in the film’s prologue too. Captain America does not think about the ethical side of the war’s consequences; his only goal is to defense his motherland and the very praising of the American power. This is why Rogers wears wings on his clothes: he is the forerunner of the power and invincibility of the U.S.A, and the American dream. No matter where he is, Captain America can mediate and choose between truth and falsehood. An important point is that he does these from the point of view of America, so the question is, if there is any subjective truth or/and is every truth subjective?
The answers are not evident since the Captain America – similarly to other hero-related fabulas – is only wishes to represent the main ideology. This is why the director uses a fantastic thread in the story: this is that particular genre that is capable of showing grandiose effects, in what the universal message of the greatness of America can be integrated.

Hitler’s Germany cannot be considered as wonder. This is not due to the power of the ancient material called hydra, but is due the fear of the U.S.A. The European country is not brave enough to stand against the States and the wonder thus becomes not only the genre’s feature but a program of the film.
The movie Captain America could be a sample of the classic hero typology: there is an eager American who believes in fighting and his perseverance brings him the result, i.e. he becomes a hero. The way is long and rough; with full of barriers, dangers but – thanks to the hound of the community – can be easily solved by a superhero. The individual again triumphs against the sinister powers, and America not only proves that it is the strongest nation, but that it is totally indestructible. The heroes will be always reproduced: they became permanent phenomena in new movies, new comics or in other interdisciplinary media. Johnston refers to this point, when he represents Captain America as a clown: the production of heroes and the ideology are going hand-in-hand and their road never comes to an end.

Bibliography:

Baudrillard, Jean: Amerika, Magvető, 1996.
Dr. Hidasi Judit (szerk.): Kultúrák, kontextusok, kommunikáció, Perfekt Gazdasági Tanácsadó, 2007
G.S.Kirk: A mítosz, 1993.
Király Jenő: A film szimbolikája. A fantasztikus film formái. (II/2.), 2010/2. Kaposvári Egyetem
Kommunikációelméleti Szöveggyűjtemény, III. rész, Tankönyvkiadó, 1979.
Nemes Károly: Hős a filmben, in. Valóság 2000/8.

Film:

Amerika kapitány, az első bosszúálló (r: Joe Johnston, 2011)
–Captain America, The First Avenger–
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[1] The reason of the unfulfilled love between Peggy and Rogers is formulated by Jenő Kiraly in a very happy way: „(…) the woman who came too soon is a barrier of war, (…) while the one who comes right in time is the peace itself (…) but the woman who came right in time for the hero, came too soon for the rest of the world. when the war is over, only the hero will be the one who wants to step out of it. (…) the woman does not have the right to take the main role when the world is suffering.” (Király, p. 329). See the part in film.: „he said he trusted me. So he has to let me go.” (00:55:58) – so Rogers.
[2] See: The typology of a hero by Károly Nemes: „With his inner and outer attitude he assumes the value - apart from this, he would not be able to embrace himself - but because of the chance to rise, he also denies it”. (Nemes, 2000)
[3] Baudrillard, pp. 40-41.
[4] See. Falkné, 2007, pp. 23-34.
[5] Baudrillard, 1986, pp. 99.
[6] In this work I rely on G. S. Kirk’s myth concept: If we begin to analise the mythical conventions written by him, we have to realize that those are fully related to the American movies of the genre. They are there to entertain, advertising the triumph of famous men and women, continously repeating the stories and every happening has a special power of conception in it. (see Kirk, 1993)
[7] See picture Nr. IV.
[8] 01:44:03