نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجو دکترا هنر دانشگاه هنر اصفهان
2 عضو هیئت علمی و دانشیار گروه پژوهش هنر . دانشگاه هنر اصفهان
چکیده
عنوان مقاله [English]
نویسندگان [English]
The increasing reappropriation and recombination of classical genres in contemporary works, particularly in superhero cinema, is regarded as a notable characteristic of postmodern cinema. In this context, the use of components such as parody and pastiche enable the reinterpretation and redefinition of genre conventions. Despite numerous studies on postmodern cinema and the recreation of classical genres, less attention has been paid to how the traditions of film noir are redefined in contemporary superhero works and to the relationship between parody and pastiche in this process. The present study aims to analyze the recreation of the noir genre in the series Spider-Noir based on the components of parody and pastiche, drawing on Susan Hayward’s theoretical formulation and incorporating the ideas of Linda Hutcheon and Fredric Jameson. The main research question is to what extent Spider-Noir employs parody and pastiche and how these components are reflected in the work’s narrative structure, form, and content. This qualitative study employs textual analysis, with the data analyzed by focusing on parody and pastiche and on the ways in which the narrative, visual, and stylistic conventions of film noir are redefined within the series. The findings indicate that Spider-Noir is neither a completely postmodern work nor merely an example of classical film noir; rather, through the fusion of noir traditions with Marvel’s superhero universe, it creates a hybrid and distinctive identity. The work’s postmodern manifestations are more evident at the levels of form, style, and intertextual references than in its narrative structure. Parody, by maintaining a critical distance from noir conventions, and pastiche, through the neutral and nostalgic recreation of its stylistic elements alongside Marvel’s superhero universe, together shape the work’s aesthetic structure. Overall, by moving between the critical distance of parody and the neutral imitation of pastiche, Spider-Noir maintains its connection to the heritage of film noir while offering a model for the reinterpretation and recombination of the genre within the framework of postmodern aesthetics
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