Page - 13 - in JRFM - Journal Religion Film Media, Volume 03/01

Editorial | 13www.jrfm.eu 2017, 3/1, 9–16 the DC Multiverse in the period 2007 to 2016. he is particularly interested in moral questions, in how the DC Multiverse imagines evil and explains its ex- istence, and in the DC Multiverse’s possible answer to the problem of evil. he argues that the question of evil actually helped the comic universe to mature, but proposes that such growing-up also poses challenges for superheroes, both male and female: “These protagonists are stuck in an infinite vicious circle, where their heroic actions (fighting against the forces of evil) are incompatible with their identity (forces of evil define them as heroic protagonists).” in his article “shadows of the Bat”, simon Philipp Born looks at the ques- tion of good and evil in tim Burton’s and Christopher Nolan’s Batman produc- tions. Due to the popularity and sheer number of superhero movies that have been released since the beginning of this century, he calls the 21st century the “Golden Age of superhero movies”. in his contribution, he is particularly inter- ested in the worldview that is enacted in superhero movies. While on first sight it seems that these movies promote a dualistic or Manichaean worldview, Born argues that Burton’s and Nolan’s films “disclose and willingly subvert the clear- cut dichotomy in favor of a more complex and sophisticated viewpoint”. As such, Born argues, Burton and Nolan uncover the socially constructed nature of “good” and “evil” that allows to exert control and power. thomas hausmanninger approaches Captain America: The Winter Soldier12 from a Judaistic perspective in his article “Deconstructing gilgul, finding iden- tity”. hausmanninger applies a Judaic and Kabbalistic lens to his interpretation of this movie. he is particularly interested in the portrayal of the characters Captain America and Bucky. hausmanninger argues that these two characters are “temporally displaced” and that this temporal displacement is more than a narrative tool, for he shows that the temporal displacement bears resemblance with the Judaic concept of gilgul, the transmigration of the soul. he argues that the concept of gilgul is crucial in portraying Captain America’s identity negotia- tions and his quest “to become whole”: “Captain America can only find his iden- tity and become whole where he is able to name the reason for his existence in the present world.” the team around Ken Derry explores the complicated relationship between Netflix’s 2016 series Luke Cage and religion in his paper “Bulletproof Love”. Drawing on a rich range of disciplines, such as Black theology, hip hop studies, gender studies, and the study of African American religion, Derry argues that the show Luke Cage (2016) “is both progressive and reactionary; emphasizes community and valorizes an individual; critiques and endorses Christianity; sub- verts and promotes violence”. Derry argues that religion – or, better, theologi- cal thinking – is a key ingredient of the show: Luke Cage (2016) discusses things 12 Captain America: The Winter Soldier (Anthony and Joe russo, Us 2014).