Gothic literature from the late 1700s inspired the horror film genre, establishing conventions that are still used today. Novels like Frankenstein by Mary Shelley shaped perceptions of the genre. Famous films from Georges Méliès in the 19th century and aspects of how gothic literature portrayed characters further defined tropes in modern horror films, such as creatures that look or act differently from society posing a danger. While conventions have evolved over time to appeal to new audiences, gothic literature remains foundational to the development of horror films.
The Problem of Evil 59www.jrfm.eu 2017, 31, 59–74Toufic.docxarnoldmeredith47041
The Problem of Evil | 59www.jrfm.eu 2017, 3/1, 59–74
Toufic El-Khoury
The Problem of Evil in
DC Universe Animated Movies, 2007–2016
DC Multiverse, an Ironic Illustration of Leibniz’s Theodicy?
ABstrACt
this article explores the question of evil and its metaphysical and moral implications
in a series of animated movie adaptations of the DC Universe produced since 2006.
the contemporary evolution of the medium, called the “iron Age of comics”, has
seen the auto-reflexive nature of comics produce problems and themes related to the
main question discussed in Christian theodicy: how can we perceive and define the
possibility of evil in a world where God’s omnipotence should have eliminated such
a possibility? Moreover, why does evil seem to spread indefinitely in spite of all the
efforts deployed by superheroes to stop evil? We will discuss the problem of evil as a
natural narrative topic in light of comics’ mythological and religious roots and with a
particular study case: DC Comics Multiverse as an illustration of Leibniz’s “best of all
possible worlds” argument.
KeyWOrDs
DC comics, animated movies, cinema, theodicy, problem of evil, Leibniz.
BiOGrAPhy
Toufic El-Khoury is a lecturer and coordinator at the Académie Libanaise des Beaux-
Arts and at the Université saint-Joseph, Beirut. he holds an MA in Philosophy (Uni-
versité saint-Joseph) and a PhD in film studies (Université Paris Diderot – Paris 7). he
is the director of the collection “Cinématographies” (Orizons, Paris) and the author
of La comédie hollywoodienne classique (1929–1945): Structure triadique et médiations
du désir (2016).
As the result of external or intra-generic influences, every movie genre organ-
izes and matures in its aesthetics, its codes, and its thematic, triggering the cu-
riosity of philosophy.1 In the field of Film Studies, philosophers have recently
1 We follow the definition of a movie genre suggested by Rick Altman and Raphaëlle Moine: the se-
mantic-syntactic-pragmatic definition. The semantic elements are the narrative and visuals codes, the
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60 | Toufic El-Khoury www.jrfm.eu 2017, 3/1, 59–74
become interested in movies, intrigued not only by selected authors or film
aesthetics, but also by movie genres. following the interest of stanley Cavell
in hollywood comedy and melodrama, other philosophers have explored the
codes and themes of established genres: Robert Pippin with film noir and the
Western2 and, in France, Eric Dufour with horror movies and science fiction.3
Movies and TV series adapted from comics and, more specifically, from the
superhero genre are starting to attract interest beyond the circle of critics and
film historians.4 the superhero movie is still at its beginning, whereas superhero
comics have a longer and richer history, but with the release and success of
Spider-Man (sam raimi, Us 2002) and the steady production of superhero mov-
ies since 2002, the superhero genre has take.
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The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
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2. Films from the genre of horror can be dated back from the
19th century. It was a famous film pioneer Georges Méliès
who used aspects of the genre in his 1986 film The
Haunted Castle.
3. Also, what inspired this genre is Gothic
literature. The roots of horror film is
an extension from the a genre of
literature that came about in the late
1700s, which is gothic horror.
Authors such as Mary Shelley have
written famous novels such as
Frankenstein that have shaped the
way we look at this particular genre.
In addition, it has created
conventions of horror that to this
day being emitted into modern day
horror films.
4.
5. Through the ways in which the
gothic literature have
represented certain characters
has set up the way characters
in modern horror have also
been shown.
6. In modern horrors, aspects of the creature are
continued such as looking different and not
fitting in which adds to being a danger as they
don’t conform to the regularities of society.
e.g. Bagul from insidious
7. Overall, gothic literature has set up the way horror films are
made and the expectations of it. Although, due the
changing audience and relevance of time, these
conventions have been altered to fit in the particular time
and to appeal to the audience they’re aiming at.