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To cite this article: Jason Zingsheim (2011) X-Men Evolution: Mutational Identity
and Shifting Subjectivities, Howard Journal of Communications, 22:3, 223-239, DOI:
10.1080/10646175.2011.590408
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The Howard Journal of Communications, 22:223–239, 2011
Copyright # Taylor & Francis Group, LLC
ISSN: 1064-6175 print=1096-4649 online
DOI: 10.1080/10646175.2011.590408
JASON ZINGSHEIM
College of Arts and Sciences, Governors State University, University Park, Illinois, USA
Address correspondence to Jason Zingsheim, College of Arts and Sciences, Governors State
University, One University Parkway, University Park, IL 60484. E-mail: jzingsheim@govst.edu
223
224 J. Zingsheim
In an interview, Stan Lee, creator of the X-Men, remarked that the appeal in
creating the X-Men as mutants was part novelty, ‘‘I’ve run out of gamma rays
and cosmic rays,’’ and part potentiality, ‘‘I can get these guys to have any
power I want . . . Nobody can argue with that!’’ (DeFalco, 2006, p. 8). In this
article, I use mutational identity (Zingsheim, 2011) to analyze the X-Men film
trilogy for the same reasons—novelty and potentiality. Mutational identity
provides a useful way of looking at mainstream identity discourses, building
upon existing poststructuralist identity theories. In terms of mediated repre-
sentations of identity, the X-Men trilogy is ripe with potentiality. Just as the
concept of mutation offered Lee the chance to give the characters whatever
power he wanted, it also offers infinite options for identities. This premise,
coupled with recent advances in filmmaking technology, creates a context
in which creating and representing individuals on screen is bound only by
the imagination. These films offer a provocative entrée into contemporary
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discourses of oppression affect not only those who are directly marginalized
but also exert influence over privileged individuals. Hence, I pay particular
attention to dominant subject positions, such as racially White, gendered mas-
culine, and heterosexual. These locations do not escape analysis; still they
must not delimit the analysis either, for a sole focus on subjectivities privileged
in these ways would reinscribe the very domination I seek to subvert with this
project. These subject positions are often discursively constructed and defined
in opposition to (and thus are always hinged to) marginalized subjectivities
(Carrillo Rowe & Malhotra, 2007). Any interrogation of Whiteness, heteronor-
mativity, and=or masculinity must also attend to the intersections, collisions,
and disjunctures with representations of marginalized racial locations, queer-
ness, and femininity. Further complicating these discussions, from a muta-
tional identity perspective, are the myriad other subjectivities (privileged
and oppressed) that may be called upon to join a particular identity at any
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given moment. While the primary concern is with the mutational trajectories
of race, gender, and sexuality, there are confluences where it becomes impor-
tant to trace the path of attendant subjectivities, such as class or nationality, in
order to understand the kinetic articulations of discourses of identity.
I begin with a discussion of the relationships between media representa-
tions and identity. This is followed by a brief overview of mutational identity,
specifically focused on the evolutionary and processual nature of subjectiv-
ities and identities. The analysis interrogates the representations of the trilogy
elucidating the role of citizenship and mobility in constructing recognizable
subjects before turning to trace the racialized and gendered trajectories avail-
able as discursive resources for identity negotiation. Through this analysis, I
demonstrate how the X-Men, which has been praised over the decades as a
‘‘progressive’’ text supporting equal rights, capitalizes on shifting identity dis-
courses to reconstruct White masculinity as the superior subject position. It
does so through the promise of citizenship, the freedom of mobility, the
threat of uncontainable femininity, and an underlying yet pervasive reliance
on racist stereotypes.
(Rabinow & Rose, 2003, p. xx), the positions recognized as intelligible and
offered as discursively possible within the current conjuncture. Alternately,
identity denotes our relation to ourselves. Identity is where our sense of self
is continually (re)constructed among, over, and through various (and
variously shifting) subjectivities. These subject positions ‘‘are culturally con-
structed and can be understood only relationally. Consequently, they are
always in process and incomplete’’ (Grossberg et al., 2006, p. 234). Rather
than resulting in a singularly homogenous subject, this process of interpel-
lation hails one into ever-changing and ever-multiplying subject positions.
Subjects are ‘‘constantly being formed, never coming wholly to fruition’’
(Mankekar, 1999, p. 17). In this way, ‘‘not only are texts polysemic, but sub-
jectivities are multifarious as well’’ (p. 17). The subject positions offered by
media, and the meanings of these positions, are unstable (Kellner, 1995;
Mankekar, 1999). ‘‘Rather than constructing something like a subject, or inter-
pellating individuals to identify themselves as subjects, media culture tends to
construct identities and subject positions, inviting individuals to identify with
very specific figures, images, or positions’’ (Kellner, 1995, p. 259). These are
offered as archetypes on which personal identities should modeled (p. 247).
Yet these subject positions are ‘‘frequently contested by viewers who are
historical subjects living in particular discursive formations rather than posi-
tioned by a single text’’ (Mankekar, 1999, p. 8). Thus, individuals are hailed
by multiple subject positions with varying degrees of recognition, misrecog-
nition, rejection, and=or identification. It is from this complicated, contextual
process that identity (re)emerges as historical individuals accept, reject, and=
or negotiate a wide variety of subjectivities with which to identify.
Complicating matters, these subject positions are not static, stable enti-
ties. They are always already in process and produced in and through that
process. As a result, ‘‘ ‘subject positions’ of media culture are highly specific,
contradictory, fragile, and subject to rapid reconstruction and transform-
ation’’ (Kellner, 1995, p. 240). Representations do not function to re-present
X-Men Evolution 227
active and creative roles in their readings of texts and their adoption, inter-
nalization, rejection, and resistance of the subject positions offered therein
(Fiske, 1996; Hall, 2001; Livingstone, 2006).
The second issue concerns the limitations or boundaries of such agency.
Kellner’s (1995) description neglects the material and symbolic constraints
faced by historical concrete individuals. Media culture is ‘‘a site of struggle
between dominant discourses and forces of resistance: popular culture con-
tains ‘points of resistance’ as well as ‘moments of supersession’’’ (Mankekar,
1999, p. 29). Still, this struggle is not evenly matched, nor evenly fought.
There are many who are not hailed by the symbolic resources and subject
positions that are represented in media. While all are hailed and disciplined
by subject positions, certain people are disciplined disproportionately and
inequitably. For example, the primary racial subject of television and film dis-
course is White (Dyer, 1997; Harwood & Anderson, 2002; Muñoz, 1998). For
those who are not hailed as White subjects, the available symbolic resources
and subjectivities are significantly limited and limiting (Hall, 2003). Non-
dominant subject positions are further marginalized through their absences
on the media screens of today’s world, ‘‘and being left off of the media’s cen-
ter stage is a form of symbolic annihilation’’ (Gross, 2001a, p. 117). As we are
all differently privileged and marginalized, the paucity of historically margin-
alized subject positions represented in the media culture harms each of us.
On the other hand, the limitations of our discursive resources negatively
affect even those whose identities are predominantly based on privileged
subjectivities (Gross, 2001b; Segrest, 2002).
My point here is not to argue that we simply need to develop more
accurate representations of marginalized subjects as if they were singularly
homogenous subject positions. As numerous studies have demonstrated,
increased visibility does not necessarily indicate positive or diverse portrayals
of subject positions (Dow, 2001; Gross, 2001b). Instead, the critical objective
is to further acknowledge and expand the range of possible meanings of
228 J. Zingsheim
MUTATIONAL IDENTITY
Kenya; Nightcrawler, who hailed from Germany; Japanese Sunfire; the Irish
Banshee, and Thunderbird of the Apache tribe. Choosing which characters to
include in the films is overwhelming as the X-Men universe has grown to
include hundreds of mutants. Rather than speculate on the rationale for
making these choices, particularly which characters to omit, it is interesting
to note the transformations that accompanied characters who advanced from
the comic book pages to the screen.
In the films, the main team of X-Men under Professor X’s leadership
begins with only Cyclops, Jean, and Storm. While Jean and Cyclops have
grown up, Iceman is still a teenager at the school, though not a full member
of the team until the final installment. Angel and Beast make appearances as
supporting characters in the third film. The original five X-Men, who are all
American, are included to some degree in the trilogy. Of the international
team, Storm plays the largest role in the films as a permanent adult member
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of the X-Men; however, there is a significant shift in her identity. In the films,
she is presumably transformed into an African American woman, no longer
suggesting any Kenyan nationality. She is represented as having no history
outside of the school. In The Last Stand, she tells the professor that they can’t
stay students forever (Ratner, 2006). He responds by claiming he hasn’t
thought of Storm as a student for years. This implies that within the filmic
universe she was a student of his instead of an African ‘‘goddess’’ in Kenya
recruited as a grown woman as the comic book details. Colossus is intro-
duced at a younger age and rises from student to team member through
the trilogy. He, too, has lost any connection to his Russian history, appearing
and sounding as a native U.S. citizen. Wolverine treks across the Canadian
and U.S. border without any obstacles before working with the X-Men. In
a spin-off film, X-Men Origins: Wolverine, his citizenship is clarified as
Canadian, though he continually fights as an agent of the U.S. military. In
the trilogy, he displays no clear signs of Canadian cultural affiliations.
Australian actor Hugh Jackman plays the character, so Wolverine’s use of a
standard American dialect, instead of a Canadian dialect, is not accidental.
Avoiding the connotations of Canadians as nice or polite, this linguistic choice
locates Wolverine within the U.S. tradition of aggressive, violent, patriotic,
White masculinity. The Americanization of these three characters gestures
toward the nativist and xenophobic attitudes that have increasingly gripped
the post-9=11 U.S. society. Talk of securing our borders and homeland security
pervaded social discourse as the country engaged in the War on Terror under
President Bush’s foreign policy of ‘‘you’re either with us or against us’’ (Cable
News Network, 2001, Nov. 6). Within this cultural moment, it becomes
increasingly important to be American in order to be heroic. Although this tra-
jectory may be explained through the U.S.-based organizations that produced
the films, the implications of this construction are not bound by national
borders. The films were released worldwide, often within a matter of days,
and have collectively earned over one billion U.S. dollars globally.
X-Men Evolution 231
peculiar given the nature of his mutant power. As a teleporter, one would
assume him to be incredibly adept at transversing borders and boundaries
without detection. Instead, he is repeatedly trapped and used by others.
Nightcrawler was captured by Styker and programmed to attack the president.
Professor X then tracks him to Boston where he is quickly apprehended by
Storm and Jean. He is even unable to eavesdrop on a campfire conversation
without Magneto noticing him. The remainder of his time on screen is used to
explicitly move others to safer spaces, including Rogue, Professor X, and a
number of children. While he is constructed as one of the good guys, as a
non-White foreigner his movement is carefully monitored. Furthermore, he
is allowed to exist only insofar as he is useful to the true (American) heroes,
and then he is summarily discarded before the next installment.
While not a hero, Magneto also retains connections to his foreign roots,
though his character is carried closer to the heart of American Whiteness.
Magneto is a Holocaust survivor who is introduced in a Polish concentration
camp during World War II. These experiences are offered as rationale for his
conviction that mutantkind must be protected from the atrocities humans will
commit against those who are different. Curiously, apart from his explicit
statements or holocaust tattoo, his Eastern European Jewish culture is not
included in his expression of self. In X-Men, he reminisces about the hope
he felt in coming to the United States in 1949 (Singer, 2000). Presumably,
he was later naturalized as a U.S. citizen. This naturalization process success-
fully erased any outward traces of his ancestry. He speaks with the classically
trained British voice of Sir Ian McKellen with no hint of Polish as a first lan-
guage. Magneto, as a White Jewish European male, symbolizes the traditional
immigrant story of pursuing and obtaining legal U.S. citizenship. As a natur-
alized, and not native-born citizen, he also represents a threat to the country
by signifying its mutable quality. For the majority of the trilogy Magneto is
either a fugitive or a federal prisoner. This construction demonstrates the cul-
tural currency and hierarchy within citizenship. While naturalized citizens
232 J. Zingsheim
may be deemed dangerous, they are still afforded increased mobility when
compared to foreigners. Even Magneto—a (White) villain, an enemy of the
state, and an escapee from a federal prison—remains a naturalized U.S.
citizen with largely unfettered mobility across North America whereas the
good guy—but non-White foreigner—Nightcrawler is subject to surveillance
at his every move.
Pyro and Juggernaut are both knocked unconscious but not killed, leaving
open the possibility of living through the battle. Multiple Man is kept safely
out of harm’s way as a decoy. In the final scene of the trilogy, we see that
Magneto, the most powerful of the White males in the Brotherhood lives.
In short, even within the side of the bad guys, White masculinity is the safest
(and thus preferred) confluence of subject positions.
The privileging of males and masculinity, particularly in conjunction with
Whiteness, is also evident in the trajectory of White female Jean Grey along
the three movie arc. She is initially shown as hesitant to use her powers
and unable to do so safely. She is chastised by Professor X for losing control
in the Senate hearing and by Cyclops for using Cerebro in X-Men (Singer,
2000). In the second film, her powers are rapidly expanding and she struggles
to keep them in control. The film ends with her rescuing the X-Men from
impending doom as a dam collapses; however, she seems to sacrifice herself
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in the process. This ‘‘sacrifice’’ sets up the story for Jean Grey to become the
Phoenix as she rises from an assumed death in the third film, where we learn
that her mutation is seated in her unconscious making her extremely powerful
and the only known Class 5 mutant. Yet she is unable to control this power.
Professor X had used mental blocks to prevent her from accessing much of
her power, leading to a split personality between Jean and Phoenix. Jean is
restraint, control, and obedience whereas Phoenix is all rage, lust, and desire.
This split mirrors, and reconstructs, the binary virgin-whore archetype.
Over the years, the creators of the X-Men comic books have attempted
to include strong female characters (Cooper, 2005; Marx, 2005). Yet these
attempts are still subjected to discourses of patriarchy that require the disci-
plining of femininity. Throughout the film trilogy, Jean evolves from a meek
and hesitant woman with marginal powers of telekinesis and telepathy into
the most powerful mutant on the face of the planet. Yet during this evolution
she is consistently subjected to the supervision and domination of White
males. As the naı̈ve Jean, Cyclops protects her, while Professor X mentally
cages the desire of Phoenix. After the rise of Phoenix, she joins Magneto’s
Brotherhood and follows his leadership. For the brief moment she is not
under any White man’s control, she returns to her childhood home and sits
alone in the corner. In the end, despite the enormity of her power she lacks
the ability to control it—becoming a danger to herself and to others—and
ultimately submits to the paragon of White masculinity, Wolverine, as she
repeatedly asks him to kill her. The narrative offers Jean space to explore
and advance in her powers. Rather than suggesting the empowerment of
femininities, this exploration demonstrates the risk of unsupervised sexual
feminine subjects. Ultimately, these experiences work to discipline femininity
as something that must be controlled by paternal White masculinity in order
to survive. Through the narrative arc of Jean’s character, we discover the
most powerful mutant in the trilogy has remarkably little agency. Despite
these negative implications for femininity, the evolution of Jean’s (White)
X-Men Evolution 235
momentarily and then her voice remains in the background while the camera
cuts to the White males Pyro and Iceman displaying their powers for and flirting
with White female Rogue. Storm is essentially asexual, expressing no romantic
desire or longing, yet she provides the background soundtrack to which young
White love emerges. In the second film, once the X-Men infiltrate Stryker’s
base, it is Storm who expresses concern for the kidnapped children and leads
the way to rescue them. In The Last Stand, Professor X remarks that she might
someday take over for him by running the school (Ratner, 2006). Eventually,
she does run the school, however not until all of the other members of the orig-
inal X-Men team are dispensed with. Jean loses control to the Phoenix, killing
the Professor and Cyclops in the process. Beast, who is the Secretary of Mutant
Affairs, suggests that perhaps the school should end with Professor X’s death.
Storm does not challenge this suggestion, despite the Professor’s earlier
remarks about his wishes for her to take his place. When Iceman protests that
most of the students have nowhere else to go, she still remains silent. Angel, a
young White male, arrives at the school claiming he heard it was a safe place for
mutants. Beast begins to turn him away, and it is then that Storm speaks up and
takes on the leadership of the school and the guardianship of the (predomi-
nantly White) children. The final scene of the trilogy shows her welcoming a
flood of student mutants to school. Over the entirety of the trilogy, Storm does
not significantly develop as a character and her identity remains overly simplis-
tic and static. Her mutant power of controlling weather is not expanded or
explored; it positions her as tied to nature invoking primitive, uncivilized
connotations commonly used in colonialist discourse. Similarly, she exists in
isolation, cut off from any romance, family, history, or larger African American
community or culture. She ends the trilogy essentially in the same position she
began it, as an asexual, isolated, maternal caregiver. Her identity is performed
in service to White males and caretaking White children—evoking a history of
Black women specifically (and working-class women of color generally) forced
into caring for privileged children of White masters.
236 J. Zingsheim
CONCLUSION
From its inception, over a number of reboots, makeovers, and spinoffs, and
recently in the transition to film, the X-Men franchise has offered enormous
potential for innovative representations of identity within our media culture.
Franchise characters are informed by science fiction and fantasy, theoretically
bound by only the human imagination; yet this analysis demonstrates just
how limited that imagination can be. While the promise of mutation led to
a vast array of superpowers, it has left hierarchical gendered and racial sub-
jectivities largely, and inequitably, intact. Analyzed through the lens of ident-
ity representation, Jean Grey may be the most powerful mutant ever created,
but she still lacks the power of equality. When it comes to the invention and
evolution of subjects, even fictional ones, existing hegemonic discourses of
identity function to shore up and defend the existing bounds of intelligibility.
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NOTE
1. I refer here to subjectivities that exist in dominant discourse as pertaining to real historical
individuals instead of only movies characters. Marking ‘‘non-fictional’’ with quotation marks, I seek to indi-
cate that from a poststructuralist perspective, many categories of subjectivity are fictional, though not
inconsequential. For example, Martin and Nakayama (2006) claimed race is ‘‘a fiction, but it is real’’ (p. 76).
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