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For the majority of the population, the history that exists is the one that is imagined. It is up to historians, although not only historians, to make society imagine history, either with words or with the imagination. accompanied by images and sounds". Rafael Hagemeyer "All these that are there standing in my way, they shall pass away.... Me birdie!" Mário Quintana 1 SUMMARY (cid:3) INTRODUCTION ............................................................................... 3 CHAPTER I ........................................................................................ 5 CHAPTER II ..................................................................................... 19 CHAPTER III .................................................................................... 37 CONCLUDING REMARKS ............................................................. 53 REFERENCES .................................................................................. 55 PRIMARY SOURCES ...................................................................... 60 ABOUT THE AUTHOR ................................................................... 61 2 INTRODUCTION The 21st century has emerged amidst turbulence, imperialism reaches other levels, mainly because of globalization, which is surprising to us until then. Nationalisms, their imagined communities, as Benedict Anderson (2008) puts it, are going through a process of re-signification and a search for regional autonomy. Local identities assert themselves even more, on the other hand, globalization internationalizes culture, often treating it as hegemonic, as Stuart Hall (2006) states.The studies conducted by Eric Hobsbawm (2012) bring up questions that instigated the origin of this book. When the author discusses the prospects for the U.S. empire and the infamous fear of terrorism, it was possible to understand that history can indeed contribute to the studies of recent phenomena. Although the phenomenon of terrorism is not restricted to the 21st century, it is on this phenomenon that the media and public opinion are now focusing. Perhaps this is a way of trying to establish the duality relationship that came from the Cold War in the 20th century.When we think of history as a dialectical process of ruptures and continuities with which societies transform and re-signify their way of seeing and acting in a given space and place, we can understand that there is no possibility that the end of one century and the beginning of another will mark a new era, totally new, with few elements from the past.Through the cultural studies pointed out by Kellner (2001) and his method of diagnostic criticism we seek to understand the text (in this case the animation) through the context, and vice versa. Thus, this book intends to discuss two central elements present in the Justice League animation. The first is about media terrorism and official discourses (CHOMSKY, 2002). We will try to problematize the historical elements that led to the construction of this term, the differences between state terrorism and common sense terrorism.The fall of the Word Trade Center, a symbol of financial capitalism, occurred in 2001 on American soil. The accusations about the guilt of such an act were directly attributed, by the official and media discourse (CHOMSKY, 2002), to the group called terrorist Al Qaeda and as a consequence to almost all Arabs. The accusation of terrorism was enormously widespread, for the first time on such a large scale there was so much news, images, and information (reliable or not) about such an event, and possibly, because of this, the concept of terrorism has been emptied of its meaning.Noam Chomsky (2002) is categorical when he affirms that the term has always had double standards. For the imperialist national states, terrorism is anyone who threatens their order. On the other hand, people dominated and suppressed by them consider war crimes and domination by imperial powers as terrorism. Regardless of our political position on this issue, it is worth remembering that we will adopt as our conceptual contribution the views of Chomsky (2002) and Hobsbawm (2012), in which these so-called terrorist movements are perceived by the media as, in a certain way, ephemeral, i.e., they would be police cases, and it would not be necessary to combat these 3 movements through military intervention, especially foreign.These aspects of the production context of the aforementioned animation did not go unnoticed by its narrative. Since it is a superhero cartoon, the duality between good and evil is one of the main prerogatives of this form of narrative. Therefore, it is clear that the choice made by the producers of the animation was to characterize most of the villains as terrorists. The way in which the narrative is constructed shows an effort to reinforce the idea of a model of terrorism. This debate will be held throughout this book.The second element we sought to discuss was the way in which nuclear fear is recurrent in the Justice League narrative. It is important to think that these events in which nuclear war and even the extermination of humanity is feared are naturally associated with the 20th century. When Thompson (1985) argues about the clear possibility of an extermination of humanity, some historians, such as Hobsbawm (2013), have criticized him, because to what extent can a historian project the future? This debate will be further explored in the course of this research, especially when Hayden White (s/d) uses the concept of the modernist event in which we consider that nuclear fear may belong.Therefore, for the reader's understanding we have divided in a way that would allow a better understanding of the cartoon studies, our theoretical and methodological views on the same, a brief presentation of the source, and finally the discussions listed in the paragraphs above on terrorism and nuclear fear.In the first chapter we aim to present the source, its characteristics and possibilities of analysis that we will use. For this, we start our discussions about research in relation to academic works produced in relation to animation and its possibilities of analysis. After this brief problematization, we will go on to expose our theoretical and methodological visions with the purpose of enabling an understanding of what we intend to do, what we understand as History and its possible relation to the source. Finalizing Chapter I we conduct a brief discussion on source characteristics, its main producers, and other elements that are extremely pertinent to its study.In the second chapter, we seek to analyze the source from the perspective of diagnostic criticism (KELLNER, 2002), discussing it together with its context of production and exhibition. To do so, we initially expose our analysis categories and the framing of the source before them. Afterwards, we start the discussions about the two most recurrent themes throughout the 52 episodes of the animations: the terrorist discourse of numerous characters and the fear of nuclear weapons or warheads. Each of these two themes are problematized in relation to the source and its context. 4 CHAPTER I 1.1 Toward a History with Cartoons: A brief literature review. When we started our studies on the relationship between cartoons and History, we carried out a dense research process in databases of academic institutions, in order to find researches done and possible paths so that this book could be realized. Besides the consulted databases, mainly the public domain website where all the theses and dissertations are sent after their defense in Brazilian and public institutions, we searched in academic journals and some congress annals. Initially we will discuss the works that we consider, in some points, relevant to the realization of this book. Thus, first it is worth mentioning the master's dissertation by Djessika Maciel (2010), entitled: "Last Exit to Springfield: A Study on the Cartoon The Simpsons (1987-2009)". This work was one of the few found at the graduate level on cartoons and history. Thus, its relevance lies, first of all, in its pioneerism, but, in addition, the discussions about the satirical way in which the series represents the American way of life are well explored. An article published by the journal Social History in 2012, authored by Daniel Correia makes a coherent analysis about cartoons in the period of the First World War. His work: "Puppets in combat: discourse analysis of American cartoons during the First World War" brings good theoretical and methodological discussions. When the author refers to the ways of analyzing and thinking History with, and in, animations, he searches in authors who explore very well the universe between History and audiovisual, such as Marco Napolitano and Jean- Noël Jeanneney. In addition, it is worth mentioning that the author contemplates the discussions about the change of target audience, i.e., leaving the cartoons broadcast in theaters for adults, moving on to animations on television aimed at children.Thus, in terms of scientific production, whether in the form of articles or in the form of dissertations and theses, the two aforementioned works are those that we consider to be the most significant on the theme in question. We are not able to say that there are no other works that address this subject, but what is known is that there is little production on the subject, a fact that has repercussions in our analysis. In other areas, we have a larger production on the subject. This allows us to understand other aspects that, perhaps, have not gained the same focus as ours, but that their methodology, whether of analysis or of The way he structured his text, helped us to think during the process of writing this book.Thus, a work that needs to be highlighted is the thesis of Carolina Fossatti (2010) in Social Communication entitled: "Categories of Narrativity in Animation Cinema: Update of Aristotle's Ethical Values According to Edgar Morin". Although it is a very extensive work, the author does a dense work of criticism and analysis of several animations contemplating discussions about the history of animation, technical characteristics of this media, as well as a technical analysis on several animations focusing on the issue of narrativity. This work provided us with 5