You’re Making Me Mangery: Masculine Crisis In The Incredible Hulk (1978)
Traditionally understood as a symbolical exploration of conflict between the individual and state, the man-on-the-run genre is a conduit through which we can condense a complex societal issue into a digestible personal narrative. Offering viewers, a safe space to explore their, perhaps unspoken anxieties, while also granting the emotional release of a cathartic resolution.
This shared understanding of the genre as a projection of collective anxieties about authority is perhaps unsurprising given that its formation and zenith coincides with a tumultuous period in American history marked by a series of high-profile traumatic events.
However, as noted by author Patrick A Jankiewicz, one of the most prominent entries in the genre - CBS’s The Incredible Hulk (Johnson, 1978) contains a fundamental deviation from the formula.
While other entries in the category universally centre around an external authoritative pursuant, such as the military or law enforcement, The Incredible Hulk portrays a unique scenario in which a man is pursued internally (Jankiewicz, 2011).
The show’s protagonist, Doctor David Banner, played by Bill Bixby, is a man running not from the authorities but from himself, or more specifically, part of himself, the Hulk. Although an external pursuer exists within the series in the form of tabloid journalist Jack McGee (played by Jack Colvin), he poses no significant physical threat to Banner or the Hulk. Instead, serving only as a reminder of Banner's fear that his internal conflict may be exposed.
This often-overlooked alteration to the genre’s established conventions, shifts The Incredible Hulk’s focus from the symbolic representation of an external conflict (man vs state) to an internal one (man vs self). It’s a sentiment shared by the series creator, Kenneth Johnson, who once said “Hulk was about facing things inside yourself and learning how to deal with them” (2011: 109)
This prompts the inquiry; What aspects of self-identity were preoccupying viewers in 1970s America, and how might they have been explored within The Incredible Hulk?
This work argues that The Incredible Hulk inadvertently captured a social phenomenon, commonly referred to as ‘The Crisis Of Masculinity’ in which white working-class and middle-class American males experienced a sense of diminished social status, became unsure of their place within society, and struggled to reconcile traditional ideals of hegemonic masculinity with the rapidly evolving gender roles, economic circumstances, and political environment of the 1970s.
While the causes for this crisis are varied and beyond the scope of this video, writing in 1994, Stephen J. Ducat described the cumulative psychological effects of such a crisis as follows: "The result is that many men are caught in the middle, unsure of what they are supposed to be or do, confused by the new expectations and the new rules." (1994: 4).
If Wonder Woman – the other popular superhero series of the period’s adoption of feminism was intentional yet superficial, The Incredible Hulk’s exploration of masculinity was latent and unconscious, and as such requires excavation through the implementation of a psychoanalytic lens.
This is undertaken known that valid criticism of applied psychoanalytic approaches - films inherent ambiguity, the subjectivity of the reader, and the lack of supportive empirical data (Bordwell: 1989) – exists, and the viewer and essayist should pause at the thought of reaching a definitive reading. This does not mean however that the exercise is without value. As Coltrera (1981) noted when considering the application of psychoanalysis, the aim is not to establish an absolute truth but to be internally consistent and psychoanalytically valid.
Herein we apply a psychoanalytic approach, not for the purpose of revealing individual character motivations, but rather as a means by which to explore the symbolic significance of characters and their struggles as expressions of a collective psychic dilemma faced by the male viewership. A process which Gabbard’s referred to as ‘The Explication of Underlying Cultural Mythology’ (2001: p.05)
Given its focus of the collective unconscious and archetypal symbolism, a Jungian analytical framework will be utilised to interpret Doctor David Banner's struggle with the Hulk as a symbolic representation of the integration of persona and shadow archetypes. Additionally, we will examine how this interpretation relates to the 'Crisis of Masculinity' stemming from the shifting ideological perspectives of the 1970s.
The Jungian conception of the self is anchored in the notion of the "Persona", which denotes the conscious facets of ourselves that we project outward. As Jung noted, the persona represents "that which in reality is not, but which oneself as well as others think one is" (1968: 123). This construct highlights the influence of the collective unconscious in shaping our sense of identity, as Jung posited the persona “is a compromise between the individual and society as to what a man should appear to be." (1966: 158)
Therefore, the persona can be regarded as a reflection of the cultural and societal norms that inform our self-perception.
The Incredible Hulk was produced during a period of social upheaval and changing gender roles, in which the traditional paradigm of masculinity, emphasizing strength, dominance, and emotional stoicism, was becoming outdated.
In response, a new form of masculinity, commonly referred to as "the new man" emerged. This new archetype rejected traditional masculinity and embraced emotional expressivity, nurturance, and intimacy (Faludi: 1999). While R.W. Connell noted in her book Masculinities (1995) that the rejection of traditional masculinity was at the core of the new man's being.
This new paradigm of masculinity, championed by the feminist movement and an early iteration of the men’s movement, gained widespread acceptance within the media of the 1960s and 1970s, with Tom Corbett in the 1969 sitcom The Courtship of Eddie's Father, a particularly relevant example, due to his portrayal by Bill Bixby.
In The Incredible Hulk, Bill Bixby was once again called upon to embody the new, more progressive interpretation of masculinity. Like Tom Corbett, Doctor David Banner is portrayed as caring, nurturing, and vulnerable, with a focus on emotional intelligence and compassion rather than strength and dominance.
This is most effectively demonstrated by the opening dream sequence within the pilot episode, where we are provided with a glimpse into Doctor David Banner's past life with his recently deceased wife, Julie. Through a romantic haze, we witness David walking through a meadow of daffodils, comforting Julie, cooking her breakfast, and hemming her bellbottoms. Performative scripts which confirm his adherence to the new man paradigm.
Throughout the series, David's struggles with the limitations of the new man paradigm are also evident, as while he embodies a strong moral compass and serves as a source of emotional support for others, particularly women, he is depicted as ineffective in times of crisis.
This can be viewed as an exploration of the anxieties of men who grew up with traditional ideas of masculinity, and the concerns they held about adopting the new man persona, specifically the fear of appearing weak or emasculated. Other male characters who adhere to a more traditional form of masculinity dominate and subjugate David, and are often exaggerated symbols of an opposing form of masculinity that both David and society regard as dangerous or toxic. These other men can be considered a form of what Jung referred to as projection, in which the unconscious projects our own unwanted qualities onto others (1971).
The suppression of emotion and the projection of unrecognised anxieties onto others are both symptoms associated with repression of the shadow, a facet of the unconscious Jung identified as containing the aspects of the self, deemed unacceptable, negative, or socially inappropriate (1968).
The Hulk is a physical manifestation of Banner’s Shadow. A primal depiction of unevolved masculinity which exhibits diametrically opposite traits to the David persona – The aspects of his unconscious which seeks outward manifestation.
Jung's concept of the Shadow Complex refers to the phenomenon where repressed emotions and instincts overwhelm an individual's conscious personality and result in behaviours that contradict their established persona (1959). Such an occurrence is often a response to triggering events that elicit strong negative emotions or stress.
The Hulk character exemplifies this concept, with many of Banner's transformations occurring after experiences of domination, humiliation, or loss of agency associated with his David Persona.
The iconic transformation scenes represent the temporary dispossession of the persona by the shadow, as evidenced by the shedding of Banner's clothing, which are representative of the David Persona.
The physical attributes associated with the Hulk, such as strength and power, are traditionally associated with masculinity due to their importance in historical contexts of hunting, warfare, and manual labour.
Lou Ferrigno, the actor who portrayed the Hulk, was a member of the bodybuilding movement which found new relevance in the 1970s. This movement can be seen as an effort to re-establish conventional masculinity in a modern context, as was stated in Pumping
Although series, time and time again reminds the audience that the Hulk possesses the ability to resolve issues that David cannot, the relationship between the Hulk and Bruce Banner is complex, as Banner's ideology prevents him from fully embracing the power of his alter ego. This rejection of masculine power is emblematic of the broader cultural sentiment of the 1970s, where traditional masculinity was often demonized in a misguided attempt to promote gender equality.
Further insight is provided into The Incredible Hulk’s latent concern with masculinity by exploring the psychic crisis which instigates the narrative. The circumstance surrounding Julie’s death.
Jung made frequent reference to our dreams as portals into the subconscious realm, and it is here where we uncover the reason for David’s masculine anxieties.
The dream sequence we viewed utilised early to illustrate David’s conformity to the new man paradigm also reveals his core anxiety, as it evolves into a nightmare. The car carrying Julie and David leaves the road, throwing Banner clear and leaving Julie trapped inside. Banner struggles to free Julie as the flames engulf the car but it is to no avail, it explodes and Banner awakes in bed, alone.
Banner’s trauma is not caused by Julie’s death but rather David’s inability to save her. David fails to perform one of the archetypal scripts of traditional masculinity which we will call here ‘saving the princess from the castle’.
This reading is supported by episode 1 of season 2 ‘Married’, in which Banner experiences the dream again while under hypnosis. This time, the explosion of the car triggers the transformation, further emphasizing the connection between the traumatic event and the emergence of the Hulk.
In her book Gender Trouble, Judith Butler, highlights the importance ritualistic performance to affirmation of gender.
“Gender is not a noun, it is not a fixed essence or identity that we have, but rather it is a performance, it is the repeated stylization of the body, a set of repeated acts” (1999: 140)
Banner’s crisis of performance mirrors the crisis playing out in American society, where men were growing less sure of what their role was and how to do it. As socio-political and economic changes challenged traditional male roles as “head of the household” and “breadwinner”. The fallout from Vietnam brought into question the whole concept of the male hero.
“The Vietnam War was a turning point in American history, and it shattered many of the myths and illusions about the heroic masculine ideal that had dominated popular culture for generations.” Susan Jeffords” (1989: 4)
The true tragedy of The Incredible Hulk is that Doctor David Banner is never able to achieve Individuation, like the male viewership, he remains trapped in a cycle of trauma and transformation. Stuck between the old archetype and the new paradigm. Sometimes one, sometimes the other, but never fully himself.
He is a man consciously committed to conforming to new societal standards, while subconsciously haunted by a powerful archetypal masculinity, a product of the collective unconscious, which try as he might, he cannot outrun.
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Television
‘Mrs. Livingston, I Presume’ (1969) The Courtship of Eddie’s Father, Season 1, Episode 1 [Video: DVD]
‘Runner In The Dark (1965) The Fugitive, Season 2, Episode 28. United Artists Television [Video: DVD]
Pilot (1977) The Incredible Hulk. Universal Television. [Video: Blu Ray]
The Return of The Incredible Hulk (1977) The Incredible Hulk. Universal Television. [Video: Blu Ray]
‘The Final Round’ (1978) The Incredible Hulk, Season 1, Episode 1. Universal Television. [Video: Blu Ray]
‘The Beast Within’ (1978) The Incredible Hulk, Season 1, Episode 2. Universal Television. [Video: Blu Ray]
‘Terror In Times Square’ (1978) The Incredible Hulk, Season 1, Episode 4. Universal Television. [Video: Blu Ray]
‘The Hulk Breaks Las Vegas ‘(1978) The Incredible Hulk, Season 1, Episode 7. Universal Television. [Video: Blu Ray]
‘Married’ (1978) The Incredible Hulk, Season 2, Episode 1. Universal Television. [Video: Blu Ray]
‘A Child In Need’ (1978) The Incredible Hulk, Season 2, Episode 5. Universal Television. [Video: Blu Ray]
‘Alice In Discoland’ (1978) The Incredible Hulk, Season 2, Episode 7. Universal Television. [Video Blu Ray]
‘Killer Instinct’ (1978) The Incredible Hulk, Season 2, Episode 8. Universal Television. [Video: Blu Ray]
‘Prometheus, Part 1’ (1980) The Incredible Hulk, Season 4, Episode 1. Universal Television. [Video: Blu Ray]
‘The First, Part 1’ (1981) The Incredible Hulk, Season 4, Episode 12. Universal Television. [Video: Blu Ray]
‘Goodbye, Farewell and Amen’ (1983) M*A*S*H. Season 11, Episode 16. CBS.
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FORD, John. 1956. The Searchers [Video: DVD]
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