Make Ours Marvel Media Convergence And A Comics Universe Pdf


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make ours marvel media convergence and a comics universe pdf

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Learn more. Tracing the rise of the Marvel Comics brand from the creation of the Fantastic Four to the development of the Marvel Cinematic Universe, this volume of original essays considers how a comic book publisher became a transmedia empire. The creation of the Fantastic Four effectively launched the Marvel Comics brand in

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Make Ours Marvel

My research examines the media industries, looking specifically at how production operates as a site of cultural and creative struggle, particularly as the stakes of those struggles relate to the idea of the future and the reproduction of content, markets, and authority over time. This work frequently looks across television, contemporary film, digital games, comics, and merchandising with particular attention recently to the retail contexts in which these media circulate. My current research returns to these topics in order to explore how this form of cultural reproduction supports a future-oriented politics of industrial intervention and social justice activism. I have also worked to situate the identity work of media industries, entrepreneurs, and brands in relation to post-feminist and post-racial ideologies. U niversity of W isconsin —Madison.

ABC's action-comedy series Batman famously offered a dual address in its wildly popular portayal of a comic book hero in a live action format. Children uncritically accepted the show's plots and characters, who were guided by lofty ideal There is much to ponder and learn here. Matt Yockey is an associate professor of film and media studies at the University of Toledo. Acknowledgments Introduction.

Origins of Marvel Comics is a collection of Marvel Comics comic book stories, selected and introduced by Marvel writer and editor Stan Lee. Lee's introduction to the Fantastic Four section typifies his "tongue-in-cheek verbosity and ad-man hyperbole": [2]. Origins supports Lee's self-created mythology of himself as the master creator of Marvel Comics. Matt Yockey observes that "Lee invokes his own childhood love of the pulp character The Spider as a primary motivation for creating Spider-Man. He thus articulates a narrative of transformation from fan to professional that makes his own textual self-production in the comic books more personal and identifiable to readers.

Make Ours Marvel: Media Convergence and a Comics Universe

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Austin: University of Texas Press, In August this year, Netflix released The Defenders , the fifth of their shows produced in partnership with Marvel Studios. Next month, November, sees the long-awaited arrival of Thor: Ragnarok in theatres. His still all too rarely her long history in American entertainment is well established enough that academia can embrace the figure wholeheartedly. It is not surprising, then, that writers spend their time analysing what the surge of superpowered characters means for media and film culture today. How well does the anthology succeed? To his credit, Yockey has gathered a fascinating array of essays.

The production and consumption of the film itself reassert these values of the character in the present and link the viewer to a history of production and consumption and anticipations of future iterations, all organized around the Marvel brand and the Marvel Universe. A central value of text, then, is in being constantly anticipated. Th ese transfigurations are articulated by the specifi cs of this textual iteration the casting, the direction, the scriptwriting, etc. The blockbuster iteration of the character is placed as the originating textual source for the comic book Captain America. This, then, is the secret power of the Marvel Universe: the diegetic and extra-diegetic engagement with tropes of transformation. Like a lava lamp, the Marvel Universe retains a fixed structural dimension that contains a visibly mercurial interior.


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Derek Johnson

This article aims at analyzing the initial production discourse surrounding the launch of the new Marvel Rising brand, in order to show how this franchise was built to appeal to girls in the demographic. This description of Marvel Rising does not depart from the core marketing strategy of the publishing house as it highlights characters rather than superpowered beings, one of the most noteworthy differences with its biggest competition, DC Comics. But after the gradual loss of popular interest that the medium has known from the mids until the late s, the comic book industry focused on its first marketing target and its readership became predominantly male. This paper thus aims to analyze the production discourse surrounding Marvel Rising and more specifically how it articulated its own perception of its targeted young female audience through transmedia convergence 1 but also through the narrative motifs showcased by the franchise.

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16.04.2021 at 16:37 - Reply

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