SCRN20011 Lecture Notes - Lecture 8: Everyman, Transmedia Storytelling, Textuality
8 Jun 2018
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Lecture 8: comic book movies
IP AND LICENSING
• Gave hollywood creative and economic control over production, marketing, and sublicensing
• MCU unifies property catalogue it still controls + challenges traditional licensing r/s by establishing
its own studio for this purpose
Textuality of the sequel
• Defines and eliminates textual boundaries
• Multiplying elements of time, space and characters to allow for infinitely greater narrative
complication
• Sequels renders its original insufficient and original challenges sequels self sufficiency
• Intricate balance betw repetition and variations
• Narrative form
• Operating through textual folds
Prequels as spatiotemporal folds
• The hobbit uses its own formal and stylistic generic conventions to establish points of contact
Sequel longevity
• Plan multiple causal trajectories
• Disrupts classical form
• Repetition as difference rather than formula
• Development stages of production process becomes primary stage where franchise form is
plotted and planned
• Merging of producer-as-author and auteur-brand vision
• Creator's vision have to find way to work with the system
• Demands new understanding of authorship
Multi-tiers of communication
• Franchise-literate spectator as 'naive' spectator
• Entertainment value -> cant see value of film other than its entertainment value -> 'ironic'
spectator
• Sameness with difference
• All transmedia is franchising, but not all franchising is transmedia
Marvel vs dc
• Marvel as classical transmedia franchis
o Strategic, well-developed transmedia design
o Authorial committee and franchise dev
o Integraed comic book events
o Character and cast consistency
• DC - messiness in franchising -> franchising without transmedia
o More standalone approach to each instalment
o Authorship under one person -> CHANGING THO
o Inconsistency across tv and cinema instalments
o Different way of understanding
find more resources at oneclass.com
find more resources at oneclass.com
Document Summary
Ip and licensing: gave hollywood creative and economic control over production, marketing, and sublicensing, mcu unifies property catalogue it still controls + challenges traditional licensing r/s by establishing its own studio for this purpose. Textuality of the sequel: defines and eliminates textual boundaries, multiplying elements of time, space and characters to allow for infinitely greater narrative complication. Sequels renders its original insufficient and original challenges sequels self sufficiency. Intricate balance betw repetition and variations: narrative form, operating through textual folds. Prequels as spatiotemporal folds: the hobbit uses its own formal and stylistic generic conventions to establish points of contact. Franchise-literate spectator as "naive" spectator: entertainment value -> cant see value of film other than its entertainment value -> "ironic" spectator. Sameness with difference: all transmedia is franchising, but not all franchising is transmedia. Marvel vs dc: marvel as classical transmedia franchis, strategic, well-developed transmedia design, authorial committee and franchise dev.
