Show simple item record

dc.contributor.advisorRandell-Moon, Holly
dc.contributor.authorSmith, Edmund
dc.date.available2017-08-06T21:56:46Z
dc.date.copyright2017
dc.identifier.citationSmith, E. (2017). The Age of the Superhero: The Cycle of Appropriation & Revitalisation in the Hollywood Blockbuster (Thesis, Master of Arts). University of Otago. Retrieved from http://hdl.handle.net/10523/7496en
dc.identifier.urihttp://hdl.handle.net/10523/7496
dc.description.abstractOver the course of the 2000s, the Hollywood blockbuster welcomed the superhero genre into its ranks, after these films saw an explosion in popularity. Now, the ability to produce superhero films through an extended transmedia franchise is the coveted prize of major studios. The likes of Sony, 20th Century Fox and Warner Bros. are locked in competition with the new kid on the block, Marvel, who changed the way Hollywood produces the blockbuster franchise. This thesis examines the recent successes of the superhero genre, predominantly in relation to the Marvel Cinematic Universe (MCU), which exemplifies the industrial model of the Hollywood blockbuster and the cycle of appropriation and revitalisation that defines it. In discussing the conflicting creative and commercial interests of these films, I will examine the superhero genre in relation to transmedia storytelling, paratexts, genre, star power, and the significant role of fan amplification. Fan expertise and opinion on the comic book properties that underprop superhero films plays an important industrial function in the development of these films. Through their support and promotion of superhero films, I argue that the perception of ‘fannish authenticity’ has been integrated into modern studio production in terms of promotion but also director selection. I analyse the creative and industrial role of the contemporary auteur-director and how studios like Marvel call upon up-and-coming talent to further legitimise their films and have them appeal to middlebrow expectations through auteur as well as fan credibility. Such director selection demonstrates: 1) how the contemporary auteur has become commodified with transmedia franchise blockbusters and, 2) how, due to the conflicting creative and commercial interests inherent to the blockbuster, these films are now supported by a form of co-dependent authorship. In analysing these various elements of the contemporary superhero genre, my thesis shows how a transmedia franchise can be developed and how it functions, on both a micro (within the franchise itself) and macro (within the film industry) level.
dc.format.mimetypeapplication/pdf
dc.language.isoen
dc.publisherUniversity of Otago
dc.rightsAll items in OUR Archive are provided for private study and research purposes and are protected by copyright with all rights reserved unless otherwise indicated.
dc.subjectFilm
dc.subjectSuperhero
dc.subjectComic Book
dc.subjectTransmedia
dc.subjectAuteur
dc.subjectGenre
dc.subjectMarvel Cinematic Universe
dc.subjectMarvel
dc.subjectDC Extended Universe
dc.subjectDC Comics
dc.subjectParatexts
dc.titleThe Age of the Superhero: The Cycle of Appropriation & Revitalisation in the Hollywood Blockbuster
dc.typeThesis
dc.date.updated2017-08-06T21:30:55Z
dc.language.rfc3066en
thesis.degree.disciplineMedia, Film & Communication
thesis.degree.nameMaster of Arts
thesis.degree.grantorUniversity of Otago
thesis.degree.levelMasters
otago.openaccessOpen
 Find in your library

Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record