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Superhero Blockbusters: Seriality and Politics
Explores the huge commercial success of contemporary superhero blockbusters and develops a critical theory of digital-era popular seriality
Provides the first book-length study to focus exclusively on the genre of superhero blockbuster cinema
Combines a discussion of seriality as a principle commercial cultural production with a consideration of different types of narrative serialisation in film and beyond
Critically interrogates the ideology, infrastructures, and economic imperatives that orient big-budget commercial popular culture in the digital era
Develops a theoretical framework and conceptual toolkit to discuss superhero movies and similar forms, and discusses practices of serialisation that are central to the genre’s commercial success
Engages with a large body of material, encompassing 83 feature films released between 1978 and 2019, relevant source materials, transmedia tie-ins and spin-offs, as well as audience-produced online paratexts (such as fan-oriented journalism, user commentaries, film reviews, and criticism)
This is the first book-length study to examine the enduring popularity of block-buster films based on DC or Marvel superhero comics properties. It argues that the success of superhero movies is rooted in aesthetic practices unavailable to other types of film, and suggests that the multi-dimensional seriality of these movies, combining practices of serialisation, adaptation, and transmedia storytelling, endows them with an unmatched potential to engage audiences over time and to actively intervene in the discourses of online fandom. The book develops a critical theory of digital-era popular seriality, examining the narrative strategies of superhero movies and their evolution, from 1978’s Superman to 2018’s Avengers: Infinity War and beyond. It discusses textual and extra-textual practices of fan mobilisation, and considers the genre’s shared political imaginary and its purchase on contemporary political debates.
Provides the first book-length study to focus exclusively on the genre of superhero blockbuster cinema
Combines a discussion of seriality as a principle commercial cultural production with a consideration of different types of narrative serialisation in film and beyond
Critically interrogates the ideology, infrastructures, and economic imperatives that orient big-budget commercial popular culture in the digital era
Develops a theoretical framework and conceptual toolkit to discuss superhero movies and similar forms, and discusses practices of serialisation that are central to the genre’s commercial success
Engages with a large body of material, encompassing 83 feature films released between 1978 and 2019, relevant source materials, transmedia tie-ins and spin-offs, as well as audience-produced online paratexts (such as fan-oriented journalism, user commentaries, film reviews, and criticism)
This is the first book-length study to examine the enduring popularity of block-buster films based on DC or Marvel superhero comics properties. It argues that the success of superhero movies is rooted in aesthetic practices unavailable to other types of film, and suggests that the multi-dimensional seriality of these movies, combining practices of serialisation, adaptation, and transmedia storytelling, endows them with an unmatched potential to engage audiences over time and to actively intervene in the discourses of online fandom. The book develops a critical theory of digital-era popular seriality, examining the narrative strategies of superhero movies and their evolution, from 1978’s Superman to 2018’s Avengers: Infinity War and beyond. It discusses textual and extra-textual practices of fan mobilisation, and considers the genre’s shared political imaginary and its purchase on contemporary political debates.
240 pages, Hardcover
Published January 1, 2022
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July 17, 2022
Neste livro sobre filmes blockbuster de super-heróis, Felix Brinker traz três pontos essenciais que orientam sua pesquisa e que caracterízam esse tipo de produção atualmente. Os filmes de super-heróis contém um tipo de serialidade parecido com o das séries de televisão, criando um universo que fomenta seu consumo. Também esse consumo é amplicado através do relacionamento com o seu público em plataormas e sites online, através do que que autor chama de "manutenção do fã", uma espécie de gatekeeping de informações somado a um termômetro do filme para o gosto do público. Finalmente, os blockbusters de supe-heróis possuem o que Brinker nomeia como populismo cinemático que é uma forma de adicionar conteúdos e debates políticos nessas produções, mas de forma pouco profunda ou complexa, mas suficiente para engajar públicos e colocar pessoas, produtos, discursos e práticas em movimento. É um livro com uma análise diferente deste tipo massivo de produção, mas que para além destas três caracterizações não traz novas formas de análises ou grandes contribuições para o campo de estudo dos super-heróis.
Displaying 1 of 1 review