Into The Spider-Verse and (Side)Setting the Scene for Social Change (original) (raw)
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Vol 11 (2), 2020
his article examines the newest animated version of the Spider-Man franchise in terms of its narrative and artistic choices, to offer a potential answer on the success of the most critically acclaimed film of the spider character. Considering the complexity that characterizes this production, regarding its storyline, its technical density and its transmedial projection, a multidisciplinary approach is used to study the intricate dimensions of this feature. This article offers first a contextualization of the superhero character and the different stories that inspired the creation of this film, to later present an analysis of its artistic style and transmedial nature. In particular, this article argues that the comic style animation of this film, combined with the transmedial identity of its narrative, are the only suitable options for the re-conceptualization of this character, since they recover the essence of the superhero genre, targeting the social dimension of its modern audience in a more effective way its predecessors.
Spider-Man: Into the Spider-Verse: Youth, Race, and the Hypertext
Routledge, 2025
Exploring the dynamic genres of animation and comic book films, this book examines the transmedia role of Spider-Man: Into the Spider-Verse (2018) and its critical involvement in attempts to diversify representations in youth-oriented cinema and culture. Five years after the movie’s immense commercial and critical success, a look back on the innovative features of Spider-Man: Into the Spider-Verse shows how the film’s force derives from its thoughtful depiction of Miles Morales – a young, Afro-Latino superhero who must face systemic obstacles his white predecessor nerver worried about. Engaging a web of pressing topics in the field – from transmedia storytelling to identity formation and minority representation – this book offers an accessible analysis of the hypertextual design and animation techniques, which help this film to sensitively confront the combustible dynamics of racial representation in contemporary American youth culture. Written in an approachable style, this book is suitable for undergraduates, postgraduates, and specialists in the field. It is a versatile resource for media studies, film studies, animation studies, and cultural studies courses, but will also appeal to fans seeking to investigate the thematic underbelly of Into the Spider-Verse.
Advances in Intelligent Systems and Computing 918 Information Technology and Systems. ICITS 2019, 2019
This paper collects some core concepts of interactive transmedia storytelling to help to develop the discipline of interactive digital narrative studies and to establish functional models for identifying and analyzing interactive narrative elements in transmedia creations. The term “transmedia” was initially used by Marsha Kinder to refer to the intertextuality among films, animation, TV series and toys for children. Later, Henry Jenkins broadened the concept, using “narrative transmedia” first in Media Convergence and more recently in his blog http://henryjenkins.org. The present research introduces a model of analysis to study digital storytelling concepts, narrative elements and media characteristics used for generating transmedia using comics, films, webs, fan videos, and videogames. The model is applied to Nolan´s transmedia practices in his Batman’s Trilogy to observe and discuss the narrative remixed framework that renew the current DC Universe. The goal was to develop and applied an original transmedia model of analysis to study and draw conclusions about how the narrative elements of the actions, characters, spaces and times converge with coherence and intelligibility, and how immersive, interactive linear, emerging and circular elements serve to engage the fans. The conclusions present how the remix culture applied to interactive narrative design serve as valuable guidelines in the production of transmedia narratives. New but recognizable creations can evolve from the pre-existent modular narrative elements of characters -familiar in their appearance, abilities or personality- as they perform and interact with new actions in original spaces and times.
Miguel Hernández Communication Journal, 2020
Este artículo examina la nueva versión animada de la franquicia Spider-Man en términos de las elecciones narrativas y artísticas de sus creadores, para ofrecer una respuesta potencial acerca del éxito de la película más aclamada por la crítica sobre el personaje arácnido. Teniendo en cuenta la complejidad que caracteriza a esta producción, especialmente con respecto a su historia, su densidad técnica y su proyección transmedia, se emplea un enfoque multidisciplinario para estudiar las múltiples dimensiones de esta película. Este artículo ofrece primero una contextualización del personaje del superhéroe y las diferentes historias que inspiraron la creación de esta, para luego presentar un análisis de su estilo artístico y la naturaleza transmedia de la misma. En particular, este artículo argumenta que la animación en formato cómic de esta película, combinada con la identidad transmedia de su narrativa, son las opciones más idóneas para la re-conceptualización de este personaje, ya que recuperan la esencia del género de superhéroes, a la vez que apelan a la dimensión social de su audiencia actual, de manera más efectiva que sus predecesores.
The Universe-al Storytelling. Towards A ‘Spatial’ Narrative Model in Modern Comic Book Cinema
Panoptikum
The aim of the article is to analyze modern superhero films through the specifics of superhero narratives in comics. By referring to the ‘organic’ elements of graphic super-storytelling – like retcon or crossover – the author tries to explain the main shift within comic book adaptations heading towards a ‘universe-al’ mode of narration. By doing so the analysis concentrates on the most succesful recent cases of superhero films as attempts to achieve a narrative ‘remediation’ of comic books’ spatial organization that requires reconsideration of the status of an individual superheroic franchise (or sub-franchise) within the larger universe of pre-existing, future and even alternate texts.
Sociological Analysis on Peter Parker and Spiderman in the Film of Spider-Man 1 (2002)
2019
There were two objectives in this study. First was to find out the types of social action performed by Peter Parker both as himself and his other identity as the hero, Spider-Man. In this objective, Weber’s types of social action was used to find out Peter Parker’s types of social action. Meanwhile, the second was to explore the way Peter Parker behaved in his front-stage as the Spider-Man and in his back-stage as his true self. Goffman’s dramaturgy theory was used to explore Peter Parker’s behaviours in his front and back stages. The form of this study was a qualitative research for this study used words as its data taken from Spider-Man 1 (2002) film script. The result of this study showed that there were four types of social action performed by Peter Parker and his behaviours during the two stages were based on his two different identites, as the real Peter Parker and as the Spider-Man. Peter Parker performed four types of Weber’s social action: (1) rational instrumental social a...
ReDrawing of Narrative Boundaries: An Introduction
Studies in 20th & 21st Century Literature
ReDrawing of Narrative Boundaries: An Introduction provides an overview of the comics studies field as it relates to discussions and debates regarding its relationship to the study of literature and the arts. It provides a snapshot of today's comics studies field, including how the scholarly essays collected for this special issue, "A Planetary Republic of Comic Book Letters: Drawing Expansive Narrative Boundaries," work to deepen and widen our understanding of comics, and comics from all over the planet. Individually and collectively they eschew the lean toward the fill-in-the-blank (lit, film, etc.) comparisons, and instead excavate and theorize comics on their own terms.
Take the Movie Home! How the Comic Book Tie-In Anticipated Transmedia Production
Comics and Pop Culture: Adaptation from Panel to Frame, 2019
Since the earliest days of the US comic book industry publishers have adapted popular films (and later TV shows), with DC Comics’ precursor National Allied Publications releasing Movie Comics in 1939, which promised “a full movie for 10¢” and featured Imperial adventure film Gunga Din on the cover of the first issue. This long-standing practice has often seen films that were based on comics, such as Teenage Mutant Ninja Turtles (1990), Judge Dredd (1995), and The Avengers (2012) return to their originating form via comic book adaptations. Yet despite the volume and longevity of this practice, these comic book adaptations have received little scholarly attention. This chapter argues that the comic book adaptation offers a window onto the creative and formal fluidity that marks today’s media industries. To bring this analysis into sharper focus, the key examples will be those texts that close the loop between comics and cinema: comic book adaptations of comic book movies. Drawing on new interviews with comic book adaptation writers and artists such as Dennis O’Neil (Batman), Max Allan Collins (Road to Perdition, Dick Tracy), and David Yardin (Injustice: Gods Among Us), this chapter positions comic book tie-ins as antecedents to today’s transmedia practices. The chapter considers the various commercial and creative reasons for producing these seemingly redundant transmedia extensions. It provides a taxonomy of comic book adaptations as well as highlighting some of the key considerations in studying comic book adaptations, including: authorship, continuity, and medium specificity. Ultimately, this chapter will demonstrate how comic book adaptations provide a better understanding of why comics, their characters, and their creators form the connective tissue of many modern media conglomerates and their transmedia storyworlds.
Hero and Villain Representation in the “Spiderman” Movie by Sam Raimi
2021
This research is concerned with Hero and villain presentation in the Spiderman movie by Sam Raimi, the intrinsic elements on the Spiderman movie by Sam Raimi The implication on learning and teaching of hero and villain are delivered the Spiderman movie by Sam Raimi. The descriptive qualitative method was used by the author, along with a data analysis approach. Plot, character, setting, point of view, and theme are examples of intrinsic elements. The impact of the Spiderman movie by Sam Raimi on learning and teaching of the hero and villain was that the dialogs from the movie clip clarified their emotions and gave them the right words to express their thoughts. The movie clip approach, when used with high school and college teachers, will increase faculty instruction and encourage professional development. When faculty teach alone, they face difficulties.