![]() Marvel Rising, however, in its unabashed transmedia strategies and carefully chosen story-arcs and tropes, might very well be Marvel’s biggest offensive to date in order to change this paradigm. 1 According to Henry Jenkins, convergence “is both a top-down corporate-driven process and a bottom-u (.)Ĥ Even if there is no argument that women are more and more visible and active in comic book culture in its now many different forms (comics books, films and series adaptations, videogames, amusement parks, collectibles and merchandising, etc.), the readership of the genre remains mostly masculine, as shown by the NPD Bookscan market study.The results in term of gender were quite clear: 63 % of comics and graphic novels are purchased by men, 37 % by women and in terms of genre, superhero buyers are more heavily male (78 %) while manga buyers are more evenly divided (56 % male and 44 % female) (Alverson, 2017). But in October 2017, a panel at the New York Comic Con hosted by Kristen McLean presented the results of an NPD Bookscan demographic study about comic books and graphic novels buyers, based on a sample of 72, 000 consumers. But after the gradual loss of popular interest that the medium has known from the mid-1970s until the late 1990s, the comic book industry focused on its first marketing target and its readership became predominantly male.ģ Very few large-scale comic book market studies are made available to the public as they are usually used by the publication house as insiders’ information to impel new strategies. Whether it was with the help of new superheroines (Wonder Woman, Blonde Phantom, Golden Girl, Madame Strange, Miss Fury, Black Cat, etc.), or with the launch of new comic book titles ( Young Romance, Young Love, etc.), or even with the establishment of the teen humor comics genre (of which Archie Comics has been the undisputed leader), the comic book industry intended to diversify its readership from very early on. ![]() 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.Ģ Beginning in the late 1930s the comic book format and its superheroes first captivated mostly young male readers, but as the comic book industry developed extensively over the 1940s, it tried to appeal to young women as well. While no specific gender is specified or mentioned within these few lines, this “untrained band of teens” is predominantly female with strong young women written as leads for this new team. “When a threat no one could have expected bears down on the Marvel Universe, this ragtag, untrained band of teens have no choice but to rise together and prove to the world that sometimes the difference between a “hero” and “misfit” is just in the name.”ġ This official logline for the feature-length animated film Marvel Rising: Secret Warriors was unveiled in early December 2017 as Cort Lane ( Marvel Senior Vice-President Animation & Family Entertainment) and Sana Amanat (Marvel Vice-President of Content & Character Development) announced Marvel’s “new multiplatform animation franchise featuring the next generation superheroes” Marvel Rising (Hipes, 2017). Les dispositifs de production autour de Marvel Rising sont également pris en compte, puisque la franchise illustre de façon évidente la volonté qu’a Marvel de conquérir ici un nouveau marché de jeunes lectrices et spectatrices au travers de ce projet transmédia d’envergure, pensé autour des nouveaux modes de consommation des jeunes filles. Prenant part au mouvement de Marvel (aussi bien au niveau de ses publications que de ses adaptations) vers une plus grande diversité et mixité, les motifs diégétiques de Marvel Rising vont tantôt subvertir les axes narratifs genrés qui sont donnés à lire aux jeunes filles depuis plusieurs décennies, tantôt en conserver d’autres dans une stratégie de négociation permanente entre des marqueurs du récit devenus presque inévitables, et le besoin de les faire évoluer. ![]() Cet article a pour objectif d’analyser le discours de production initial entourant le lancement du nouveau titre Marvel Rising, et la façon dont cette franchise s’est construite afin d’attirer le public cible convoité des jeunes filles de 7 à 14 ans.
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