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The politics of the Marvel cinematic universe /
"The Marvel Cinematic University (MCU) has become a touchstone of contemporary American life. In 2009, Disney purchased Marvel Entertainment for $4 billion, including its subsidiary film production company, Marvel Studios. Since then, the MCU-the collection of multi-media Marvel Studios product...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Lawrence :
University Press of Kansas,
[2023]
|
| Colección: | Politics and popular culture.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 4 | |a The politics of the Marvel cinematic universe / |c edited by Nicholas Carnes and Lilly J. Goren. |
| 264 | 1 | |a Lawrence : |b University Press of Kansas, |c [2023] | |
| 264 | 4 | |c ©2023 | |
| 300 | |a 1 online resource (xiv, 419 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 0 | |a Politics and popular culture | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | 0 | |g ch. 1 |t An Introduction to the Politics of the Marvel Cinematic Universe / |r Lilly J. Goren -- |g pt. One |t Origin Stories -- |g ch. 2 |t Building Worlds: Three Paths toward Racial Justice in Black Panther / |r Heather Pool -- |g ch. 3 |t Tony Stark and the Classical Heroism of the Marvel Cinematic Universe / |r Ari Kohen -- |g ch. 4 |t Endurance in Marvel Cinema: Letting Go of Compulsory Overcoming in Superhero Stories / |r Anna Daily -- |g ch. 5 |t Captain America vs. James Madison / |r Christopher J. Galdieri -- |g ch. 6 |t "Operation: Rebirth" and the Marvel Cinematic Universe: Origin Stories as Founding Narratives / |r Ronald J. Schmidt Jr. -- |g ch. 7 |t Nostalgia, Nationalism, and Marvel Superheroics / |r Lilly J. Goren -- |g pt. Two |t With Great Power -- |g ch. 8 |t Government as the Bad Guy? / |r Nicholas Carnes -- |g ch. 9 |t Democratic Monstrosity: Marvel's Avengers and Extraordinary Politics / |r Elizabeth Barringer -- |g ch. 10 |t Strange Sovereignty: Fantasies of Supremacy and Coloniality in the Marvel Cinematic Universe / |r Matthew Longo -- |g ch. 11 |t Civilian Control of Superheroes: Applying What We Know from Civil-Military Relations / |r Stephen M. Saideman -- |g ch. 12 |t Environmentalism and the Marvel Cinematic Universe: Spider-Man: Far from Home as a Cautionary Tale / |r Nancy J. Hirschmann -- |g ch. 13 |t Marvel Cinematic Universe Villains and Social Anxieties / |r Christina Zhang -- |g pt. Three |t An Expanding Universe -- |g ch. 14 |t Wrestling with Power and Pleasure: Black Widow and the Warrior Women of the Marvel Cinematic Universe / |r Linda Beail -- |g ch. 15 |t From "Grrrl Power" to "She's Got Help": Captain Marvel as the Superhero of Second-Wave Feminism / |r Kristin Kanthak -- |g ch. 16 |t Vulnerable Heroines: Gendering Violence in Jessica Jones / |r Menaka Philips -- |g ch. 17 |t "I Know My Value": Agency in the Prime-Time Network Portrayal of Peggy Carter / |r Christina Fattore -- |g ch. 18 |t Men and Supermen: Gender and (Over)Compensation in the Marvel Cinematic Universe / |r Dan Cassino -- |g ch. 19 |t Deep in Marvel's Closet: Heteronormativity and Hidden LGBTQ+ Narratives in the Marvel Cinematic Universe / |r Patricia C. Rodda -- |g ch. 20 |t Avengers, Assemblage / |r Danielle Hanley -- |g ch. 21 |t Female Combatants in the Marvel Cinematic Universe / |r Ora Szekely -- |g ch. 22 |t Who Watches the Marvel Cinematic Universe? Race, Sex, and the Audience for Onscreen Diversity / |r Bethany Lacina -- |g ch. 23 |t Geopolitical Representations of Africa through the Marvel Cinematic Lens / |r Meghan S. Sanders -- |g pt. Four |t Conclusion -- |g ch. 24 |t "You've Become Part of a Bigger Universe": Plurality, Public Things, and the Marvel Cinematic Universe / |r Jennifer Forestal -- |t Afterwords -- |g Afterword 1 |t How Marvel Studios Makes a Universe / |r Carlee Goldberg -- |g Afterword 2 |t Classical Dramatic Structure: A Primer on the Marvel Cinematic Universe / |r Matthew L. Free. |
| 520 | |a "The Marvel Cinematic University (MCU) has become a touchstone of contemporary American life. In 2009, Disney purchased Marvel Entertainment for $4 billion, including its subsidiary film production company, Marvel Studios. Since then, the MCU-the collection of multi-media Marvel Studios products that share a single fictional storyline-has grown from two feature films to 23 interconnected movies, a half-dozen short films, three streaming Disney+ series, and more than 30 print titles. At the time of this writing, eight of the 25 highest grossing films of all time are MCU movies"-- |c Provided by publisher. | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 610 | 2 | 0 | |a Marvel Studios. |
| 610 | 2 | 0 | |a Marvel Comics Group. |
| 610 | 2 | 7 | |a Marvel Comics Group. |2 fast |0 (OCoLC)fst00540413 |
| 610 | 2 | 7 | |a Marvel Studios. |2 fast |0 (OCoLC)fst01974257 |
| 650 | 0 | |a Superhero films |z United States |x History and criticism. | |
| 650 | 0 | |a Motion pictures |x Political aspects |z United States. | |
| 650 | 6 | |a Films de superhéros |z États-Unis |x Histoire et critique. | |
| 650 | 7 | |a Motion pictures |x Political aspects. |2 fast |0 (OCoLC)fst01027353 | |
| 650 | 7 | |a Superhero films. |2 fast |0 (OCoLC)fst01138887 | |
| 651 | 7 | |a United States. |2 fast |0 (OCoLC)fst01204155 | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 700 | 1 | |a Carnes, Nicholas, |d 1984- |e editor. | |
| 700 | 1 | |a Goren, Lilly J., |e editor. | |
| 776 | 0 | 8 | |i Print version: |z 9780700633883 |z 070063388X |w (DLC) 2022010692 |w (OCoLC)1306329372 |
| 830 | 0 | |a Politics and popular culture. | |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctv36tpjtk |z Texto completo |
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