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Superheroes, Movies, and the State : How the U.S. Government Shapes Cinematic Universes /

"Despite continued warnings of "superhero fatigue," Marvel and DC's current cinematic universes (the MCU and DCEU) have dominated the last two decades of popular culture and continue to obliterate box-office records. Where other scholars have focused solely on superhero films...

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Detalles Bibliográficos
Autores principales: Jenkins, Tricia (Autor), Secker, Tom (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Lawrence : University Press of Kansas, 2021.
Colección:Book collections on Project MUSE.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Jenkins, Tricia,  |e author. 
245 1 0 |a Superheroes, Movies, and the State :   |b How the U.S. Government Shapes Cinematic Universes /   |c Tricia Jenkins and Tom Secker. 
264 1 |a Lawrence :  |b University Press of Kansas,  |c 2021. 
264 3 |a Baltimore, Md. :  |b Project MUSE,   |c 2022 
264 4 |c ©2021. 
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520 |a "Despite continued warnings of "superhero fatigue," Marvel and DC's current cinematic universes (the MCU and DCEU) have dominated the last two decades of popular culture and continue to obliterate box-office records. Where other scholars have focused solely on superhero films' global popularity, reflections of American imperialism, cultural legacy, or treatment of minority groups, Jenkins and Secker examine these films' production-side relationships with the American Department of Defense (DOD), NASA, the Science and Entertainment Exchange (SEEX), and other government agencies that have aided (or withdrawn from) their creation and promotion. This government-entertainment complex, they argue, uses superhero films as non-traditional propaganda: the state does not directly generate or force the creation of these movies, but instead leverages its unique resources to encourage positive images and messaging. Positive portrayals of the state differ from movie to movie, and military and scientific agencies emphasize different "American values," but their methods are similar and their efforts can coincide. By using documents obtained from government entertainment liaison offices through years of FOIA requests (including script notes, production correspondence, and marketing materials), as well as personal interviews with both producers and government liaisons, Jenkins and Secker illustrate how and why state agencies invest in the production of superhero films, how their support-or lack thereof-influences those films' final narratives, and how both studios' past films and current story arcs offer opportunities to diversify their future productions"--  |c Provided by publisher. 
588 |a Description based on print version record. 
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650 0 |a Motion pictures  |x Political aspects  |z United States  |x History  |y 21st century. 
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650 0 |a Superhero films  |z United States  |x History and criticism. 
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945 |a Project MUSE - 2022 American Studies 
945 |a Project MUSE - 2022 Complete