Description

Book Synopsis
Avengers Assemble! explores the cinematic and televisual branches of the Marvel Cinematic Universe from a diverse range of critical perspectives. Beginning with Iron Man, the book considers them both as embodiments of the changing blockbuster film and as affective cultural artifacts that are immersed in the turbulent political climate of their era.

Trade Review
The book engages with superhero films on a very deep level, making it not only informative but an extremely pleasurable read as well. -- Devapriya Sanyal Hindu College, University of Delhi * Journal of Popular Culture *
A magnificent book. As insightful and comprehensive as it is engaging and timely, this full-length examination of the Marvel Cinematic Universe is a rewarding read for passionate superhero fans as well as researchers in the fields of film studies, political science, and cultural studies. -- Marc DiPaolo, Southwestern Oklahoma State University, author of War, Politics, and Superheroes: Ethics and Propaganda in Comics and Film
This is a timely and entertaining volume that will prove very useful in the development of genre courses in the next few years as the superhero genre finds its place in taught modules across film and media programmes. The work is scholarly and well referenced in ways that open it to further reading and research, but accessible to undergraduate readers. The author takes an epistemically specific approach that is not inappropriate given the avowed focus on the MCU specifically, rather than the superhero genre on the whole or its historical roots. As such, the range of contemporary readings on terrorism, conflict, and the power structures of the twenty first century (mainly American) is again both timely and informative. Intellectually, the breaking of the MCU into its industrially determined ‘phases’ again focuses the chronology but also opens new arenas of interrogation. The ‘phase two’ section demonstrates the degree to which the frames of reference change between 2008 and 2013, freeing the franchise (and scholarly debate) from some of the immediate trauma narrative tropes of the first phase, and allowing the discussion to delve into some of the more liminal spaces of the MCU, such as in Thor: The Dark World and Guardians of the Galaxy on gender and fantasy. The final section on the recent television incarnations of the franchise is useful without delving too deeply into the political economy of transmedia in the Netflix age (which is another topic entirely) -- Harvey O'Brien, University College. Dublin

Table of Contents
Acknowledgements
Prologue: The Heroes We Need Right Now?: Explaining ‘The Age of the Superhero’
Introduction: Superheroes in the New Millennium and ‘The Example of America’
PHASE ONE
1. ‘That’s how Dad did it, that’s how America does it … and it’s worked out pretty well so far’: The Stark Doctrine in Iron Man and Iron Man 2
2. Allegorical Narratives of Gods and Monsters: Thor and The Incredible Hulk
3. State Fantasy and the Superhero: (Mis)Remembering World War II in Captain America: The First Avenger
4. ‘Seeing … still working on believing!’: The Ethics and Aesthetics of Destruction in The Avengers
PHASE TWO
5. ‘Nothing’s been the same since New York’: Ideological Continuity and Change in Iron Man 3 and Thor: The Dark World
6. ‘The world has changed and none of us can go back’: The Illusory Moral Ambiguities of the Post-9/11 Superhero in Captain America: The Winter Soldier
7. Blurring the Boundaries of Genre and Gender in Guardians of the Galaxy and Ant-Man
8. ‘Isn’t that why we fight? So we can end the fight and go home?’: The Enduring American Monomyth in Avengers: Age of Ultron
THE MARVEL CINEMATIC UNIVERSE ON TELEVISION
9. ‘What does S.H.I.E.L.D. stand for?’: The MCU on the Small Screen in Marvel’s Agents of S.H.I.E.L.D. and Marvel’s Agent Carter
10. The Necessary Vigilantism of the Defenders: Daredevil, Jessica Jones, Luke Cage and Iron Fist
Conclusion: ‘Whose side are you on?’: Superheroes Through the Prism of the ‘War on Terror’ in Captain America: Civil War
Epilogue: The Superhero as Transnational Icon
Filmography
Bibliography
Index

Avengers Assemble

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    A Hardback by Terence McSweeney

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      Publisher: Columbia University Press
      Publication Date: 17/04/2018
      ISBN13: 9780231186247, 978-0231186247
      ISBN10: 023118624X

      Description

      Book Synopsis
      Avengers Assemble! explores the cinematic and televisual branches of the Marvel Cinematic Universe from a diverse range of critical perspectives. Beginning with Iron Man, the book considers them both as embodiments of the changing blockbuster film and as affective cultural artifacts that are immersed in the turbulent political climate of their era.

      Trade Review
      The book engages with superhero films on a very deep level, making it not only informative but an extremely pleasurable read as well. -- Devapriya Sanyal Hindu College, University of Delhi * Journal of Popular Culture *
      A magnificent book. As insightful and comprehensive as it is engaging and timely, this full-length examination of the Marvel Cinematic Universe is a rewarding read for passionate superhero fans as well as researchers in the fields of film studies, political science, and cultural studies. -- Marc DiPaolo, Southwestern Oklahoma State University, author of War, Politics, and Superheroes: Ethics and Propaganda in Comics and Film
      This is a timely and entertaining volume that will prove very useful in the development of genre courses in the next few years as the superhero genre finds its place in taught modules across film and media programmes. The work is scholarly and well referenced in ways that open it to further reading and research, but accessible to undergraduate readers. The author takes an epistemically specific approach that is not inappropriate given the avowed focus on the MCU specifically, rather than the superhero genre on the whole or its historical roots. As such, the range of contemporary readings on terrorism, conflict, and the power structures of the twenty first century (mainly American) is again both timely and informative. Intellectually, the breaking of the MCU into its industrially determined ‘phases’ again focuses the chronology but also opens new arenas of interrogation. The ‘phase two’ section demonstrates the degree to which the frames of reference change between 2008 and 2013, freeing the franchise (and scholarly debate) from some of the immediate trauma narrative tropes of the first phase, and allowing the discussion to delve into some of the more liminal spaces of the MCU, such as in Thor: The Dark World and Guardians of the Galaxy on gender and fantasy. The final section on the recent television incarnations of the franchise is useful without delving too deeply into the political economy of transmedia in the Netflix age (which is another topic entirely) -- Harvey O'Brien, University College. Dublin

      Table of Contents
      Acknowledgements
      Prologue: The Heroes We Need Right Now?: Explaining ‘The Age of the Superhero’
      Introduction: Superheroes in the New Millennium and ‘The Example of America’
      PHASE ONE
      1. ‘That’s how Dad did it, that’s how America does it … and it’s worked out pretty well so far’: The Stark Doctrine in Iron Man and Iron Man 2
      2. Allegorical Narratives of Gods and Monsters: Thor and The Incredible Hulk
      3. State Fantasy and the Superhero: (Mis)Remembering World War II in Captain America: The First Avenger
      4. ‘Seeing … still working on believing!’: The Ethics and Aesthetics of Destruction in The Avengers
      PHASE TWO
      5. ‘Nothing’s been the same since New York’: Ideological Continuity and Change in Iron Man 3 and Thor: The Dark World
      6. ‘The world has changed and none of us can go back’: The Illusory Moral Ambiguities of the Post-9/11 Superhero in Captain America: The Winter Soldier
      7. Blurring the Boundaries of Genre and Gender in Guardians of the Galaxy and Ant-Man
      8. ‘Isn’t that why we fight? So we can end the fight and go home?’: The Enduring American Monomyth in Avengers: Age of Ultron
      THE MARVEL CINEMATIC UNIVERSE ON TELEVISION
      9. ‘What does S.H.I.E.L.D. stand for?’: The MCU on the Small Screen in Marvel’s Agents of S.H.I.E.L.D. and Marvel’s Agent Carter
      10. The Necessary Vigilantism of the Defenders: Daredevil, Jessica Jones, Luke Cage and Iron Fist
      Conclusion: ‘Whose side are you on?’: Superheroes Through the Prism of the ‘War on Terror’ in Captain America: Civil War
      Epilogue: The Superhero as Transnational Icon
      Filmography
      Bibliography
      Index

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