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|a McSweeney, Terence,
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|a McSweeney, Terence,
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|a McSweeney, Terence,
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|a McSweeney, Terence,
|d 1974-
|e author
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| 245 |
1 |
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|a Avengers assemble! :
|b critical perspectives on the Marvel Cinematic Universe /
|c Terence McSweeney
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| 264 |
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|a London ;
|a New York :
|b Wallflower Press,
|c [2018]
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| 264 |
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|c ©2018
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| 300 |
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|a vii, 310 pages :
|b illustrations ;
|c 24 cm
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| 300 |
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|a vii, 310 pages :
|b illustrations ;
|c 25 cm
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|a vii, 310 pages ;
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|a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC
|5 CTY
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| 504 |
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|a Includes bibliographical references (pages 273-301), filmography (pages 269-272), and index
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| 504 |
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|a Includes filmography (pages 269-272), bibliographical references (pages 273-301) , and index
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|a Includes filmography, bibliographical references and index
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| 505 |
0 |
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|a Prologue. The Heroes We Need Right Now?: Explaining 'The Age of the Superhero'. Introduction. Superheroes in the New Millennium and 'The Example of America'
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| 505 |
0 |
0 |
|g Phase 1 --
|g 1
|t 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
|g 41 --
|g 2
|t Allegorical Narratives of Gods and Monsters: Thor and The Incredible Hulk
|g 72 --
|g 3
|t State Fantasy and the Superhero: (Mis)Remembering World War II in Captain America: The First Avenger
|g 97 --
|g 4
|t 'Seeing... still working on believing!': The Ethics and Aesthetics of Destruction in The Avengers
|g 109 --
|g Phase 2 --
|g 5
|t 'Nothing's been the same since New York': Ideological Continuity and Change in Iron Man 3 and Than The Dark World
|g 129 --
|g 6
|t 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
|g 150 --
|g 7
|t Blurring the Boundaries of Genre and Gender in Guardians of the Galaxy and Ant-Man
|g 167 --
|g 8
|t 'Isn't that why we fight? So we can end the fight and go home?': The Enduring American Monomyth in Avengers: Age of Ultron
|g 186 --
|t The Marvel Cinematic Universe on Television --
|g 9
|t '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
|g 207 --
|g 10
|t The Necessary Vigilantism of the Defenders: Daredevil Jessica Jones, Luke Cage and Iron Fist
|g 223
|
| 505 |
8 |
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|a Phase One. '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 -- Allegorical narratives of gods and monsters: Thor and The Incredible Hulk -- state fantasy and the superhero: (Mis)remembering World War II in Captain America: The First Avenger -- 'Seeing ... still working on believing!': The ethics and aesthetics of destruction in The Avengers
|
| 505 |
8 |
|
|a Phase Two. 'Nothing's been the same since New York': Ideological continuity and change in Iron Man 3 and Thor: The Dark World -- '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 -- Blurring the boundaries of genre and gender in Guardians of the Galaxy and Ant-Man -- 'Isn't that why we fight? So we can end the fight and go home?': The enduring American monomyth in Avengers: Age of Ultron
|
| 505 |
8 |
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|a The Marvel cinematic universe on television. '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 -- 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
|
| 520 |
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|
|a We are living in the age of the superhero and we cannot deny it. Avengers Assemble! Critical Perspectives on the Marvel Cinematic Universe is a vibrant and theoretically informed interrogation of one of the defining and most financially successful film franchises of the new millennium. In the first single-authored monograph on the topic of the Marvel cinematic universe this book asks, 'Why has the superhero genre re-emerged so emphatically in recent years?' In an age where people have stopped going to the cinema as frequently as they used to, they returned to it in droves for the superhero film. What is it about these films that has resonated with audiences all around the globe? Are they just disposable pop culture artefacts or might they have something interesting to say about the fears and anxieties of the world we live in today? From Iron Man in 2008 this study provocatively explores both the cinematic and the televisual branches of the series across ten dynamic and original chapters from a diverse range of critical perspectives which analyse their status as an embodiment of the changing industrial practices of the blockbuster film and their symbolic potency as affective cultural artefacts, profoundly immersed in the turbulent political climate of the era in which they were made. Book jacket
|
| 520 |
8 |
|
|a We are living in the age of the superhero and we cannot deny it. 'Avengers Assemble!' is a vibrant and theoretically informed interrogation of one of the defining and most financially successful film franchises of the new millennium
|
| 596 |
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|a 1
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| 610 |
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|a Marvel Comics Group
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|a Marvel Comics Group
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|a Marvel Comics Group
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| 610 |
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|a Marvel Comics Group
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| 610 |
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|a Marvel Comics Group
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| 650 |
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0 |
|a Motion pictures and comic books
|
| 650 |
|
0 |
|a Superhero films
|x History and criticism
|
| 650 |
|
7 |
|a Avengers (Fictitious characters)
|2 fast
|
| 650 |
|
7 |
|a Comic strip characters in motion pictures
|2 fast
|
| 650 |
|
7 |
|a Motion pictures and comic books
|2 fast
|
| 650 |
|
7 |
|a Superhero films
|2 fast
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| 655 |
|
7 |
|a Criticism, interpretation, etc
|2 fast
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