
In the second installment of his two-part series on the state of comic book film adaptations, Mark Gallagher critiques their exploitation of fans' good will, as will as the strain it places on media industry talent and trade coverage.
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In the second installment of his two-part series on the state of comic book film adaptations, Mark Gallagher critiques their exploitation of fans' good will, as will as the strain it places on media industry talent and trade coverage.
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In part one of a two-part series on the state of comic book film and television franchises, Mark Gallagher criticizes their exploitation of esoterica and origin stories.
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Piers Britton explores questions of representation and issues of authorship and creative control in "Avengers: Age of Ultron" and the Marvel Cinematic Universe.
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How far are Marvel Studios’ film and television franchises visually coded for homogeneity? How insistently, that is to say, is brand identity maintained at the levels of design, cinematography, editing and post-production processing?
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Marvel’s Daredevil launched April 10 on Netflix, marking a new milestone for Netflix’s original content strategy and the expansion of Marvel Television into the streaming space.
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Marvel’s Agent Carter’s has been the center of many feminist critiques since its premiere earlier this year. Some praise the show as a victory for feminists and female fans, since Peggy Carter is the first female protagonist in Marvel’s Cinematic Universe franchise, while others criticize it for its blatantly obvious feminist messages. While I do...
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With Guardians of the Galaxy, Marvel continues to construct a sequential tapestry by drawing upon comics' sense of interconnectivity and hyperdiegetic expansion.
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Why do critics claim that only "fanboys" can make sense of Guardians of the Galaxy?
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Here are ten or more media industry news items you might have missed recently
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