Transmediating Tim Burton's Gotham City
Transmediating Tim Burton’s Gotham City: Brand Convergence, Child Audiences, and Batman: The Animated Series MATTHEW FREEMAN, University of Nottingham ABSTRACT During the early 1990s, Batman, a highly valued media franchise, was an ever-expanding phenomenon, with franchise owner Warner Bros. having reinvigorated the property with Batman (Tim Burton, 1989). This article will examine the subsequent six-year period of its franchise production, using Batman as a case study for exploring the ways in which distinct versions of a fictional character – each constructed under different creative contexts with differing artistic sensibilities, aimed at varying groups of audiences across media – became the combined products of brand convergence across each media iteration, a concept that was crucial to the transmediality of Batman as both commercial brand and fictional storyworld. KEYWORDS Transmedia storytelling, media branding, franchise, merchandise, superhero characters. Introduction William Uricchio rightly acknowledges that ‘Gotham City as a brand is a highly valued asset not only of the Batman franchise, but of the larger corporate entities of DC Comics and Warner Bros’ (2010, 119). During the early 1990s, this Batman brand was an ever-expanding phenomenon, with franchise owner Warner Bros. having reinvigorated the property with Batman (Tim Burton, 1989). Batman Returns (Tim Burton, 1992), its sequel, was soon in development, and Warner Bros. would complement its theatrical release with a multitude of products in and across other media. Alongside the film was a series of video games, comic books and tie-in merchandise, each simultaneously promoting both Burton’s blockbuster film and the character’s latest television outing, Batman: The Animated Series (Warner Bros.
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