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The Avengers The Avengers
Volume 20 Volume 20. Spring 2020 • on the web 2020 • Spring 20. Volume and contextualize it within the and contextualize it within the . This film and series which itwas a part of The Avengers The Avengers The Avengers in Avengers The emergence of new genres of communication in the inter in of communication new genres of emergence life. His re section between personal and professional the particular narrative also include interests search of media. genres fantastical strategies of the more is a PhD fellow at the Department of Communication at Communication of at the Department fellow is a PhD is on the Copenhagen. His thesis work the University of larger narrative larger of the cinematic universe. I that argue the film be cinema, yet in a form of multiple protagonist longs to the genre that straddles the line between the two usual variations of that a either is usually cinema protagonist Multiple cinema. of form experimental narratives for non-mainstream, form often reserved main or it is just a slight variation on pre-existing in one extreme Hollywood formulas in the other extreme. stream finds middleground between these extremes, and manages to do genre. so with special consideration to the superhero Heroes have often been thought of as singular individuals stand have often been thought Heroes superheroes the current of the world, and the rest ing apart from comic book counterparts exist no exception. Even though their are characters and related in complex social networks of supporting cinematic adaptations often “kowtow” to single- colorful heroes, a larger from worship (Burke 2008, 101), isolating the hero hero narrative world and networks of characters. This changed with the success – The Marvel Cinematic Universe - quickly became a trendsetter a close media landscape. In this article, I present within the larger formal analysis of Abstract quarter
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The Avengers as Multiple Protagonist Superhero Cinema Superhero Multiple Protagonist as The Avengers Superheroes or Group of Heroes? or Group of Superheroes Christoffer Bagger
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Richter 2016 Christoffer Bagger Christoffer Volume 20 the Avengers the The Avengers. Avengers. The Superheroes or Group of Heroes? or Group Superheroes , superheroes, multiple protagonist cinema, protagonist multiple , superheroes, was undoubtedly a watershed moment in cin was undoubtedly film in itself. The central purpose is to unveil The Avengers Avengers
: represents an innovation insofar as it borrows strategies strategies an innovation insofar as it borrows represents The Avengers The Avengers This article adds to these discussions by performing a close anal This article adds to these discussions ately constructed to emphasize the group over any single hero. This over any single hero. the group emphasize to ately constructed char a contextual discussion of actor and analysis will move from acter fame into an analysis based on close textual segmentation and of the construction how I will discuss examination. Finally, Avengers alternative multiple and more both classical Hollywood cinema cinema. protagonist Sweeney 2013). ysis of the has which audience an accommodate to constructed is film the how single in protagonist filmsbeen inaccustomed to following a clear, 1998, 44), general (see McKee 2010, 48-9; Snyder 2005, 183; Trottier and in fantastical cinema more specifically (see Burke 2008; Haas that having multiple protago First, this article argues 2011). trup then 2012, before cinema has not been prominent nists in superhero examining for methodology my describe I how uncover which results, my analyze will a single film. The film leaned much further into the sprawling nar comic books by bringing togetherratives of their native medium of a varied selection of characters from different film titles to interact effec an was it clear, made years following the As another. one with which allowed their fast-growing tive strategy for Marvel Studios series to take a lead at the global box office, and it was seen as a studios (McSweeney 2018, 6; Vig strategy worth imitating by other universe cinematic a building in efforts Studios’ Marvel 2018). nold perspective (e.g. Flanagen an industrial have been discussed from in terms of it being an unprece et al. eds 2016; Johnson 2012) and storytelling (e.g. dented exemplar of transmedia Keywords film analysis, Marvel Introduction 2012’s In the ematic film,history. six different comic book superheroes, previously appearing in five different films, come togetherand rever a became it way, this In time. first the for screen big the share in putting a single superhero of sal of the until-then dominant trend quarter
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Christoffer Bagger Christoffer Volume 20 Superheroes or Group of Heroes? or Group Superheroes can generally be placed on a spectrum as de can generally be placed on a spectrum However, although they are far from the norm, the more classical the norm, the more far from although they are However, Heroes in general have often been thought of as singular indi singular as often been thought of have general in Heroes movies with a hero all their own?” (Burke 2008, 101). movies with a hero Hollywood corpus is not without its share of films with multiple These protagonists. scribed by Thompson (1999). On one end are films with several events have but where with their own protagonist, plotlines each little causal impact on one another (Ibid., 47) and on the other end roughly are whom of several people, of group “a which in films are gan 2006, 124). In the comic books which originated the bulk of which originated the bulk of gan 2006, 124). In the comic books stories in ever-developing been involved have many heroes them, of events of pages, hundreds for decades, encompassing thousands Alberich et al. 2002; (see e.g. and dozens and dozens of characters were superheroes however, Kaveney 2007, 25). On the big screen their in off walled 100), 2008, (Burke breed” lonely “a recently until own movies, with only their own immediate supporting cast to sus of tain them. This is no doubt not just due to the exceptional nature within the to breathe which must be given room any given hero them asking studios movie to due also but film, single a of runtime tenhave in one movie, when you can “Why have ten heroes selves nists were nists clearly were personified and archetypes members of groups All of 2007). opposed to a worker’swho were (Tröhler revolution cinema, to superhero antithetical be rather to seem this would focal point. individual is the the extraordinary where (Carlyle 1993) - the world of the rest standing apart from viduals group or mere in the crowd to faces not easily reduced thus and is no no exception. There are superheroes players. The current shortage of recent scholarly works comparing them to divine fig or saying Saunders 2011) 2011; 2007; Morrison (e.g. LoCicero ures has to myths” (Coo culture “the closest our modern that they are The Problems with Protagonists in the Plural The Problems of Works fiction with multiple or group protagonists have often and clas mainstream as an alternative to the more been thought of they fiction, and literature in Both story. a constructing of ways sical (see realism social or fiction class working with associated often are 2007). Per Tröhler 2015; Klysner 1976; e.g. Foley 1993; Jørgensen the in found be can exemplification cinematic extreme most its haps - such as the “protagonists” Soviet cinema of the silent era where the antago whereas an unindividualized group, - were they were quarter
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Christoffer Bagger Christoffer The Avengers The Avengers Volume 20 Lord of the Rings the Rings Lord of (2012) is composed, I will in particular, to – as Burke in particular, At the time, this was largely At the time, this was largely Superheroes or Group of Heroes? or Group Superheroes The Avengers The Avengers The Avengers that it is actually asked within the film itself film the within asked actually is it that The Avengers The franchises. Are we then to expect Are
marks “We’re not a team, we’re a time bomb”. Perhaps they voice Perhaps a time bomb”. not a team, we’re marks “We’re as well? In any case, the concerns of audiences (and the producers) team-up obviously the question of the soundness of this superhero demands an answer by the composition of the film. Approach and Methodology to determine how In order examine the film closely both in a close textual analysis, as well as claims is the norm for previous superhero cinema - “kowtow to the superhero claims is the norm for previous is not, how If 101)? (Burke 2011, worship” single-hero prevailing pre-existing fact that these are this balancing complicated by the previ other media, but also from characters, not only known from ous solo outings on the big screen? so central to the construc fact The question is in untested in cinema. of tion the villain, Loki. The alien god of mischief is so convinced of his triumph because he finds it inconceivable that such a superhero even re themselves Avengers of the One work. would team-up hierarchy among characters in these films (Thompson 1999, 248). A 248). 1999, (Thompson films these in characters among hierarchy might then be how much one logical follow-up question to this the undis they are before the crowd, character may stand out from puted main thus character, rendering the film a poor example of a film.multiple Israelprotagonist (2006) for instance mentions that a closer inspection of several filmsrevolving around sports teams Haas Similarly, protagonist. a single, undisputed usually reveals of within the fantastical genres 276-7) concludes that (2011, trup “popular” multiple protagonist films, an “overt hero” usually on the focusing - her examples emerges Wars equal in prominence and who work toward a shared goal” (Thomp a shared and who work toward equal in prominence son 1999, 48). it Empirically, has proven to be possible, if difficult, of characters to track contradictory goals for audience members unsurprising that (Magliano et al. 2005). It is therefore a film across argue I and casts, large with films action many pre latter end of the scale Thompson the mostly toward are ticular, character goals may appear, between sents. Though disagreements goal by the end of the shared ultimately subsumed under a they are film. Allowances are made by Thompson for some semblance of quarter
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Christoffer Bagger Christoffer within the story. within the story. Volume 20 sympathetic system of values affected or changed powerful Superheroes or Group of Heroes? or Group Superheroes Which character is played by the most Which character is played by the - Which character is the most - “registering how long a character is onstage” how long a character - “registering Which character possess the Which character is the most Which characters is the most actor or actress in the cast. actor or actress
Power - Paratext and context famous time Screen 2007, 7.) (Bordwell Morality - the most with. audience is assumed to agree Sympathy - audience. Change - the story’s events.
(6) I will as context, its in film the of placing a necessitates cue first The do in the next section. In addition to discussing actor fame and ce the fame of charac suggests, I will also discuss as Bordwell lebrity, reading close a through discussed are cues five subsequent The ters. of the film. I operationalize these in terms of a segmentation of the film – a division of the film into parts for analysis (Bordwell and (1) (2) (3) (4) (5) true true heuristics for determining the protagonist of a given film to to varying degrees, protagonist, code all six major characters as the only to then emphasize the group identity as central in the final parts of the film. by the formal highly inspired and methodology are My approach approaches of film scholars David Bordwell (2007) and Kristin formal cues in I mainly borrow Bordwell Thompson (1999). From subsequent I which film, given any of protagonist the determining a through is then tempered ly operationalize. This operationalizing by Thompson. The six heuristic cues framework highly inspired follows: as are by Bordwell inspired consider its paratextual context. This is because both I and, presum context. This is because both consider its paratextual ably the filmmakers,recognize that a film is always read through the contextual cues of other films and the audience’s previous not is aim My actors. and filmmakers characters, both of knowledge experiences of follow audience members’ to empirically uncover ing the of many this protagonists film, though this would certainly be a my valuable Rather, argument inquiry. is that the film is con knowledge of the many to anticipate a varied audience structed and tried different several use filmmakers the Therefore, characters. quarter
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Christoffer Bagger Christoffer “the architecture of “the architecture Volume 20 Superheroes or Group of Heroes? or Group Superheroes will be given special consideration, as will be given special consideration, power and the Marvel Studios opus at large is - success and the Marvel Studios opus at large and ” (69). I have performed a segmentation of the film in change which each contribute to no single “overt hero” emerging. emerging. which each contribute to no single “overt hero” the Avengers the Avengers I stress that the combination of qualitative reading and quantifica and reading qualitative of combination the that stress I This quantification of the film is advantageous for answering the answering for advantageous is film the of quantification This uncover the narrative strategies within the composition of Avengers Actor and Character Fame of that a common rule (2006, 8) argues As mentioned, Bordwell thumb for figuring out the main character of a film is identifying the most famous actor in the cast. The strategy utilized to counter this in This leads me on to discuss the four next cues, tempering them four next cues, tempering them This leads me on to discuss the Especially the two last cues to the segmentation. reference through - those of they entail a consideration of both the of serial the nature film, and genre. the emphasis on power(s) in the superhero tion of narrative segments and their (character) contents is necessary (2007) points As Bordwell negotiation of the heuristics. for a true out, it is not given that all six of the heuristics will give the same consideration must then be given to comparing and careful answer, importance. This is what allows me to and contrasting their relative might have had the advantage of revealing a greater degree of de degree a greater revealing might have had the advantage of narration its how and film, the of architecture the of nuance and tail I argue states. However, priorities certain characters and emotional quantifiable of advantage the has still here have I approach the that quali be combined with more that can then units of measurements of the film’s text. tative readings all screen not time in raw numbers. Of course, question of screen will always of the events presented equal: The order time is created in depth and I will discuss this more importance, be of paramount on Hollywood cinema. (1999) work to Thompsons with reference Thompson 2013, 504). This is done to recover is done to recover 2013, 504). This Thompson the movie which the scene is the smallest unit. I define a scene as any single unit of narration without significant shifts in time or space facili found as time of characters While the actual screen tated by editing. lengths, and based on segment is an approximation of this a result leaving or entering scenes, thethus does not account for characters A appears in is an exact measure. number of scenes each character down to a shot-by-shot basis) (for instance granular approach more quarter
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Christoffer Bagger Christoffer Volume 20 ” (Stork 2014, 78 empha assets Superheroes or Group of Heroes? or Group Superheroes in which the actors are subsuming are in which the actors profit of a film without any stars (Albert 1999; De 1999; (Albert stars any without film a of profit
has certainly as “a cinematic display been discussed profit of a movie featuring a movie star may not be higher be not may star movie a featuring movie a of profit
While fictional characters with lives across many different media different many across lives with characters fictional While Even if we accept the primacy of character over actor however, character over actor however, Even if we accept the primacy of How successful this business strategy has been at large in the in the has been at large How successful this business strategy The casting of the initially “lesser-known stars as leads” (Koh The casting of the initially “lesser-known and settings may attain the status of pop cultural icons or “popular 1987) which general audiences (cf. Bennett and Woollacott heroes” aware pop cultural indirect familiarity with through a have may ness, this should not be taken for granted. For instance, a radical for comics is usually reserved of a character superhero reimagining the most popular characters, in which case the unexpected and un or subversive, as well as comprehen familiar can be seen as ironic this just seems to push the problem of picking a protagonist one of picking a protagonist this just seems to push the problem an audience member not just pick step further down the line. Will the pro and decide that they are the most famous character then, and leaves a job cut out for tagonist? This is certainly a possibility, to emphasize the group if they are and director the screenwriter nothing franchises as such are over the individual. Character-based 1987; Scott 2009), and new in cinema (e.g. Bennett and Woollacott The Avengers for Marvel’s most valuable character sis in original). militude of the onscreen fantasy, and the studio’s present and fu and the present studio’s fantasy, militude of the onscreen 2014, 485). leverage” (Koh bargaining ture seems to support that a hierarchy long term is debatable. Evidence Studios, most notably in their al of actors still exists within Marvel who plays of thetreatment Robert legedly Downey preferential Jr., Iron Man Donnelly (e.g. 2013). 2012; Breznican 2011; How Vieira suggesting that the research recent the strategy is in line with ever, expected than the expected 2004; Skilton 2009). & Walls Vany fully or not - to emphasize the primacy of characters over actors. primacy of characters the emphasize fully or not - to who terms it as a examined by Koh (2014) This is most thoroughly labour” practice of “celeactor in question. In under those of the characters their own identities it, who not the human actor portraying it is “the celeactor, this view, 2014, 495).importance to the franchise.” (Koh is of paramount 2014, 485) in the films is thus a “canny strategy by Marvel Studios to manage paratextual star narratives and trajectories, the verisi quarter
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kvarter akademisk - - - 8 e Iron Man Iron e e ) and thus ) and thus (2011). The The (2011).
Christoffer Bagger Christoffer me Figure 1 The Incredible Hulk Hulk The Incredible Volume 20 o (2010), Superheroes or Group of Heroes? or Group Superheroes o Iron Man 2 Iron e ul and
e le o l e o e , Captain America The First Avenger The First Avenger , Captain America (2008) can be viewed as a direct sequel to five previous o (2011) Thor ) are the six protagonists of this outing. However, these films these However, outing. this of protagonists six the are )
Iron Man Iron , Thor The Avengers ) and Clint Barton aka “Hawkeye” (Who had a minor appearance) and Clint Barton aka “Hawkeye” Furthermore, neither of the six main characters in the film were ex were film the in characters main six the of neither Furthermore, on most people’s minds before actly the comic book superheroes widely the most debuts. The Hulk was arguably their big screen his MCU debut, not just due to a tangentially related known before film outing half a decade earlier (2003), but also due to arelatively a Man was also considered popular TV series (1978-1982). Iron had only (McSweeney 2018, 42), and “second string” superhero Figure 1 – Figure Box Office in US$ of the first six Marvel Studios films. Worldwide in (see attendance audience differing wildly had not be assumed. general audience familiarity could sible to a broad audience (see e.g. Bagger 2019). And the six Aveng six the And 2019). Bagger e.g. (see audience broad to a sible bigprior to their characters popular most the not certainly ers were debuts. screen films, (2008) four title characters from these five films, as well as Natasha Ro in role supporting a had (who Widow” “Black aka manoff 2 quarter
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(2005) (Pas Christoffer Bagger Christoffer Serenity Volume 20 The Avengers Superheroes or Group of Heroes? or Group Superheroes (2002) into the film film the into (2002) but as we shall see, this proves problematic problematic but as we shall see, this proves Firefly Firefly itself to see how it was composed to anticipate this. screen time, screen The Avengers At first glance, Iron Man emerges as a rather clear lead in the film. the in lead clear rather a as emerges Man Iron glance, first At The sparse existing research on reception of multiple protagonist of multiple protagonist reception on The sparse existing research ity and sympathy. Below I present a table which outlines an esti Below I present ity and sympathy. mate of how much time each character spends “onstage “- both in running time. of the films raw time, and as a proportion He has the most time on screen, his character’s previous films had drawn the most box office, he isarguably played the by most well- overhave some leverage to able apparently an actor actor, known the composition and content of the film (Breznican Donnelly 2011; whom the audience were likely not familiar. He had worked with a likely not familiar. whom the audience were own cancelled and never fullysimilar scenario when adapting his television series aired I will take a closer look at the casecale 2014, 338). In the following, of Morality and Sympathy Screen time, seg my Given Bordwell. by inspired cues textual the to turn I Next, here ascertain and try to cue obvious most the film the of mentation is of course without also considering other factors such as a character’s moral to other studios at the time (Stork 2014). to other studios at the time (Stork that audience member will generally try to seek suggests cinema oftenfollow along, or to identify out a single character with whom (Azcona notions of actors or directors based on their preconceived audience of 2005). While any member of the familiar with any of the pre-existing characters in the film, itre of them it would be, and how farmained an open question which it is no coincidence that the this familiarity would extend. Perhaps film’s writer and director of the film Joss Whedon, is familiar with withcharacters pre-existing with productions protagonist multiple a mildly successful cartoon to his name in recent memory. While While memory. recent in name his to cartoon successful mildly a mytho well-known a certainly was thunder of god Norse the Thor, logical figure (Arnold his 2011), Marvel incarnation was nohouse hold Captain America name. And mightfinally, beregarded as an not might who 2013), (Dittmer superhero” “nationalist a of example Mar of display a is film the though Thus, appeal. global much hold certainly that these were vels character assets, it must be mentioned Most of Marvels most fa not their most well-known characters. off licensed were X-Men) the and Spider-Man (e.g. characters mous quarter
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10 me 21% 38,3% 29,8% 43,15% 41,91% 29,02%
ee ). Christoffer Bagger Christoffer Volume 20 change 57:28 28:00 55:49 51:00 38:39 39:42 ee me
Superheroes or Group of Heroes? or Group Superheroes 25% 25% 23,1% 21,9% 18,7% 18,7% e e
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me o – The six Avengers characters broken down by time of first characters broken Avengers – The six o e e The ul ron e l A character that is arguably slightly more of an audience proxy, of an audience proxy, slightly more that is arguably character A The Captain is arguably the character possessing the system of system the possessing the character arguably Captain is The as much as a trained secret agent can be, is Black Widow. Her early agent can be, is Black Widow. as much as a trained secret well- some of the more her before entrance into the plot introduces known superheroes. Most of the long talkative scenes of the film introductory her including way, some in Widow Black involve (03:19) to Banner scene (03:30), her (and the audience’s) introduction a for allow these scenes All (02:31). Loki of her interrogation and great deal of reflection of These her scenes character. strike a bal values with which the audience is expected to agree the most. Inter expected to agree values with which the audience is point-of-viewa shoe-in for potential America is a Captain estingly, character as he andis thus un a largely fish out of temporal water, familiar with the film’s universe. Thus, he might have become an po This protagonist. facto de the thus and proxy audience efficient tential goes mostly untapped, as the narration of the film never ex or to the other characters plicitly emphasizes the Captains reaction Captain events. Thus, while he may be the moral center of the story, the least and is arguably proxy, an audience is far from America personally affected by its events (cf. the cue of Table 1 Table an estimated number of appearances in both scenes appearance, onscreen time. and screen edges barely while certainly prominent, Man, Iron 2012). However, of time. In fact, another survey America for screen out Captain differ a using - Vulture medium news the for time screen character Man for screen edging out Iron ent methodology - has the Captain with my survey about the order time, but is otherwise in agreement 2012). (Cruz time for the characters of screen quarter
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change Christoffer Bagger Christoffer Volume 20 do have individual arcs - do have individual arcs Superheroes or Group of Heroes? or Group Superheroes The Avengers The Avengers by the events of a given film - usuallyrevolves around a The major characters in The major Thus, the general narration of the film is not composed to prior Black Widow’s personal involvement in the story is motivated by personal involvement Black Widow’s clearly affected and changed by the story, the more likely they are to are they likely more the story, the by changed and affected clearly the heuristic of according be seen as the protagonist, of their repetitions in fact truncated are that these arcs but I argue previous films’ appearances. This truncation is already a tendency in alternative cinema featuring a multitude of characters (Smith headlined that have previously 1999). Each of the four superheroes their own film go through a familiar development. Iron Man goes sonal involvements factor into the overall plot of the film. sonal involvements factor into the Character Arcs - or how characters are arcs The discussion of cinematic character changed single main character (e.g. McKee 2010, 48-9; Snyder 2005, 183; Trot several characters have distinct arcs tier 1998, 44) while only rarely of number a has particular in cinema American 79). 2010, Gerke (e.g. striking a balance between sharing notable examples of protagonists (cf. Ray 1996, 190- an overall goal, and having distinct character arcs a character is 1981, 90; see also Thompson 1999). The more 1; Wood her relation to Hawkeye, who is the mind-controlled thrall of Loki is the mind-controlled to Hawkeye, who her relation throughout roughly three fourths of the film. While an argument affected immediately most character the thus is he that made be can as he is the most obvious victim of Loki’s by the events of the story, of the six the least prominent actions, Hawkeye is without question main characters. in the fol point will become clearer This itize any single character. the characters in terms of their re I discuss lowing section where spective arcs (i.e. a heuristic of how much they are affected or and per relations their respective changed by the story), and how ance between framing Black Widow as in danger while at the sameat as in danger while Black Widow ance between framing of the in control her to be deceptive and ultimately time revealing in a fourth case - This is subverted her fear. situation, only feigning scene borrows down by an enraged Hulk. This when she is chased many cues from horror cinema and emphasizes her terrifiedreac heu popular a - sympathy audience of terms in gains thus She tion. status as a morally dubious - but her ristic for picking a protagonist to this.and deceptive assassin is a counterbalance quarter
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Christoffer Bagger Christoffer The Avengers The Avengers . Volume 20 All the characters ulti The Incredible Hulk The Incredible Superheroes or Group of Heroes? or Group Superheroes , which I shall treat more thoroughly later on. thoroughly more , which I shall treat power Captain America: The First Avenger If no character develops beyond their psychological status at theIf no character develops beyond In terms of character involvement in the central conflict, Iron Compartmentalization part of a structural is often considered archetype The superhero turn and villains who in system including helpers, love interests (Burke 2008, 14). constitute the hero structurally team Avengers identity of the this as the group parts radically from interacting with their pre-exist is the focus at the expense of heroes need Whedon: “You by As writer-director expressed ing networks. to their support systems in order to separate the characters from end of their previous film outing, then it is hard to pick an undis puted central protagonist of the film. This does not exclude larger happening as in serial televi from multi-instalment character arcs sion (see Porter et al 2002; Newman 2006, 23), but it also makes the film in questionrelatively self-contained. only enough to view not mately had to be thought of as interesting sequels where but also in potential future in the context of this story, sur out on their own, and not be they would once again break by their newly-formed group. rounded according to his convictions - carries strong echoes from his previ echoes from strong to his convictions - carries according ous outing in - is time and actor recognition Man – who otherwise leads in screen the of transition into the climax until the not personally involved film. The character with the most personally at stakein the conflict of the film is who arguably Thor, is pitted against his adoptive continuation of Thor’s a direct Loki. The plot is thus brother own Thor’s develop of emotional prominence the However, film. debut which also feeds into thement is mitigated by his late appearance, heuristic cue of from hostile from and to arrogant ultimately selfless and self-sacrificing, reject Banner goes from films. Bruce as he did in both his previous combat a greater to ultimately embracing it to ing his Hulk persona as in in the threat heart York, of New to terms with his adoptive brother’sagain has to come villainous Captain while him. Similarly, and take up arms against impulses internal change, the exterior little in terms of America goes through and kept in the dark by restricted elements of this storyline - being actand them from desert ultimately to only superiors, military his quarter
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13 - - 9 5 7 9 5 7 12 14 12 14 6 4 9 0 2 2 0 9 4 6 10 10 e e e e e e e e
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This becomes even more explicit in the tables below showing showing explicit in the tables below more This becomes even o e e e e el ron m e o u ll oul o o el e e o oul o ll u ron e m o o e e Not only are the characters’ preexisting relationships to both the on- and off-screen supporting cast usually paid the barest of lip- previously have who film the within characters main the service, interact. Hawkeye and Thor get exactly barely the screen shared share the screen with the other heroes or are without major or mi or are the other heroes with the screen share them: nor characters around create the isolation you need for a team.” (quoted in Donnelly 2012, Donnelly in (quoted team.” a for need you isolation the create while gets to interact with his love interest, Man para 2). Only Iron Thor has to be satisfied with a America’s photo.relegat is Captain (Schaefer 2012), while Banner’sed to a deleted scene love interest abandoned” (Beaty 2016, 323). has all but “been heroes 160) the respective how many segments (out of a possible spend with the minor characters in the film, many of whom they opposed to how often they interacted with, as have previously . - - The quarter
marks if the The Avengers * previous film. previous academic An How many times Number of charac
ter co-appearances in pear within
two given Avengers co-ap Avengers two given Avengers. Avengers. Table 3 – Table Table 2 – Table two characters interacted in a
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Superheroes or Group of Heroes? or Group Superheroes 0 8 0 1 5 2 o om l 1 0 0 0 0 16 e u e o e ou ee e e e e Hawkeye, which sends the Avengers shuffling into action, and into and action, into shuffling Avengers the sends which Hawkeye, two-on-two Here Development. The as known film the of part the cooperation common, either in the form of more segments are con or turbine) jet failing a fixing Man Iron and America (Captain brawl or Hulk chasing down Black Widow (an unruly frontation extended the - film the of Climax the until not is It Thor). with ing that all battle six for members New York, of the hero group share composed structurally is film the Thus, time. first the for stage the As is evident from the table - the first fourth of the film mostly scenes by themselves. In the Compli in shows the six protagonists from off walled occasionally still are protagonists the Action, cating or of three just as likely to appear in groups but they are each other, slowly gathering and getting to know one another - even four, head into a comes This obvious. interpersonal tensions are though the one scene in Action the in Complicating which five of the six of one another. bickering and distrustful together, are protagonists enthralledan and sneak attack by Loki This scene coincides with a one exchange of dialogue, while Iron Man’s conversations with with Man’s conversations dialogue, while Iron one exchange of of consist entirely all their 17 co-appearances across Black Widow Theto. responds never she which greeting, snide a her giving him unconnect on the new dynamics of previously emphasis is clearly evident is even more as a whole. This the group ed characters, or when one considers the over-all composition of the film into the by Thompson (1999) and segments proposed usual four large-scale in which the characters appear intakes a closer look at the patterns these segments. quarter
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film into four large parts, film into four large Avengers across the given across Avengers
inspired by Thompson (1999) inspired scenes contain what number of Table 4 – Table and a distribution of how many
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The Avengers Christoffer Bagger Christoffer Volume 20 Here again, Here Superheroes or Group of Heroes? or Group Superheroes However, the use However, of power and superpower within the film is composed to emphasize both individual displays of impressive composed to emphasize both individual displays of impressive fantastical displays of skill in the even more skill and, importantly, members. This is clearly evident in the Avengers teamwork of the final fourth of the film, what Thompson calls the Climax (1999). regularlythe scenes alternatefilmfrom Here between showing the that within the study of characters in action films, emphasis has - paradoxically - usually not been on the main characters perhaps people who can skillfully perform actions. while his Hulk persona is perhaps an unmatched force. The Hulk unmatched force. an while his Hulk persona is perhaps persona does however, not appear until the Development portion the most pow while the Hulk is arguably Additionally, of the film. erful character within the film, besting both of the alien godsThor with suspicion and Loki in unarmed combat, he is also regarded to and unease by a number of the other main characters. The degree his Hulk persona is withheld by the nar which Banner can control ration until the Climax portion of the film, and the character is mysterious than identifiable to the audience. more therefore complex than this. Langkjær and Jensen (2019) attest even more bescent teenage boy, who feels weak in the world and insufficient to insufficient and world the in weak feels who boy, teenage bescent it is charitably, 2007, 51). More the demands of the day” (Faludi use of of seeing creative in the allegedly universal pleasure merely (e.g. Langkjær and Jensenunusual skills unfold in action characters to interesting very is it perspective, compositional purely a In 2019). in an as ultimately presented are Avengers that the six consider discussed. The relative of “might”, as previously cending order a series of inter-team through power scale is even made explicit charac a powered super more The film. the throughout skirmishes here anomaly The film. the in appears character that later the is, ter powers, superhuman In his civilian guise he has no Banner. is Bruce to emphasize the unity of the six Avengers as common arc. This as common arc. Avengers to emphasize the unity of the six becomes even more evident when discussing the final heuristic, that of power. Teamwork Comes Great With Great Power in worth giving extra consideration is perhaps The aspect of power in skills superhuman and general in Power film. action superhero a anIn superhero. the of appeal the to central doubt no are particular appealing to “a prepu genre due the uncharitable framing, this is quarter
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Christoffer Bagger Christoffer Volume 20 Superheroes or Group of Heroes? or Group Superheroes lasting more than a minute, in which the lasting more long take Perhaps more notably, these moments of flourish include a digi notably, more Perhaps This final fourth also contains some of the only stylistic ornamen stylistic only the of some contains also fourth final This The climactic section of the film also demonstrates an interesting interesting an demonstrates also film the of section climactic The tally composed camera travels through the streets of New in York a relay race be tween the who six are Avengers, effortlessly aiding one another. The stylistic flourishes have been compared to a filmed version of 2019), which is an attention- the comic book “splash page” (Willems these grabbing way to compose a page in a comic. In the same way, of composition the in attention-grabbing particularly are flourishes tations of the film, and these coincide with the presence of all the this occurs when the team once. Firstly, at main characters onscreen underlined is which force, alien the to opposition in united finally is superhe the battle-ready camera movement around by a circular This has been described as a celebration of a “moment of su roes. camera movement 78). The circular (Stork 2014, synergy” perhero an elated and triumphant feeling, not unlike how captures here used for moments of lovers uniting similar camera movements are 2014). But, as I have established - cinema (cf. Højbjerg in romantic takes quite a backseat to teambuilding in this film. romance reversal of a central tenet of the earliest multiple protagonist cine multiple protagonist of a central tenet of the earliest reversal villains and the protago ma: Instead of individually characterized as in early Soviet cinema (cf. an indistinct group nists who are de clearly are While our heroes 2007), we have the reverse. Tröhler fined, the aliens they fightare against animalistic, and monstrous an indistinct horde. Nowhere is this more clearly illustrated than also kills all the of the alien mothership the fact that the destruction no individual existence outsideindividual aliens. The aliens have exist both as distinct individuals Avengers the the hive – whereas members. and as group superheroes performing individual feats of strength of agility, and of agility, individual feats of strength performing superheroes showing them almost effortlessly combining their skills for even doesn’t Man Iron against the alien army. devastating attacks more ma Jonah-and-the-Whale alien by a self-directed just take down an he neuver, also bounces his lasers off Captain Americas shield. Hulk doesn’t just single-handedly flatten the manipulative Loki metal shrapnel intoof piece large jams a mid-monologue, he also without Thor then electrocutes the back of an alien leviathan, which looking twice. quarter
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Christoffer Bagger Christoffer Volume 20 Superheroes or Group of Heroes? or Group Superheroes in the sense of what these heroes can heroes these what of sense the in .
is not only a lynchpin of the Marvel the Marvel is not only a lynchpin of The Avengers and secondly, it is true is it secondly, and , In this way, In this way, The second point represents one step further from being im one step further from The second point represents The first pointrepresents an emphasis on what might loosely be form even more impressive synergistic acts with one another. These another. one with acts synergistic impressive more even form fundamentally appealing in part because of their su characters are capabilities, meant and to their reflect interactions perhuman are new and exciting ways of showcasing these. a sort of “middle ground” Cinematic Universe - but also represents between the classical narrative strategies of Hollywood cinema and a goal-orient In the former, alternative approaches. emergent, more point interact with a myriad of other characters in the same fiction same the in characters other of myriad a with interact point in terms of delivering al universe. This has obvious advantages mate knowledge of the source “fan service” for an audience with fans will only ever be “a rial (see Beaty 2016), but since die-hard fraction” (Burke 2012, 96) of eventual audiences, this might be more as a showcasing and demonstration of “charac construed broadly ter assets” (cf. Stork 2014) which can then validate one another by their mutual connection. skilled use of their human or superhuman at a single hero’s pressed abilities (cf. Langkjær & these Jensen heroes can 2019). per Now, concise observations has been put forward by Acu (2016), who dis by forward concise observations has been put heroic the reframed have films Marvel the how cusses to meaningfully contribute ability to do anything to the ability through one’s affiliations “(ibid., 195). I agree with this, and posit that this true in two significant ways: First it is true in the sense of fictional characters and heroes gaining value through know perform and accomplish together the Here (cf. Castells 2011). termed a form of “network power” because they might at any character become particularly interesting this film, and emphasize the unity of the team. Even the action and action the Even team. the of unity the emphasize and film, this camerawork of the film seems to leave little doubt behind: The six than the sum as more clearly framed in unison are main characters of their parts. Discussion or superhuman usually thought of as singular, are If superheroes divine figures - as previously discussed - then what does this type of unification on the big screen signify? Perhaps one of the most quarter
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Christoffer Bagger Christoffer is alleviated by by is alleviated personally involved Volume 20 The Avengers The Avengers power more complex and inter more “ by the events (Hawkeye) is by the events (Hawkeye) is ” (Sweeney 2013, 146), I haveI 146), 2013, (Sweeney ” Superheroes or Group of Heroes? or Group Superheroes that can reasonably be assumed that can reasonably presented character (Black Widow) Widow) character (Black presented value system sympathetically most personally affected (2012) reveals a strategic narrative construction which a strategic narrative construction (2012) reveals than episodic television (Proctor 2014, 6) and as something than episodic television (Proctor With the added considerations of “celeactor labour” (Koh 2014)(Koh considerations of “celeactor labour” the added With unprecedented in American Cinema American in unprecedented is arguably the most morally dubious and also the least powerful. the most morally dubious is arguably The character with the powerful they are, the later they are introduced. Finally, the climax Finally, introduced. the later they are powerful they are, of the film is composed in both form and content to show that, no identity matter what their individual power may be, their group ultimately supersedes it. which ostensibly subsumes actor identity under character identity, (Scott 2009) franchises character-based the aim is clearly to create like venture A not unlike those of the comics. other: The most (Cap to identify as “correct” to be the one the audience is expected the least perhaps has and de-centered, relatively is America) tain events, story’s the by affected least the being - arc character explicit and the least personally involved. The most time screen less proportionally having appear, to last the is (Thor) is the one and of issue The prominent. least the arguably how far along in the runtime the characters first The appear. more “ media-spe through that its success can also be understood argued cific modes of analysis. Conclusion The central claim of this article is that a media-specific analysis of The Avengers This single “overt hero”. over any of six heroes emphasizes a group textual and contextual heuristics.is determined by both a number it is evident that many of the cues utilized to determine Textually, the clear of protagonist any given film set are to work against each ed protagonist goes through a series of events with a clear logicalclear a with events of series a through goes protagonist ed In the alternative often more approach exemplified by causality. equally between interactions the - cinema protagonist multiple (Israelof itself and in and focus the appeal is characters prominent and transtextual shared a transmedial to create in order 2010). Here, specific the in needed is approaches both from borrowing universe, Uni Cinematic Marvel the while Thus, film. this of construction verse exists narratively as something twined” quarter
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https://doi. Journal of Pop Journal of Christoffer Bagger Christoffer Volume 20 https://doi.org/10.108 . Superheroes or Group of Heroes? or Group Superheroes 23 (4): 325–29. 23 44 (4): 195–205. 195–205. (4): 44 01956051.2016.1174666. “Marvel Universe Looks Almost like a Real Social Network.” Cond-Mat/0202174 ArXiv Preprint Industry.” nancially Successful Films in the Motion Picture Economics Journal of Cultural matic Universe and the Organized Superhero.” Superhero.” matic Universe and the Organized ularTelevision and Film 0/ org/10.1023/A:1007584017128. To return the question posed earlier in this article: Why bother the question posed return To Alberich, Ricardo, Joe Miro-Julia, and Francesc Rosselló. 2002. and Francesc Rosselló. 2002. Joe Miro-Julia, Alberich, Ricardo, Albert, Steven. 1999. “Movie Stars and the Distribution of Fi Acknowledgements Anbert, as well as the Cecilie The author would like to thank Lærke for helpful and insightful editors and anonymous peer reviewers comments on this article. References for a Living: The Marvel Cine to Work Adrian. 2016. “Time Acu, empirical contribution of this article. you could give each of in one movie, when having six superheroes them their own film instead? In short, with the right construction, and own, its on comprehensible both is that film a be will result the that audience engagement the characters in such a way presents both individually and in unison. can be had with most of them – allows the characters to disseminate then ostensibly This approach other channels. this particular film and into many from indeed becomes a display window for “character assets” (cf. Storka display window for “character indeed becomes char That these constructed. appear carefully 2014) in ways which co-debut is big screen power in their acters attain a synergistic and business sense. choice in both a narrative a strategic therefore big their unknown before relatively actor were Both characters and a lens through much of this is comprehensible debuts. While screen for a methodological ap argued of transmedia studies, I have here proach of very close textual analysis informed by media-specific and methodological central the This is observations. and heuristics quarter
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http://site. 9 (2): 97–119. Christoffer Bagger Christoffer 5: 15. Film Art: An Intro Volume 20 Bond and beyond: The Bond and beyond: The . . New York, N.Y: Blooms N.Y: York, New . https://doi.org/10.1080/ . Harpenden: Pocket Essen : Teasing Fans through Homo Fans through : Teasing Superheroes or Group of Heroes? or Group Superheroes . Communications and Culture. and Culture. . Communications On Heroes, Hero-Worship, & the Heroic in in & the Heroic Hero-Worship, On Heroes, The Way Hollywood Tells It: Story and Style in It: Story Tells Hollywood The Way Miscelánea: A Journal of English and American and English of Journal A Miscelánea: 32 (5): 318–25. Thor: Myth to Marvel Superhero Movies Superhero , edited by Joseph Brennan, 171–76. Iowa City: 171–76. Iowa City: , edited by Joseph Brennan, . New York: Routledge. York: . New . Univ of California Press. International Journal of Communication Queerbaiting and Fandom . Berkeley: University of California Press. . Berkeley: University of California Press. . 10. ed. New York, NY: McGraw-Hill. NY: York, . 10. ed. New 2005 (32): 11–22. 2243.2016.1212616. 197 Comic Book Film Adaptations Thor and Green Lantern.” ticipations: Journal of Audience & Reception Studies History ebrary.com/id/10676269. Power.” Poetics of Cinema duction 2011. CLUSIVE Cast Portraits Revealed.” Ew.Com. www.ew.com/article/2011/09/29/the-avengers-dis-assem bled-exclusive-cast-portraits-revealed tials. erotic Possibilities erotic University of Iowa Press. Blockbuster.” the Contemporary Interlinked Hollywood Information Society 0 Hero a Popular of Career Political Macmillan Education. Houndmills, Basingstoke, Hampshire: Modern Movies bury Publishing. Altman’s Robert and Research Response Audience Film: nost (1993).” Short Cuts Studies Alternate Universes and Gay Com Characters in Superhero ics.” In Bordwell, Bordwell, David. 2007. “Three Dimensions of Film Narrative.” In David, Bordwell, and Kristin Thompson. 2013. Burke, Liam. 2008. Bordwell, David. 2006. David. Bordwell, Carlyle, Thomas. 1993. Castells, Manuel. “Network 2011. Theory| Network A Theory of Breznican, Anthony. 2011. “‘The Avengers’ Dis-Assembled! EX Avengers’ “‘The 2011. Anthony. Breznican, Burke, Liam. Audience 2012. Study An “Superman of in Green. Beaty, Bart. 2016. “Superhero Fan Service: Audience Strategies in Fan Service: 2016. “Superhero Bart. Beaty, 1987. and Janet Woollacott. Bennett, Tony, Arnold, Martin. 2011. Arnold, Martin. 2011. of a Multi-Protag 2005. “Making Sense Mar. Azcona, María del Scott, Alan Queerbaiting: “Multiversal 2019. Christoffer. Bagger, quarter
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kvarter akademisk . ------. 21 , 24:122. . Austin, Akademisk Akademisk 52 (238). 52 (238). .
http://arti 28 (6): 1035– Christoffer Bagger Christoffer http://www.vulture. Volume 20 8 (2): 71–88. Kosmorama . Philadelphia, PA: Temple Temple . Philadelphia, PA: , April 17, 2012. , : Fear and Fantasy in Post-9/11 : Fear and Fantasy in Post-9/11 . Durham and London: Duke Superheroes or Group of Heroes? or Group Superheroes Projections https://doi.org/10.5278/ojs.aca Intermediality and Storytelling (blog). May 7, 2012. (blog). May 7, 2012. . . Radical Representations: Politics and Form in Politics and Form in Radical Representations: Captain America and the Nationalist Superhero: Superhero: Nationalist America and the Captain Superhero: The Secret Origin of a Genre The Secret Superhero: Los Angeles Times Cincinnati, OH: Writer’s Digest Books. Dream The Terror Vulture . . 2010. “Inter-Action Movies: Multi-Protagonist Movies: Multi-Protagonist . 2010. “Inter-Action Plot Versus Character: A Balanced Approach to Writ Approach Balanced Character: A Versus Plot Journal of Economic Dynamics and Control Journal of Economic Dynamics and . New York: Metropolitan Books. Metropolitan York: . New Volume 03: 269–80. 03: Volume https://doi.org/10.1016/S0165-1889(03)00065-4 Narration, and Embodiment.” http://findresearcher.sdu.dk/portal/da/publications/ polyfonier(5c99fd80-6d2b-11dd-b1a1-000ea68e967b).html. Films and Relationism.” In Bloomsbury Publishing USA. 1929-1941 Fiction, Proletarian US University Press. Fiction ing Great Hollywood.” til kunstfilm Fra tagonistfortællinger Kvarter demicquarter.v0i3.2974 Metaphors, Narratives, and Geopolitics University Press. Avengers.’” ‘The cles.latimes.com/2012/apr/17/entertainment/la-et-mg-gwyn eth-paltrow-avengers America Universe Inside a Transmedia The Marvel Studios Phenomenon: Texas: MonkeyBrain Books. MonkeyBrain Texas: Get?” Hero Each com/2012/05/how-much-screen-time-does-each-avenger-get.html Su the of Curse the and Hypothesis, Paretian Stable the Profit, perstar.” 57. Israel, Samuel Ben. 2006. “Polyfonier.” Israel, Samuel Ben. 2006. “Polyfonier.” Israel, Samuel Ben Foley, Barbara. 1993. Barbara. Foley, 2010. Jeff. Gerke, Haastrup, Helle Kannik. “Grænseoverskridende 2011. multi-pro Camera Movement: Style, 2014. “The Circular Lennard. Højbjerg, Dittmer, Jason. 2013. Dittmer, for Recruited Was Matt. 2012. “How Gwyneth Paltrow Donnelly, Faludi, Susan. 2007. 2016. Livingstone, and Mike McKenny. Andrew Flanagan, Martin, Coogan, Peter. 2006. Coogan, Peter. How DoesMuch Cruz, Gilbert. Screen Time 2012. Avengers: “The Arthur 2004. S, David “Motion and Walls. Picture W. De Vany, quarter
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58 (1): 16–28. . 5 (4): 484–500. 5 (4): 484–500. Christoffer Bagger Christoffer . Chicago, IL: Chi . Volume 20 Cinema Journal , edited by Johannes Riis . New N.Y: Columbia York, København: Vinten. 2005 (33 (8)): 1357–67. Superheroes or Group of Heroes? or Group Superheroes Celebrity Studies The Velvet Light Trap The Velvet . Jefferson, NC: McFarland. Avengers Assemble!: Critical Perspectives Avengers . New York, N.Y: Harper Collins. N.Y: York, . New Den Danske Kollektivroman 1928-1944 Den Danske Kollektivroman Supergods: Our World in the Age of the Super in the Age of Our World Supergods: Superheroes and Gods: A Comparative Study Comparative Study Gods: A and Superheroes Screening Characters Screening Story: Style, Structure, Substance, and the Prin Story: Style, Structure, Joss Whedon: The Biography Superheroes!: Capes and Crusaders in Comics and Superheroes!: Journal of Popular Film and Television Memory & Cognition http://dx.doi.org/10.1080/01956050209605556. New York, N.Y: IB Tauris. N.Y: York, New https://doi.org/10.1353/cj.2012.0108 . . New York, N.Y: Random House. N.Y: York, . New , edited by Sune Auken, Palle Schantz Lauridsen, and An and Auken, Palle Schantz Lauridsen, , edited by Sune https://doi.org/10.1353/vlt.2006.0033. cago Review Press. “Re(de)Fining Narrative Narra Events: Examining Television tive Structure.” 23–30. 2005. “When Goals Collide: Monitoring the Goals of Multiple Characters.” ciples of Screenwriting Universe Cinematic Marvel the on University Press. hero Narrative.” ics of Television https://doi.org/10.1080/19392397.2014.933675 Skilled and Surprising Use of the Hero’s Action The fordances: In Environment.” Babylonia to Batman from Trade Stories of Industrial Convergence.” Convergence.” Stories of Industrial Trade 1–24. ... Denmark: Ekbatana. 328–354. Valby, ders Juhl Rasmussen, Films Stjernebøgernes Kulturbibliotek. Stjernebøgernes Kulturbibliotek. verse and Celeactor Labour.” 266–283. United Kingdom: Routledge. Taylor, Aaron and Pascale, Amy. 2014. Amy. Pascale, Porter, M., D. Larson, Allison Harthcock, and K. Nellis. 2002. Morrison, Grant. 2011. 2011. Grant. Morrison, Newman, Michael Z. 2006. “From Beats to Arcs: a Toward Poet McKee, Robert. 2010. 2018. Terence. McSweeney, Koh, Wilson. 2014. “‘I Am Iron Man’: The Marvel Cinematic Uni Man’: Iron Am 2014. “‘I Koh, Wilson. Af 2019. “Action and and Charlotte Sun Jensen. Birger, Langkjær, LoCicero, Don. 2007. Joyce Kim. and Hyun-Jeong A. Taylor, Holly Magliano, Joseph P., Johnson, Derek. 2012. “Cinematic Destiny: Marvel Studios and theand Studios Marvel Destiny: “Cinematic 2012. Derek. Johnson, In Novel.” Collective the and “Genre 2015. Bo. Jørgensen, Roz. 2007. Kaveney, Finn. 1976. Klysner, quarter
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, 77–96. New 62 (8): 834–40. Christoffer Bagger Christoffer . Volume 20 Howard Hawks: American American Howard Hawks: 51 (3/4): 88–96. Superheroes or Group of Heroes? or Group Superheroes https://intensitiescultmedia. 1 (5). The Character-Oriented Pro Franchise: Journal of Business Research Journal of Americana: E-Journal of American Studies in Studies in Americana: E-Journal of American Scope - An Online Journal of Film and Television and Television Film Journal of Scope - An Online Save the Cat!: The Last Book on Screenwriting Save the Cat!: The Last Book on Screenwriting Do The Gods Wear Capes?: Spirituality, Fantasy, Fantasy, Capes?: Spirituality, The Gods Wear Do . Studio City, CA: Michael Wiese Productions. CA: Michael Wiese . Studio City, http://americanaejournal.hu/vol12no1/richter. . New York, N.Y: Continuum. N.Y: York, . New . Journal of Film and Video , edited by Iain Robert Smith, 26:34–55. Nottingham, 26:34–55. Smith, Robert Iain by edited , 12 (1). http://screenrant.com/avengers-deleted-scene-cap , no. 26 (February): 8–16. , no. 26 (February): , edited by Jim Hillier and Peter Wollen, 190–99. London: 190–99. Peter Wollen, and Hillier by Jim , edited https://doi.org/10.1016/j.jbusres.2008.05.001 Formula.” Hungary Characters in American Film, of Pre-Sold and Exploitation motion 1913-1950 media Universe.” Universe.” media Studies perhero Synergies: Comic Book Characters Go Digital Book Comic Synergies: perhero Rowman & Littlefield. N.Y: York, Comics to Cinema.’” from of Marvel Superheroes The Journal of Cult Media com/issue-5-springsummer-2013/. UK: Scope: An Online Jornal of Film and Television Studies. Online Jornal of Film and Television An UK: Scope: Power in Hollywood Mo and Supplier Bargaining Resources Projects.” tion Picture Ever Need You’ll Marvel’s Cinematic Universe.” In Movie through Superhero and Superheroes 29, August Rant. Screen Life.” Modern to Used Gets America 2012. tain-america/ In ing, Transformation.” Combat Films of World War II.” In War World Combat Films of Artist British Film Institute. media Narrative.” Sweeney, David. Sweeney, 2013. “‘From Stories to The Worlds: Continuity Skilton, Paul F. 2009. “Knowledge Based Resources, Property Based Property 2009. “Knowledge Based Resources, Skilton, Paul F. Rewriting The Hollywood Structure: Smith, Evan. 1999. “Thread Blake. 2005. Snyder, Reframing the Avengers: Stork, Matthias. 2014. “Assembling the Saunders, Ben. 2011. Ben. 2011. Saunders, 2012. Schaefer, Sandy. “‘The Deleted Avengers’ Scene: Captain Rework Appropriation, Scott, Jason. 2009. “Cultural Borrowings: Proctor, William. 2014. “Avengers Assembled - The Marvel Trans - The Assembled 2014. “Avengers William. Proctor, The Hollywood’s Holding Pattern: Robert B. 1996. “Classic Ray, Trans a as Universe Cinematic Marvel 2016. “The Ádám. Richter, quarter
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Christoffer Bagger Christoffer . West Hollywood, Hollywood, West . Volume 20 . Marburg, Germany: Germany: Marburg, . . Cambridge, MA: Har . Cambridge, MA: https://www.youtube.com/ Superheroes or Group of Heroes? or Group Superheroes . London: British Film Institute. Storytelling in the New Hollywood: Un Storytelling in the . Zürcher . Filmstudien Zürcher 15. Ger Marburg, OffeneWelten ohne Helden: plurale Figuren The Limitations of the Marvel Cinematic Uni The Limitations of the Marvel Cinematic The Screenwriter’s Bible: A Complete Guide to Bible: A The Screenwriter’s Das Marvel Cinematic Universe – Anatomie ein Das Marvel Cinematic Universe – Anatomie Howard Hawks . . YouTube . video. YouTube Return for ‘Iron Man 2.’” Screen Rant. November 16, 2013. 16, November Rant. Screen 2.’” Man ‘Iron for Return screenrant.com/why-terrence-howard-didnt-return-for-iron- man-2-salary/ Ökonomie Ästhetik, Theorie, Hyperserie: er Verlag. Schüren 1 verse PART watch?v=u6Bq_jK0Z1Y. derstanding Classical Narrative Technique derstanding Classical University Press. vard Film konstellationen im many: Schüren-Verlag. Script Your Selling and Formatting, Writing, CA: Silman-James Press. Vignold, Peter. 2018. Peter. Vignold, Patrick. 2019. Willems, 1981. Robin. Wood, Vieira, Anthony. 2013. Howard Anthony. “Terrence Explains Vieira, Why He Didn’t Thompson, Kristin. 1999. Thompson, Kristin. 2007. Margrit. Tröhler, David. 1998. Trottier, quarter
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