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1

Brand Identity, Adaptation, and Media Franchise Culture

100%
Marazi K.
Acta Universitatis Sapientiae, Film and Media Studies
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2014
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vol. 9
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issue 1
229-242
EN
In spite of the noticeable practices within the field of Adaptation, Adaptation theory seems to be lagging behind whilst perpetuating various fallacies. Geoffrey Wagner’s types of Adaptation and Kamilla Elliott’s proposed concepts for examining adaptations have proved useful but due to their general applicability they seem to perpetuate the fallacies existing within the field of Adaptation. This article will propose a context-specific concept pertaining to Media Franchise Culture for the purpose of examining Adaptations and re-assessing long-held debates concerning the Original, the Content/Form debate and Fidelity issues that cater to the twelve fallacies discussed by Thomas Leitch.
2
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Господар смрти као Свечовек: пројекције елитних филозофских токова у српском стрипу и популарној култури 1930–их

58%
Stefanović Z.
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture
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2020
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vol. 1
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issue 2
EN
Among many philosophically and artistically challenging themes of comics in the Kingdom of Yugoslavia in the late 1930s - popular entertainment exported from Belgrade into a dozen of European countries - one of the dominating was the new world war. It spontaneously took on various forms, from documentary and pseudorealistic, through technologically sophisticated and futurofantastic, to metaphysical and transcendental. A special place in the microgenre occupies the Belgrade superhero series „The Master of Death” (Gospodar smrti, November 1939 - May 1940), whose author was the then young comic artist George/Yuri Lobachev (Đorđe Lobačev), a Russian born and raised in Serbian culture, founder of some comic strip genres. Unlike openly militaristic spirit reflected in the contemporary popular culture of Europe and the United States, the images of the world conflict in the comics of the Kingdom of Yugoslavia, a country not yet recovered from The Great War, were most often oriented towards the world peace and universal values. This attitude in the Serbian entertainment industry was a direct intellectual reflection of the fusion of the philosophy of life of Henri Bergson and other European thinkers with the ideas of the classical Serbian tradition and theology, which led to a new philosophical direction in the 1920s and 1930s - Svetosavlje („Saint Sava’s Way”) embodied in the works of Justin Popović, Nikolaj Velimirović, Miloš N. Đurić, and others, whose ambition was to achieve cosmopolitan values through autochthonous national forms. Belgrade comic book superheroes and antiheroes - so different from contemporary American models - through peacemaking attitude, science fiction, and mystic ethical fantasy were bringing a unique concept, in which Dostoyevsky’s All–Man (Serbian: Svečovek, Russian: Vsechelovek) shows himself as not so far away of Tesla’s Man - the Automaton of the Universe.
3

New Trends in Production and Distribution of Episodic Television Drama: Brand Marvel-Netflix in the Post-Television Era

58%
Radošinská J.
Communication Today
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2017
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vol. 8
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issue 1
4–29
EN
Episodic television drama is currently one of the most popular, profitable and variable forms of audio-visual media production. The author of the study focuses on its ability to appeal to people preferring ‘traditional’ modes of reception as well as to media audiences that spend a lot of their free time in the virtual world. New trends in production of dramatic television series and serials refer to importance of multimedia distribution platforms and fully acknowledge social networks as communication and advertising channels that are capable of actively encouraging the emergence and evolution of so-called “institutionalised fandoms”. The text aims to offer a set of theoretical outlines related to post-television era, placing emphasis on “brandcasting”, a term that has been developed in order to thoroughly reflect on processes of television branding which often result in hybrid communication forms merging media content and promotional material. The author also focuses on specific modes of producing, distributing and consuming episodic television drama in the context of so-called “over-the-top” television (OTT TV) or rather “connected” television. The addressed development tendencies are explained through an analysis of successful cooperation between two popular entertainment brands (Marvel Television and Netflix) that is built upon the contemporary ‘boom’ of superheroes and their stories. A basic assumption here is that television drama serials produced by Marvel and exclusively distributed by Netflix can be seen as hybrids of content and promotion which significantly expand Marvel’s global popularity and Netflix’s increasing influence in the sphere of digital media production and distribution.
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