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16 - The Worlds Align:Media Convergence and Complementary Storyworlds in Marvel’s Thor: The Dark World

Published online by Cambridge University Press:  10 February 2021

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Abstract

The Marvel Cinematic Universe is the most ambitious experiment in cinematic world building to date. The MCU is like other blockbuster adaptations in that it adapts preexisting narrative material, but it is also distinct insofar as it doesn't adapt a finite story featuring a stable set of characters. What is being adapted from Marvel Comics is not stories but rather an approach to world building. The MCU embraces a logic of transfictionality, defined as an intertextual relation that “uses the source text's setting and/or inhabitants as if they existed independently” (Saint-Gelais 2005, 612). The comics are positioned as complementary to yet diegetically separate from the films. Convergences between these complementary storyworlds reward fans’ knowledge and encourages multiple close viewings of the films.

Keywords: Marvel; Media convergence; Storyworlds; Thor; Transfictionality.

“Every 5000 years the worlds align perfectly, and we call this the Convergence. During this time, the borders between worlds become blurred.”

– Thor, in Thor: The Dark World

The Marvel Cinematic Universe (MCU), as represented in an ongoing series of live-action films produced by Marvel Studios beginning in 2008, is the most ambitious and influential experiment in cinematic world building to date. The MCU is similar to other blockbuster series, like The Lord of the Rings, The Hobbit, and Harry Potter, in that it adapts material that previously existed in another medium (in this case, comic books are the primary source of inspiration, though Marvel characters had been transmedial for decades before their cinematic incarnations). All of these franchises also take advantage of media convergence in order to spread their brands across multiple platforms, thereby appealing to the broadest possible audience. But the MCU is also significantly distinct from these properties insofar as it doesn't adapt a finite story revolving around a stable set of characters. Where the Harry Potter films adapted the story told in J.K Rowling's novels, the MCU adapts the ongoing storyworld created over decades of Marvel Comics publishing. Specific narratives may be loosely adapted (e.g. Captain America: The Winter Soldier borrows its title and certain narrative elements from the comics storyline of the same name), but, in general, the stories told within the MCU are original.

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Publisher: Amsterdam University Press
Print publication year: 2017

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