Convergence Culture and the Caped Crusader: Batman and the Environment of New Media
2009; Issue: 77 Linguagem: Inglês
ISSN
2562-2528
Autores Tópico(s)Digital Games and Media
ResumoHenry Jenkins' Convergence Culture: Where Old and New Media Collide (2006) has already cast wide-ranging shadow of influence over New Media studies, prompting many critics identify certain texts as harbingers of our current state of media convergence. Such projects, in legitimizing Jenkins' conclusions positioning convergence as an inevitable and universally accepted result of increased media synergy and hybridization, ignore some of ways in which corporate interests, marketing strategies and fan communities have traditionally resisted convergence culture. Warner Bros.'s Batman (1989), film released just before Warner Communications Incorporated (WCI) and Time Incorporated merged into media conglomerate of unprecedented breadth (Time-Warner), is an exemplary product of new era of media concentration. Since Jenkins locates convergence at intersection between media forms (such as films, television, comic books) and new participatory media (such as Internet, video games, reality television), Batman barely qualifies as convergence text. As cinematic version of comic book story, trajectory of its adaptation never leaves realm of so-called old media. However, film spawned wealth of commercial intertexts, many of which could qualify as convergence texts insofar as they straddle line between active participation and passive consumption (1). By looking at some of these intertexts, way film was produced and marketed more generally, and cult of Batman fandom, we can see how Batman resists convergence on levels of production, promotion, and reception. Ultimately, intend use Batman as an exemplar of corporate strategy--a strategy that continues this day in Warner Bros/s adaptations of DC Comics properties--that successfully resists convergence as defined Jenkins, that holds on an increasingly antiquated media paradigm in an era that is becoming more and more hostile such narratives, and that does so (perhaps surprisingly) its own economic advantage. [ILLUSTRATION OMITTED] identity remains unknown: (Re-)Producing Hero release of Warner Bros.'s Batman on June 23, 1989 was timed coincide with fiftieth anniversary of character, who had made his first appearance in Detective Comics #27 in May of 1939. In that issue, Bob Kane and Bill Finger's creation, then known as The Bat-Man, is described as a mysterious and adventurous figure fighting for righteousness and apprehending doer, in his lone battle against evil forces of society ... His identity remains unknown. (2) By end of Bat-Man's first published adventure, The Case of Chemical Syndicate, he has vanquished wrong doers that plague city that would later become known as Gotham, and his unlikely double-identity as socialite Bruce Wayne has been revealed reader. A mere eleven issues later, Robin the Boy Wonder is introduced as Batman's (3) ally in his relentless fight against crime; (4) and in spring of 1940, Batman's own comic title debuted. Batman #1 featured short story entitled The Legend of Batman--Who He is and How He Came be! This two-page spread (which preceded first appearance of Joker in pages that would follow), finally divulged Batman's origin curious readers. It was simple, iconic story: while walking home from movie, young Bruce's parents are robbed and killed an anonymous mugger, after which boy swears, by spirits of my parents avenge their deaths spending rest of my life warring on all criminals. (5) He becomes master scientist and trains his body to physical perfection. I am ready, he muses, but first must have disguise. When bat flies through window of his study, it is final piece of puzzle. It is this simple piece of Batman mythology, his origin, that has remained unchanged (6) over years while almost every other aspect of character has seen multiple, often contradictory, permutations. …
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