It's perhaps not a defining aspect of cinema as traditionally understood but the fact that MCU requires deep immersive knowledge does make it narratively interesting (true also of the comics). It's a new type of narrative, one critics have a hard time grappling with. https://twitter.com/keithcalder/status/1192620991777837056 …
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Here's a stab at a definition: MCU shows & films make up a multi-platform open-ended multi-authored roman fleuve whose appeal comes from immersion in the density of world-building.
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Now, I personally have never liked the open-ended soap opera aspect of Marvel comics (and later MCU films), preferring to skim them for surface pleasure to deep immersion. But a proper critical account needs to explain the appeal to the non-skimmers, the deep fans.
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Who will be the Manny Farber of Marvel comics & MCU films -- the critic who can burrow deep into the form and explain its unique properties and distinctive pleasures? I'm hoping
@douglaswolk does that in his forthcoming book.Show this thread -
I think
@tnyfrontrow's two tweets offer a useful way to think about Marvel comics & MCU: there is a parallel with Talmudic & Christian exegetical texts in the way stories build on stories, interpretation on interpretation.https://twitter.com/tnyfrontrow/status/1191570600940199936 …Show this thread
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a soap opera that you have to buy a $12 ticket to see the next episode of
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TBF this basically describes season tickets to a professional sports team.
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They’re modern serials
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This feels like the same debate that is around "The Graphic Novels"
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Unlike Scorsese, the most boring critics are the ones who just seem to hate serialization. I wonder if they make these same complaints about a series of novels. I've never heard a novel review lament that they didn't understand book 8's references to the climax of book 1.
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the pop term is transmedia. been around decades, pitched to comicbook publishers 25 years ago. finally showing what it does as a market tool
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