"Johnson astutely reveals that franchises are not Borg-like assimilation machines, but, rather, complicated ecosystems within which creative workers strive to create compelling 'shared worlds.' This finely researched, breakthrough book is a must-read for anyone seeking a sophisticated understanding of the contemporary media industry." —Heather Hendershot, author of What's Fair on the Air?: Cold War Right-Wing Broadcasting and the Public Interest While immediately recognizable throughout the U.S. and many other countries, media mainstays like X-Men, Star Trek, and Transformers achieved such familiarity through constant reincarnation. In each case, the initial success of a single product led to a long-term embrace of media franchising—a dynamic process in which media workers from different industrial positions shared in and reproduced familiar cultureacross television, film, comics, games, and merchandising. In Media Franchising, Derek Johnson examines the corporate culture behind these production practices, as well as the collaborative and creative efforts involved in conceiving, sustaining, and sharing intellectual properties in media work worlds. Challenging connotations of homogeneity, Johnson shows how the cultural and industrial logic of franchising has encouraged media industries to reimagine creativity as an opportunity for exchange among producers, licensees, and evenconsumers. Drawing on case studies and interviews with media producers, he reveals the meaningful identities, cultural hierarchies, and struggles for distinction that accompany collaboration within these production networks. Media Franchising provides a nuanced portrait of the collaborative cultural production embedded in both the media industries and our own daily lives.
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Gremlins is just one example of franchised media production occurring in the 1980s. As Derek Johnson has shown, it was during this decade that franchising developed as a coherent strategy for media production, one that has continued ...
This edited collection, from a range of international scholars, argues that the franchise is now an integral element of American media culture.
In addition, the term is often used to signify the 'creative bankruptcy and foregone economic determination of contemporary media industries'.44 Franchises are often seen as formulaic, risk-averse exercises by major studios, ...
Pick the perfect franchise opportunity for you Become a commercial or social franchisor Must-have training and legal information online Buy, own, and operate a franchise If you want to be your own boss and stand on the shoulders of ...
While previous work on the Star Wars universe charts the Campbellian mythic arcs, political representations, and fan reactions associated with the films, this volume takes a transmedial approach to the material, recognizing that Star Wars ...
53 Quoted in Laura Collins-Hughes, 'Finding New Meaning in “Mean Girls”', New York Times, 30 March 2018, https://www.nytimes.com/2018/03/30/theater/mean-girlsbroadway-tina-fey.html, accessed 30 March 2018. 54 Collins-Hughes, 'Finding ...
This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction.
Deciphering how iconic characters gain and retain their status as cultural commodities, Selling the Silver Bullet focuses on the work done by peripheral consumer product and licensing divisions in selectively extending the characters' reach ...
Examining how fans respond to and cope with transitions, endings, or resurrections in everything from band breakups (R.E.M.) to show cancellations (Hannibal) to closing down popular amusement park rides, this collection brings together an ...