Resumen de MCU: a remediate transmedia universe
In sociology, cinema is the art that encapsulates the forms and the ideology of modern industrial civilization (Abruzzese, 1973). In our postmodern and postindustrial society (Jameson, 1991), cinema has gained an increasingly central role through hybridization with other media forms, and thus remains a fertile ground for social research. One of the most significant moments of recent years for cultural industry has been the debut of the Marvel Cinematic Universe (MCU) in 2008 with Iron Man (Favreau); MCU is the first attempt to build a transmedia cinematic universe. This implies that the many feature films, often shot by different directors, with different actors and sometimes set in different universes, share a network of mutual references between themseves; also they are linked to the Marvel TV shows published since 2013. This is first of all one of the most complex and relevant examples of remediation (Bolter, Grusin, 1999) in all cultural industry: the MCU intersects cinema, television and comic book references in one of the most successful transmedia storytelling (Jenkins, 2006; Brook, Patti, 2014) experiences. A further step was made with the distribution via Netflix of Daredevil (Goddard), a MCU serial starting in 2015; this highlights the influence of the techno-cultural convergence processes (Jenkins, 2006; Brancato, 2014) in this field and thus makes the MCU even more interesting for the scholar of cultural industry in late capitalism.
