마블의 트랜스 미디어 스토리텔링 전략 : 완결성과 확장성을 중심으로

다국어 초록 (Multilingual Abstract)

In the recent breaking down of boundaries between content platforms and the rising importance of expandability in the content market, the concept of transmedia still remains in the spotlight as a leading genre of multiplatforming. The Marvel Cinematic Universe has perfectly authenticated the concept and potential of such transmedia storytelling. A well-woven transmedia content has a relatively stable fanbase, with one content acting as a gateway for fans to visit other contents. In addition, the producer can construct his or her own original fictional world by creating and expanding upon the fictional world of the story line based on such fanbase. The characters in this fictional world becomes an original IP, crossing over medium to medium, and comes to possess an industrial value even be yond the content itself. The Marvel Cinematic Universe has perfectly authenticated the concept and potential of such transmedia storytelling. This thesis proposes specific method and direction for a successful transmedia storytelling by analyzing Marvel movies and their transmedia storytelling strategy based on Henry Jenkins’s transmedia theory which consists of four parts: 1) the establishment of an independent platform(multiplaforming); 2) the independent completeness of the story; 3) the connection and expandability of the story; and 4) the potential to promote audience participation as a trend. First we will examine the successful cases of Marvel Studios, focusing on the story’s completeness and expandability which is necessary at the early stages of the content development process. Most movies from Marvel Studios take the form of a 3 act 5 point structure, and has an innate completeness, displaying the conflict, transformation, and growth stages of the characters. The stories created in this way are merged using the method of spin-offs and crossovers to contribute to other stories. Moreover, the expanded story line and the underlying clues planted in each story call forth an active participation of the audience, forming another trend in the market. This thesis is expected to act as a checklist in developing multi-platforming content in the Korean cultural industry market where successful cases are yet to be seen.

목차 (Table of Contents)

• Ⅰ. 연구 목적
• Ⅱ. 연구 방법
• Ⅲ. 마블 시네마틱 유니버스에서 마블의 트랜스 미디어 스토리텔링 전략
• Ⅳ. 결론
• 참고문헌
• Abstract

참고문헌 (Reference)

1 "헐크"

2 "퍼스트 어벤져"

3 장해라, "트랜스미디어 콘텐츠 관점에서 바라본<프로듀스 101 시즌2> 분석" 인문콘텐츠학회 (49) : 45-70, 2018

4 이인화, "트랜스미디어 스토리텔링의 이해" 이화여자대학교출판부 2015

5 김희경, "트랜스미디어 스토리텔링의 생성 원리와 국내 연구 동향" 인문콘텐츠학회 (50) : 319-332, 2018

6 서성은, "트랜스미디어 스토리텔링" 커뮤니케이션북스 2018

7 "인크레더블헐크"

8 류훈, "영화 시나리오의 스토리텔링 - 장편 상업영화를 중심으로 -" 한국현대문예비평학회 (33) : 7-40, 2010

9 "어벤져스:인피니티 워"

10 "어벤져스:에이지 오브 울트론"

11 "어벤져스: 엔드게임"

12 "어벤져스"

13 "아이언맨2"

14 "아이언맨1"

15 Syd field, "시나리오란 무엇인가" 민음사 2017

16 Robert Mckee, "시나리오 어떻게 쓸 것인가" 민음인 2002

17 "블랙 위도우"

18 이재현, "모바일 미디어와 모바일 콘텐츠:멀티플랫포밍 이론의 구성과 적용" 한국방송공사 18 (18): 285-317, 2006

19 이영수, "멀티버스에 기반한 마블코믹스의 트랜스미디어 스토리텔링 연구" 한국애니메이션학회 10 (10): 189-209, 2014

20 김휘, "만화를 원작으로 한 영화의 스토리텔링 특성 연구- 마블 스튜디오의 제작 영화를 중심으로 -" 한국만화애니메이션학회 (52) : 117-131, 2018

21 김휘, "디즈니 마블의 트랜스미디어 스토리텔링 특성 연구" 한국만화애니메이션학회 (51) : 159-179, 2018

22 "가디언즈 오브 갤럭시"

23 조희영, "‘세이브더캣’ 패러다임을 활용한 마블시네마틱유니버스(MCU) 영화 서사 구조 분석: 아이언맨 캐릭터를 중심으로" 한국엔터테인먼트산업학회 14 (14): 75-89, 2020

24 "https://terms.naver.com/entry.naver?docId=1720785&cid=43667&categoryId=43667"

25 "https://terms.naver.com/entry.naver?docId=1720775&cid=43667&categoryId=43667"

26 "https://ko.wikipedia.org/wiki/%EA%B0%80%EB%94%94%EC%96%B8%EC%A6%88_%EC%98%A4%EB%B8%8C_%EA%B0%A4%EB%9F%AD%EC%8B%9C_(%EC%98%81%ED%99%94)#%EC%A4%84%EA%B1%B0%EB%A6%AC"