Only at Comic-Con examines the relationship between exclusivity and the proliferation of media industry promotion at the San Diego Comic-Con, from the conventionâ s founding in 1970 to its current status as a destination for hundreds of thousands of pop culture fans and a hub of Hollywood hype and buzz.
Only at Comic-Con examines the relationship between exclusivity and the proliferation of media industry promotion at the San Diego Comic-Con, from the conventionâ s founding in 1970 to its current status as a destination for hundreds of thousands of pop culture fans and a hub of Hollywood hype and buzz.
ERIN HANNA is an assistant professor of cinema studies at the University of Oregon in Eugene.
Inhaltsangabe
Contents Introduction: The San Diego Comic-Con and the Limits of Exclusivity 1 Origin Stories: Comic-Con and the Future of All Media
2 The Liminality of the Line and the Place of Fans at Comic-Con 3 Manufacturing “Hall H Hysteria:” Hollywood and Comic-Con 4 Ret(ail)con: From Dealers’ Room to Exhibit Hall Conclusion: From Franchise Wars to Fry Fans: Comic-Con Anywhere Acknowledgments Notes Bibliography Index
Contents Introduction: The San Diego Comic-Con and the Limits of Exclusivity 1 Origin Stories: Comic-Con and the Future of All Media
2 The Liminality of the Line and the Place of Fans at Comic-Con 3 Manufacturing “Hall H Hysteria:” Hollywood and Comic-Con 4 Ret(ail)con: From Dealers’ Room to Exhibit Hall Conclusion: From Franchise Wars to Fry Fans: Comic-Con Anywhere Acknowledgments Notes Bibliography Index
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