마블의 트랜스 미디어 스토리텔링 전략 : 완결성과 확장성을 중심으로

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 beyond 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.