James N. Gilmore is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. Matthias Stork is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. His work has appeared in Frames Cinema Journal, Mediascape, and Media Fields Journal, as well as several anthologies.

• Foreword: The Industrial and Economic History of the Superhero Blockbuster, Drew MortonIntroduction: Heroes, Converge!, James N. Gilmore and Matthias StorkChapter 1: Will You Like Me When I’m Angry? Discourse of the Digital in Hulk and The Incredible Hulk, James N. GilmoreChapter 2: Secret Origins: Melodrama and the Digital in Hulk, Matt YockeyChapter 3: Fantastic Views: Superheroes, Visual Perception, and Digital Perspective, Lisa GottoChapter 4: From Motion Line to Motion Blur: The Integration of Digital Coloring in the Superhero Comic Book. M.J. ClarkeChapter 5: Assembling the Avengers: Re-Framing the Superhero Movie through Marvel’s Cinematic Universe, Matthias StorkChapter 6: From Scientific Romance to Disney Superhero: Genre Fluidity and the Marketing of John Carter, Andrew MyersChapter 7: The Cult of Comic-Con and the Spectacle of Superhero Marketing, Kevin McDonaldChapter 8: The Dark Knight Levels Up: Batman: Arkham Asylum and the Convergent Superhero Franchise, Justin MackCha

Stork's clarity lays bare his extensive research, which digs not just into the financial logic of revised aesthetic approaches for maximal capital gains, but also film theorist Rick Altman's definition of 're-genrification,' which finally makes clear that Marvel's strategies are not new as much as reinterpreted—'a new presentational model of crossover synergy.' Stork's work here is a must-read for anyone who wants to understand precisely how corporate control yields pop-culture product. I'll be sending his essay to my inquisitive colleague shortly—along with the rest of Superhero Synergies.

James N. Gilmore is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. Matthias Stork is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. His work has appeared in Frames Cinema Journal, Mediascape, and Media Fields Journal, as well as several anthologies.

• Foreword: The Industrial and Economic History of the Superhero Blockbuster, Drew MortonIntroduction: Heroes, Converge!, James N. Gilmore and Matthias StorkChapter 1: Will You Like Me When I’m Angry? Discourse of the Digital in Hulk and The Incredible Hulk, James N. GilmoreChapter 2: Secret Origins: Melodrama and the Digital in Hulk, Matt YockeyChapter 3: Fantastic Views: Superheroes, Visual Perception, and Digital Perspective, Lisa GottoChapter 4: From Motion Line to Motion Blur: The Integration of Digital Coloring in the Superhero Comic Book. M.J. ClarkeChapter 5: Assembling the Avengers: Re-Framing the Superhero Movie through Marvel’s Cinematic Universe, Matthias StorkChapter 6: From Scientific Romance to Disney Superhero: Genre Fluidity and the Marketing of John Carter, Andrew MyersChapter 7: The Cult of Comic-Con and the Spectacle of Superhero Marketing, Kevin McDonaldChapter 8: The Dark Knight Levels Up: Batman: Arkham Asylum and the Convergent Superhero Franchise, Justin MackCha

Stork's clarity lays bare his extensive research, which digs not just into the financial logic of revised aesthetic approaches for maximal capital gains, but also film theorist Rick Altman's definition of 're-genrification,' which finally makes clear that Marvel's strategies are not new as much as reinterpreted—'a new presentational model of crossover synergy.' Stork's work here is a must-read for anyone who wants to understand precisely how corporate control yields pop-culture product. I'll be sending his essay to my inquisitive colleague shortly—along with the rest of Superhero Synergies.

James N. Gilmore is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. Matthias Stork is a graduate student in the Cinema and Media Studies program at the University of California, Los Angeles. His work has appeared in Frames Cinema Journal, Mediascape, and Media Fields Journal, as well as several anthologies.

• Foreword: The Industrial and Economic History of the Superhero Blockbuster, Drew MortonIntroduction: Heroes, Converge!, James N. Gilmore and Matthias StorkChapter 1: Will You Like Me When I’m Angry? Discourse of the Digital in Hulk and The Incredible Hulk, James N. GilmoreChapter 2: Secret Origins: Melodrama and the Digital in Hulk, Matt YockeyChapter 3: Fantastic Views: Superheroes, Visual Perception, and Digital Perspective, Lisa GottoChapter 4: From Motion Line to Motion Blur: The Integration of Digital Coloring in the Superhero Comic Book. M.J. ClarkeChapter 5: Assembling the Avengers: Re-Framing the Superhero Movie through Marvel’s Cinematic Universe, Matthias StorkChapter 6: From Scientific Romance to Disney Superhero: Genre Fluidity and the Marketing of John Carter, Andrew MyersChapter 7: The Cult of Comic-Con and the Spectacle of Superhero Marketing, Kevin McDonaldChapter 8: The Dark Knight Levels Up: Batman: Arkham Asylum and the Convergent Superhero Franchise, Justin MackCha

Stork's clarity lays bare his extensive research, which digs not just into the financial logic of revised aesthetic approaches for maximal capital gains, but also film theorist Rick Altman's definition of 're-genrification,' which finally makes clear that Marvel's strategies are not new as much as reinterpreted—'a new presentational model of crossover synergy.' Stork's work here is a must-read for anyone who wants to understand precisely how corporate control yields pop-culture product. I'll be sending his essay to my inquisitive colleague shortly—along with the rest of Superhero Synergies.