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Situated Inquiry Research Paper Final Draft
Situated Inquiry Research Paper Final Draft
Introduction
The Marvel Cinematic universe is a franchise that has proven to be extremely popular
around the world becoming a staple series among many households. When I was growing up my
father would make an effort to go see every Marvel movie in theater almost as soon as it was
released. This was always something I looked forward to as it was a great bonding experience
between us. After the movie we would discuss what happened in the movie and he would explain
to me what was key to the story based off the original comic book series in which he was an avid
reader when he was younger. When trying to create a topic for my research these instances
where my father would make connections to the comic series stood out to me. It made me
curious as to how the movies display intertextuality and how it would impact the Marvel fan
discourse communities.
There is a plethora of ways that the usage of intertextuality in the film series can create a
large impact on the community. There are positives such as huge crossover events that include a
wide variety of the fans favorite characters and there are negatives like including controversial
messages into the story that fans have various opinions on. I am one that personally enjoys when
big media franchises use their platform to speak out on real world issues and provide
representation to those who may not have it, as long as it is done in a well thought out manner.
Knowing that the stories in the films are originally from the comics created way back in the
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1960’s in some cases, I really wanted to dive into the possible conflicts that could arrive from
deviating from the true storyline in hopes of adding a more modern touch. Providing both sides
of the “argument” is my goal for my research so the audience can interpret it as they please and
In order to develop the topic, I first had to fully outline the core concepts I was trying to
establish before diving into the various factors involved. The ideas of intertextuality and
discourse communities are simple to understand from a tip of the iceberg standpoint. When
looking at the tip of iceberg and beyond, James Porter’s article “Intertextuality and the Discourse
Community” dives into the depths to uncover the extent of the two concepts. Intertextuality is
described as the presence of text within text that traces back to someone else’s work with two
kinds of appearances known as “iterability” and “presupposition” (Porter 35). Iterability is the
more direct relevant text while presupposition falls into the implied connection area. All works
have a level of intertextuality within in order to create a sense of credibility and relevancy to the
audience. A discourse community is a group of people with a common set of goals and
guidelines specific to said community. Porter best describes the discourse community as “a
group of individuals bound by a common interest who communicate through approved channels
and whose discourse is regulated” (39). These two concepts go hand in hand with each other
according to Porter as intertextuality is a concept that builds off the works of others which
requires a discourse community to set guidelines for how ideas are built upon within the
community.
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Marvel’s franchise has become so widespread that it has accumulated a vast amount of
discourse communities that focus on different pieces of intertextuality that apply specifically to
their group. The main focus of intertextuality when it comes to the Marvel Cinematic Universe is
how the creators build a more modern rendition of the original story from the comics. James C.
Taylor makes a claim that “Marvel Studios develops existing practices of cinematic
intertextuality and combines these with a shared universe model of serialization adapted from
comic books” (Taylor 130) in his work “Reading the Marvel Cinematic Universe: The Avengers’
Intertextual Aesthetic.” This article focuses on the modes of intertextuality found within the
Marvel Cinematic Universe especially with taking the original story from the comics and
creating a new but comic accurate story in a different form of texts. Majority of the original
stories presented through the mode of comic books were produced as early as the 1960’s which
means that the story often must be adapted to fit the modern era. These stories are broken up into
many pieces spread out over weeks leaving audiences with cliffhangers and drawn-out plots over
large spans of time. Taylor focuses on how the stories created in the comics must be
“compressed” to fit into the common guidelines of movies. The other big point being made in the
article is how there are layers of intertextuality through the Marvel franchise from plot to settings
to characters. Each component that makes up a true storyline falls into the category of
Underrepresentation to Misrepresentation
The American film industry is a very prominent creative space where a majority of
successful films are produced. Even though there are major successes there is also a lack of
proper representation that many are willing to call out. This unfortunate common practice is
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highlighted in “Contemporary American Cinema: Thrills to Narratives and Back” with the article
focusing on the American cinema culture and its impact on the audience. The main idea being
pushed by the article is that “Digital technology, chang[es] both the aesthetics and the ethics of
(Zawadka 6). Digitalization on a large scale has provided easy access to varieties of film to
people all around the globe. For a long period of time, American film lacked progressive
ideologies and inclusion sugarcoating reality. This false reality was one that many could become
overindulged in, almost getting lost in this fake world achieved by focusing on audience's
emotions, not so much their logic. The lack of representation within American cinema was
extremely criticized especially when aiming to place the film in “the context” of other
cultures/countries. Digitalization has brought forth an increase of diversity within films, but the
misinterpretation.
There are groups of people in the Marvel Cinematic Universe that often get swept under
the rug or even villainized in the films. These groups commonly are women and people of whom
have different ethnicities/cultures than the white American. Marvel as a brand has not done the
best when it comes to diversifying their characters and when there are characters that break out
from the “typical,” there is often a sense of misrepresentation. When looking into
underrepresentation within the film franchise, Kathryn Frank’s article, “Diversify, Rinse, Repeat:
The Direct Market, Sales Data, and Marvel Comics’ Diversity Cycle” is a prime example. The
article showcases the lack of proper diversification within the Marvel Cinematic Universe
through an idea of what the assumed audience wanted. Focusing on the market sales, the author
looks at what the Marvel franchise put priority on and more so what they do not. Frank suggests
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Marvel feels obligated to make movies including more diverse settings and roles but only does
so here and there. The occasionally diverse movie then gets released but doesn’t get a lot of
emphasis on it which leads to a poor performance. This becomes a cycle because the assumed
audience develops into reality through a continuous conditioning of the audience created by the
Marvel franchise. This cycle is pushing the idea of the American identity and is a key component
in misrepresentation.
The “American identity” is one that is majorly developed within the MCU. The basis for
the film series is built off making the U.S. seem like the good guys through villainizing other
countries. The idea of uplifting one group by putting another down is an unfair way of
representing people: it’s basically bullying the little kid at the playground. This ideology is
further explored in “We Are Iron Man: Tony Stark, Iron Man, and American Identity in the
Marvel Cinematic Universe’s Phase One Films” in which the author, Ashley Robinson, explains
a sense of American Pride is created through an iconic Marvel character during the early part of
the movie franchise. Iron Man’s back story is one that seems almost similar to what happens in
real life dealing with groups like terrorist organizations in Afghanistan, for example. As the
movie series builds so does the American identity creating a sense of national pride, freedom,
and prosperity of the “Western World” (Robinson 1). The whole first segment of the cinematic
universe builds upon the idea of Americans being the good guys and any foreign countries we
have had conflict with are the enemy. This is done through referencing real-world issues in the
movies or including subliminal messages that villainize other countries. The article as whole
picks at Iron Man for being individualistic and selfish which reflects upon the “American
“chaotic spaces” defined by the author Jessie Rogers in “Chaotic Asian Spaces in the Marvel
Cinematic Universe.” Roger’s article focuses on the misrepresentation of cultures within the
Marvel cinematic universe primarily involving the Asian community, often creating negative
stigma. The main target is the concept of a “chaotic backdrop” of Asian culture with focusing on
overpopulation and large but cluttered spaces (Rogers 1). Many of the “monstrous” villains
within Marvel movies were developed in Asian spaces which paints them poorly. Marvel
attempts to shine light on other cultures and minorities but in a lot of instances it backfires. This
idea is flipped when it comes to the Black Panther movie where the “world building” within
outshines the true culture which in turn falsely represents culture (Rogers 27). The Black Panther
movie primarily focuses on the magical world that Wakanda is rather than the culture of the
people that live in it. Rodgers believes that the movie should put more emphasis on the African
culture in the film Black Panther in order to capture a true representation of said culture.
Marvel’s large fanbase can create conflicts as there are many subcommittees that have
different wants and needs for the franchise. Some groups can tend to stand on opposing sides of a
topic and it requires a side to be chosen. Marvel has the responsibility to please all their
audiences in order to retain their large viewership. To see how large of an impact Marvel’s
movies had on their audiences, Jayme Gerring in “The Marvel Effect: Cinematic Universes and
Their Impact on Box Office Receipts” looks into the box office reports for movies of various
categories. This article looks at a variety of factors that can alter or improve a movies
performance during opening weekend in the box office. Primarily using statistical analysis,
Gerring compiles numerical factors from 250 movies during their opening weekend to determine
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whether being a movie within the Marvel Cinematic Universe helps bring in revenue. Using
different categories such as: MCU vs. Non MCU, “star power,” movie review organization
ratings, director star power, and other independent variables to find what brings in the big bucks
on opening weekend. Overall, most of the variables didn’t matter outside of whether the movie
fell into the MCU category. If it was a Marvel movie it would prove to have the best
performance in the box office over majority of other movies. Concluding that the dedicated
community was so large that any movie put out by Marvel was going to be worth watching
because the quality was just assumed to be high due to franchise association. Unfortunately, only
creating movies for an audience isn’t enough so other modes of entertainment are important for
As the entertainment industry expands, big brands and franchises must follow in order to
grow their audience and continue to be relevant. One way that movie franchises can grow is
through the introduction of theme parks and videogame experiences as explored in Erica
Garber’s “Ride on: From Movie Franchises to Video Games, Television Series and More,
Entertainment Companies Are Tapping into Theme Parks to Leverage Their IP, Enhance Brand
Awareness and Connect with Consumers in a Completely New, Innovative Way.” The article
dives into a multitude of movie franchises branching out in many different modes of
entertainment from videogames to theme parks. Exemplifying how theme parks and videogames
have been around for decades now, provide entertainment from a firsthand standpoint every day.
Movie franchises are realizing that they can extend their stories into the real world in a way that
will be available to the population year-round. Many consumers from the around the world visit
these parks and become exposed to the franchises content which expands their audience while
diversifying culture within their community. Expanding the cinematic universe toward the theme
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park market also creates an immersive experience for their audience almost allowing an escape
from reality. Marvel has created a theme park experience by introducing the “Avenger’s
Campus” in Disneyland, California. This addition has made it possible for fans to meet the
characters in real life and experience attractions revolving around the MCU’s storyline. Keeping
the fans entertained and engaged is a difficult task for movie franchises which means they must
Methods
Due to the vast size of content produced by the Marvel Cinematic Universe (MCU) and
the Marvel Comic Group (MCG), I decided to compare the more memorable moments that are
seen in both modes of entertainment. One of the key events I wanted to analyze was from the
movie Spiderman: No Way Home which features a scene where three different “spidermen”
come together from different timelines which is originally featured in the comics. This singular
scene caused a commotion amongst fans which means it is a good instance to put my focus on.
Another scene that sparked conversation comes from the movie Avengers Endgame where all the
female heroines introduced into the series up until that point are lined up ready for battle
displaying women empowerment. This moment is not in the original comic book telling of the
story so including it in the modern version emphasizes growth in the community. Adding
modern references is common throughout the Marvel movie series from an allusion to Covid-19
to a character known as Thor playing a popular game called Fortnite. These pieces of modern
intertext are designed to create a sense of relevance to the audience and analyzing how they are
Materials/Procedure
looked at the obvious differences between them. These details include that one is comic and the
other is live-action, the number of Spider-mans, and how it was released. I then aimed to look at
how the community reacted to the recreation of the original comic version using Twitter
comments on the post seen in Figure 2. I then looked at the first one hundred comments on the
post to determine whether the majority of users were impacted by the intertextuality in a positive
or negative way.
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https://qph.fs.quoracdn.net/main-qimg-
00c5984f0717c9ec39c00243307d2190
https://i.redd.it/dgw1nz31x
4v01.jpg
intertextuality from comic to film. The comic cover shown in Fig. 4 is the original characters set
to be in the battle against the villain named Thanos. There are many differences between the
comic storyline and the story being told in the movie. I aimed to analyze how the scene of
women heroes being at the frontline of the battlefield as seen in Fig. 3 and the YouTube video
posted by KinoCheck.com titled “Female Avengers Unite Scene – Avengers 4 Endgame (2019)”
was received by the Marvel fanbase by compiling the amount of positive and negative comments
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in the comment section of the video. I then would determine the consensus based on the majority
Results
When I was searching through the comments on the Twitter post that had the Spider-man
comic recreation and looking for over ten minutes at hundreds of replies, I could not find a single
one that had something bad to say. This caught me off guard as I thought there would be at least
a few people that had a problem with the post. The original comic had turned into meme that
became popular on the internet so I figured that people would be both excited to see the meme
recreated in live-action and those that were upset about using the original meme to gain
publicity. As I pondered how I could use these results I realized that when compared to the next
After looking through over one hundred comments in the YouTube video displaying the
“hype” moment where all of the female heroines make an appearance as a group. I determined that
it was a perfectly even fifty-fifty split in comments that spoke either positively of the inclusion of
the scene in the movie or negatively. I had to be careful as to what counted in the first one hundred
comments as their were many comments that didn’t apply to what I was looking for. I only
accounted for comments that were related to the positive or negative impact, weeding out those
that did not apply. I decided to include two comments to highlight the rough criteria I was looking
As you can see in the positive comment, the author stated that they enjoyed the inclusion
of the scene and only were critiquing the “convenience” of all the female heroines being in the
This example of a negative comment is one that I wanted to include as the author goes into
a bit of detail as to why they don’t like the inclusion of the scene.
When looking at the two pieces that I did research on, the one that was based on the original
comic was more positively received by the fan base than the one that stepped away from the
original comic and included more progressive ideas. The MCU fanbase/community doesn’t take
kindly to the introduction of modern concepts and messages implemented into the original story.
Another interesting thing I noticed was that thirty-eight of the fifty that were on the side that
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enjoyed the inclusion of the scene had female names or profile pictures. There were seven people
that commented a positive opinion that had a name or profile that was not categorizable leaving
only five commentors that had a positive opinion at five. Looking at the opposing side, there were
forty male names/profiles, six indistinguishable names/profile, and four female names/profiles.
There is a clear difference between the makeups of each side which shows those for whom the
scene was not intended for did not particularly care for it.
As a franchise, Marvel has the responsibility of deciding to either stay true to intertext of
the original story or include the intertext of the world we live in now. If they essentially “copy and
paste” the comic story moments into the live-action film like they do in Fig. 1 and Fig. 2, the
communities that enjoy the original ideologies will be content. However, the group that wants to
see the stories comic accurate through and through is such a small community in the broad scale
of the fan community. The community has grown significantly since the introduction of the film
series which means that there are many new faces that are wanting to see new things introduced
into the story. The usage of an all-female roster is not once seen in the comic version of this story,
so this addition has been seen to have gone both ways when it comes to having an impact on the
community.
The MCU has an audience of people with diverse backgrounds and cultures which can
often lead to conflicts within the community. For a large period of time, there was a lack of
representation of various minority groups seen on the big screens. This led to many different fans
demanding that their groups and cultures be displayed in the movies. However, when there was
representation especially in cases where the original comic characters traits were replaced, there
was outrage among other parts of the community. Including events that took place during the
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movie's production also led to controversy within the community. For example, they attempt to
condemn sexism and highlight the female empowerment movement through the movie Captain
Marvel. Many fans enjoyed seeing a woman with such power in a movie while others saw it as a
corny attempt, almost offensive at times. In fact, the character Captain Marvel in the original
comic series was a male but that fact went almost unnoticed to many which leads to the belief
that adapting the gender of a character does nothing if the essence of the character still exists.
The comic books were written during a time when many things that are not acceptable today
were back then. This includes the idea of uplifting various minorities by putting them in the role
of the hero. Often in the comics, women were extremely sexualized and those of different
ethnicities than white were put in the roles of villains, making them out to be evil. These aspects
of the comics are no longer tolerable which means the whole picture of the original works often
must be abandoned while referencing the plot with more modern, acceptable features woven into
it all.
The introduction of multimodal platforms for creation is also controversial within the
community due to the sense of quantity over quality. Introducing shows dedicated to various
characters has led to fans being overwhelmed with amount of content they have to keep up with
to understand the whole picture of the story as well as the quality of the works suffering from
unrealistic release deadlines. The time line for the MCU is very tight with movies set to release
every three to four months with television shows releasing in between. These tight deadlines can
cause many problems to be overlooked as the train doesn’t stop rolling when it comes to
Marvel’s timeline. Every piece has to fall in their place at the right time for the ongoing story to
make any sense which has created quality issues which takes away from the overarching
mission. Before the introduction of tv shows and strict deadlines, the quality of films were much
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higher and really brought attention to the franchise. Every movie put out was expected to be
good and without the consistent high-quality content, fans will cease to have interest in the
series.
With such a large audience it is often hard to please all members, so Marvel creators must
decide whether they want to spark change in the community by tackling tough issues or to stick
to the books. Having such a massive platform, the franchise has an easy opportunity to speak out
on real world issues and bring to light many unseen things that commonly get overlooked. Since
every story that films are telling has already been told, shouldn’t that allow for modern
adaptation? Many diehard fans want to stick with what they know which leads to repetitive
Works Cited
Frank, Kathryn M. “Diversify, Rinse, Repeat: The Direct Market, Sales Data, and Marvel
Garber, Erica. “Ride on: From Movie Franchises to Video Games, Television Series and More,
Entertainment Companies Are Tapping into Theme Parks to Leverage Their IP, Enhance
Brand Awareness and Connect with Consumers in a Completely New, Innovative Way.”
Gerring, Jayme V. “The Marvel Effect: Cinematic Universes and Their Impact on Box Office
Porter, James E. “Intertextuality and the Discourse Community” Rhetoric review 5.1 (1986): 34–
47. Web.
Robinson, Ashley Sufflé. “We Are Iron Man: Tony Stark, Iron Man, and American Identity in
the Marvel Cinematic Universe’s Phase One Films.” Journal of popular culture 51.4
Rogers, Jessie. “Chaotic Asian Spaces in the Marvel Cinematic Universe.” Journal of popular
Zawadka, Beata. “Contemporary American Cinema: Thrills to Narratives and Back.” Polish