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Esta comunicación quiere explorar las razones de la tendencia a la trasmedialidad que se observa en el cine de Hollywood de la era digital a través del estudio del caso del cine de superhéroes. En la actual industria cinematográfica global son muy numerosas las producciones adscritas al género de superhéroes. No se trata de películas aisladas, sino que se insertan en un sistema de franquicias cinematográficas que domina las salas del todo el planeta desde hace quince años. Precisamente este sistema de franquicias, así como sus capacidades transmediáticas, han permitido desplegar para los superhéroes un universo narrativo múltiple que, en teoría, es infinitamente expandible. Así, la estrategia de producción de Marvel Studios está basada en el llamado Marvel Cinematic Universe, mientras que Warner Bros. también ha desarrollado su particular universo cinematográfico llamado DC Extended Universe. En ambos casos se trata de universos combinables y potencialmente infinitos que conectan con otros espacios narrativos desarrollados a través de diversos medios. Al analizar el funcionamiento de la actual industria audiovisual global y su transformación radical inducida por la “revolución digital”, observamos que la tendencia a la transmedialidad en el cine de Holywood, más que a una opción creativa, responde a la necesidad de diseñar nuevos modelos de negocio viables., This paper aims to explore the reasons for the transmedia tendency observed in the Hollywood cinema of the digital age through the study of the case of superhero movies. In the current global film industry there are a great number of productions that belong to the superhero genre. These are not single films, but they are part of a film franchises system that has dominated the movie theatres worldwide for the last fifteen years. Precisely this franchises system, as well as their transmedia capabilities, have lead to set for the superheroes a multiple narrative universe that, in theory, is infinitely expandable. For instance, the Marvel Studios production strategy is based on the so-called Marvel Cinematic Universe, while Warner Bros. has also developed its particular cinematic universe called DC Extended Universe. In both cases, these are combinable and potentially infinite universes that connect with other narrative fields developed through other media. When analysing how the current global media industry works and its radical transformation induced by the “digital revolution", we observe that transmediality in Hollywood’s cinema, rather than a creative option, is due to the need to design new viable business models.

En este escrito se presenta una breve reflexión acerca de la práctica del análisis textual aplicado al film en cuanto que texto artístico. Por una parte, se revisa el concepto de análisis fílmico, la finalidad de esta práctica, así como la perspectiva o distancia desde la que puede llevarse a cabo. Por otra, se expone de manera resumida el procedimiento de análisis textual que se deriva de la teoría del texto desarrollada por González Requena. Tal procedimiento parte de la propuesta de Roland Barthes, al tiempo que recibe influencia del estructuralismo de Lévi-Strauss, si bien adquiere su rasgo más específico en la búsqueda del punto de ignición del texto analizado. En este caso se trata de localizar una suerte de “núcleo” que polariza el texto entero y que señala el “sentido” hacia el cual dicho texto apunta., This paper presents a brief reflection about the practice of textual analysis applied to films as artistic texts. On the one hand, we review the concept of film analysis and the purpose of this practice, as well as the perspective or distance from which it can be carried out. On the other hand, the procedure of textual analysis that is derived from the theory of the text created by González Requena is briefly explained. This procedure begins from the proposal of Roland Barthes and is influenced by the structuralism of Lévi-Strauss, while finds its most specific feature in the search for the flashpoint of the text analysed. In this case, it is a question of locating a sort of "nucleus" that polarizes the entire text and which indicates the “sense” to which the text points out.

This book is the result of a project financed by Banco Santander in which European Universities (Glasgow Caledonian University in Scotland and Universidad de Alicante in Spain) have worked together in order to offer Doctorate students and their supervisors the opportunity to learn from one another. Presentations, practical exercises, cultural visits and talks about methods, results and motivation of academic investigation took place between 8th and 12th of June 2015 in Alicante and between 11th and 15th January 2016 in Glasgow in order that: Examples of best practice in research were shared, problems that commonly appear during the study of a doctorate were resolved and a process was introduced to facilitate the exchange of experiences and the mutual collaboration between researchers in both Universities. This compilation of articles shows the research abilities of the participants and forms an example of the dissemination of knowledge.