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I’m No Princess

Super Hero Girls Together

Lucy I. Baker

DC Super Hero Girls (DCSHG) is a trans-media franchise that includes not just screen media texts but a wide array of themed merchandise aimed at a multi-generational market. I argue here that key components of the franchise present a queered version of girlhood that critiques femininity as a gender role while presenting femaleness as encompassing a variety of signifiers, acts, and presentations that can be read as queer (particularly by the so-called big girls in the audience). This is evident in the representation of queer relationships that exist in the sexualized zone of the canonical material, allowing the DCSHG characters to inhabit a liminal proto-queer space between homosocial/gender non-conforming and lesbian that is considered more appropriate for young girls. I examine the way in which the DC Super Hero Girls franchise rejects and reforms familiar elements of comics, super heroism, and princess culture to create that space for girls.

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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

Blair Davis , Movie Comics: Page to Screen / Screen to Page (New Brunswick, NJ: Rutgers University Press, 2017). 256 pp. ISBN: 978-0-8135-7225-3 ($27.95) Transmedia is often assumed to be a modern phenomenon created by film franchises such as Star

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Ekaterina Tikhonyuk and Mark McKinney

journal's content within the framework of transmedia theory. The scholar argues that this critical approach shows that Krokodil' s staff felt empowered to extend the boundaries of its creativity beyond the journal itself. What is more, Krokodil' s

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A Wolf’s Eye View of London

Dracula, Penny Dreadful, and the Logic of Repetition

Dragoş Manea

iconic depictions). It is little wonder then that such characters have come to dominate our media landscape in recent years. As we have moved towards an age of transmedia franchises, riddled with competing reboots, remakes, and reimaginings, iconic

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Yuval Gozansky

the creation of many and diverse branded spin-off works: book series, full-length movies, and live musical shows. The later serials increasingly created ‘transmedia storytelling’ ( Jenkins 2006 ) for second and third online screens. Now accessible from

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Laurence Grove

scheduled papers keynotes from Charles Forsdick, Paul Gravett, Isabel Greenberg, Laurence Grove, Jamie Brassett and Richard Reynolds theme of ‘Storyworlds and Transmedia Universes’ included ‘There's No Bus Map for Dementia’ and Laydeez Do Comix events

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Victorian London Redux

Adapting the Gothic Metropolis

Chris Louttit

transmediated as the world of Marvel Comics’. 31 Penny Dreadful and Dracula seem very much of this decentred, transmedia moment, in the way that they reference popular film classics and place the monsters of nineteenth-century fiction in the same fictional

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Authenticity and Aspiration

Exploring the CBBC Television Tween

Sarah Godfrey

transmedia in form, creating what Anita Harris describes as a “total system” of girlhood that does “not differ significantly across national boundaries” (2009: 211). Certainly, it could be argued that the trans-cultural dominance of North American tween

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Laurel Hart, Pamela Lamb, and Joshua Cader

example, Facebook), and children’s storybook and gaming applications. In the primer and in contemporary technologies, characteristics of nonviolence such as intimacy; mobile technologies that serve as multimodal sensors, quality receivers, and transmedia

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The Artist in a Positivist Academy

Bridging the Artist-Scholar Divide

Ibanga B. Ikpe

. , G. Smith , R. Masri and J. Stone . 2015 . ‘ Visual Information Vases: Towards a Framework for Transmedia Creative Inspiration ’ Proceedings of the Sixth International Conference on Computational Creativity , 182 – 188 . Hyman , D. , E