Spider-man-into the spider-verse

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Reference no: EM133215110

The film: Spider-Man: Into the Spider-verse

  1. Spider-Man: Into the Spider-verse was uses a specific frame per second technique to create a "jerky" stylized sense of movement, lending the film a distinct feel compared to most modern animation, with some viewers wondering if it was a technical problem. What effect does this style have on the movie?
  2. How does the transition to animation change the way we think about film elements like mis-en-scene and cinematography?
  3. Film and comic books have a lot in common, the first and perhaps most noticeable aspect being formal: both media are composed of hundreds (if not thousands) of frames. In the comic world these panels are laid out on the page and separated by "gutters," the boundaries between panels. Films take their many shots and separate them with cuts. In your post, explore how Spider-Man: Into the spider-verse exploits editing to create a film that helps achieve the filmmaker's goal of making the audience feel like they are "walking inside a comic book".
  4. In the 21st c. the prefix "meta" has become something of a commonplace. For those new to it, the prefix "meta" indicates that the thing to which it is being applied is reflexive (another phrase for this might be self-aware). For example, metanarrative is a story that is aware it is a story and proceeds as such. It doesn't take its reality as the reality, but rather as one that has been created (and is therefore both fictional and real). Those moments when a character turns and addresses the audience through the camera? That's meta, because they're "breaking the fourth wall" (a theater term) and acknowledging that you are there, watching, and that their world is therefore not "real" as such. Anyway, Spider-Man: Into the Spider-Verse, as you may have picked up, is very "meta." It begins with a voiceover montage narrated by Peter Parker (the original Spider-Man) which explains all the backstory to the character that we've likely already seen (in the earlier, Tobey Maguire-era films, for example), and then even goes on to amusingly describe how "the" Spider-Man is not just a story, but a massively successful product reproduced over and over again for commercial gain (just like this film). Why do you think Into the Spider-Verse is so concerned to state up front the history of the Spider-Man character, and to amusingly perform a bit of playful metacritique on the history of that character? Could it be because the filmmakers know they are about to self-consciously change that story? What about the other characters to whom we're introduced, including Peter #2, Gwen Stacy, Noir Spider-Man, Spider Ham, etc.?
  5. Continuing on from question 4, Into the Spider-Verse makes a number of different important changes to not only the Spider-Man narrative, but also to the history of comic book narrative and film. Discuss one thing that Into the Spider-Verse adds to the larger Spider-Man mythos in terms of setting, characterization, narrative style/complexity, or theme and explain why you think it's an important addition.
  6. One of the primary motifs in the film is the contrast between the singularity of superhero existence (e.g. "there can be only one Spider-Man!") versus a more diverse plurality of superhero existenceS. Now, this is a common feature of the Marvel universe, where, because superheroes are "real," we routinely see many of them simultaneously (as in the Avengers franchise). However, it is less common to see a single character diversified in the way that this film diversifies Spider-Man himself. Comment on the consequences of this character diversification and how it potentially changes the viewer's relationship to superhero stories more generally.

Reference no: EM133215110

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