LEADER 01646nas 2200505-- 450 001 996434748703316 005 20230530213018.0 011 $a2353-9712 035 $a(DE-599)ZDB2495670-3 035 $a(OCoLC)609617998 035 $a(CKB)110978978377023 035 $a(CONSER)--2023231217 035 $a(EXLCZ)99110978978377023 100 $a20100426a19759999 --- - 101 0 $apol 135 $aurbn||||||abp 135 $aurbn||||||ada 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aProblemy prawa karnego 210 $aKatowice$cUniwersytet ?l?ski$d1975- 215 $a1 online resource 225 1 $aPrace naukowe Uniwersytetu ?l?skiego w Katowicach,$x0208-6336 300 $aRefereed/Peer-reviewed 311 08$aPrint version: Problemy prawa karnego. 0208-5577 (DLC)---77646735- (OCoLC)3128366 410 0$aPrace naukowe Uniwersytetu ?l?skiego w Katowicach.$x0208-6336 517 1 $aVoprosy ugolovnogo prava 517 1 $aProblems of criminal law 517 1 $aProbleme des Strafrechts 531 $aUNIWERSYTET SLASKI W KATOWICACH PRACE NAUKOWE PROBLEMY PRAWA KARNEGO 606 $aCriminal law$zPoland$vPeriodicals 606 $aCriminal law$vPeriodicals 606 $aCriminal law$2fast$3(OCoLC)fst00883328 607 $aPoland$2fast 608 $aPeriodicals.$2fast 615 0$aCriminal law 615 0$aCriminal law 615 7$aCriminal law. 676 $a340 712 02$aUniwersytet ?l?ski w Katowicach. 906 $aJOURNAL 912 $a996434748703316 996 $aProblemy prawa karnego$92576808 997 $aUNISA LEADER 04118nam 22006735 450 001 9910810375703321 005 20250322110036.0 010 $a9781479897070 010 $a1479897078 010 $a9781479866823 010 $a1479866822 024 7 $a10.18574/9781479866823 035 $a(CKB)4340000000256112 035 $a(StDuBDS)EDZ0001928904 035 $a(MiAaPQ)EBC5103953 035 $a(OCoLC)1037879377 035 $a(MdBmJHUP)muse74570 035 $a(DE-B1597)547348 035 $a(DE-B1597)9781479866823 035 $a(OCoLC)1022788036 035 $a(Perlego)719777 035 $a(ODN)ODN0004022010 035 $a(EXLCZ)994340000000256112 100 $a20200608h20182018 fg 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aMore Than Meets the Eye $eSpecial Effects and the Fantastic Transmedia Franchise /$fBob Rehak 205 $a1st ed. 210 1$aNew York, NY :$cNew York University Press,$d[2018] 210 4$dİ2018 215 $a1 online resource $cillustrations (black and white) 225 0 $aPostmillennial Pop ;$v19 300 $aIncludes bibliographical references and index 311 08$a1-4798-1315-X 311 08$a1-4798-5670-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIntroduction --$t1. That Which Survives --$t2. Used Universes and Immaculate Realities --$t3. Chains of Evidence --$t4. Microgenres in Migration --$tConclusion --$tAcknowledgments --$tNotes --$tBibliography --$tIndex --$tAbout the Author 330 $aA rare look at the role of special effects in creating fictional worlds and transmedia franchises From comic book universes crowded with soaring superheroes and shattering skyscrapers to cosmic empires set in far-off galaxies, today?s fantasy blockbusters depend on visual effects. Bringing science fiction from the studio to your screen, through film, television, or video games, these special effects power our entertainment industry. More Than Meets the Eye delves into the world of fantastic media franchises to trace the ways in which special effects over the last 50 years have become central not just to transmedia storytelling but to worldbuilding, performance, and genre in contemporary blockbuster entertainment. More Than Meets the Eye maps the ways in which special effects build consistent story worlds and transform genres while traveling from one media platform to the next. Examining high-profile franchises in which special effects have played a constitutive role such as Star Trek, Star Wars, The Matrix, and The Lord of the Rings, as well as more contemporary franchises like Pirates of the Caribbean and Harry Potter, Bob Rehak analyzes the ways in which production practices developed alongside the cultural work of industry professionals. By studying social and cultural factors such as fan interaction, this book provides a context for understanding just how much multiplatform storytelling has come to define these megahit franchises. More Than Meets the Eye explores the larger history of how physical and optical effects in postwar Hollywood laid the foundation for modern transmedia franchises and argues that special effects are not simply an adjunct to blockbuster filmmaking, but central agents of an entire mode of production. 410 0$aPostmillennial pop. 606 $aMass media 606 $aBlockbusters (Motion pictures) 606 $aMotion pictures$xProduction and direction$zUnited States 606 $aCinematography$xSpecial effects 615 0$aMass media. 615 0$aBlockbusters (Motion pictures) 615 0$aMotion pictures$xProduction and direction 615 0$aCinematography$xSpecial effects. 676 $a791.43024 700 $aRehak$b Bob$4aut$4http://id.loc.gov/vocabulary/relators/aut$01628232 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910810375703321 996 $aMore Than Meets the Eye$93965243 997 $aUNINA