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Hub AI
Film franchise AI simulator
(@Film franchise_simulator)
Hub AI
Film franchise AI simulator
(@Film franchise_simulator)
Film franchise
A film franchise has been described as a film series which not only continued the narrative through sequels and prequels, but also included expansion through ancillary intertexts which could include spinoffs, remakes and reboots. These formats did not have to exist as films either, and could be transmedial story telling, through other elements such as novels, video games and other works.
While some early film classical Hollywood era would spawn a film series, such as Tarzan of the Apes (1918), there were generally few series. Others were lower budget material was based on brands such as Superman as film serials and radio dramas. Early franchises and series such as the James Bond films and others often had recurring characters, settings, plot formulas, but predominantly acted as stand alone stories. As time went on, audiences values began to change, leading to a greater demand for more narrative and in-world consistency between films and their adjacent media, leading to their reception in either format could effect the development of future films in a franchise.
As conglomerates began to exploit their various film and television intellectual property rights, this allowed for multimedia reiteration of works that herald a new age of what that would generate long-term audience appeal through film franchises like Jaws and Star Wars. Production of franchises continued through the 1980s becoming more in the 1990s with film series like Batman (1989–1997) and other productions led to the rise of tentpole films in the late 1990s and 2000s.
By the 21st century, the conglomeration of American film and television industries favored film franchises over original content. Various financial factors in Hollywood filmmaking led to the development of film franchises over lower budget and independent films that would carry greater financial risks. These media franchises had a what Bryan Hikari Hartzheim, James Fleury and Stephen Mamber describe as a seismic impact on the film industry. Journalist Ben Fritz went as far to say in 2018 that the franchise film era was the most meaningful revolution in film industry since the studio system had ended in the 1950s. The change of dominance of film franchises effected previous forms of making films such as the star system and with a greater emphasis on films set in a shared universe and more unity in narrative in the subtext material in the film franchises. The global box office of Hollywood film franchises became dependent that it had franchises focusing attention on Chinese film markets, and would adapt some of their material to these audiences and later collaborate with production companies in the country.
Academic David Church in Horror Franchise Cinema (2021) wrote that terms "film franchise" and "film series" had become increasingly conflated in popular discourse. Church continued that a contemporary film franchise was multi-film series that not only pushes the narrative forward or backwards through sequels and prequels, but also includes expansion through ancillary intertexts. This allowed for a range from parallel storylines in spinoffs to re-evaluations of narratives in remakes or reboots, suggesting that a franchise has less to do with the longevity of a series, but to the proliferation that extends beyond linear development. James Fleury and Stephen Mamber echoed this in The Franchise Era: Managing Media in the Digital Economy (2019), stating that while a series consists of works in a single medium, a franchise migrates a brand across multiple forms of media. Derek Johnson further explained that a media franchise denotes "multiplied cultural production" and Daniel Herbert has specified that the term refers to a particularly "industrial" logic designed "to expand and spread" an intellectual property (IP) into an array of texts.
The importance of narrative continuity has changed in franchises over film history. Outside a few media franchises like Alien, Rocky and Shaft, few early film franchises follow a story continuity that an originating text established. Others are rebooted for new storylines like Planet of the Apes, while others such as Star Trek establish alternative timelines, serving them as both reboots and sequels. As the digital era went on, multimedia franchises became transmedial franchises which applied narrative expansion in all their texts.
As film is multimedia, it follows a top–down form of management as a franchise, where in which ancillary texts (such as tie-in video games) repeat the narrative of a primary text of a film. An example is the film Alien (1979) featuring Ellen Ripley portrayed by Sigourney Weaver trapped on the space vessel Nostromo fight to survive against an alien creature. As 20th Century-Fox followed up the first film, the franchise became transmedial as at first, it was followed up with a novelization and a pair of video games (Alien (1982) and Alien (1984)). These work borrow directly from the film's plot elements and present it abstractly as games.
Despite changes in film genres between films such as the more action film elements in Aliens and the prison film format of Alien 3 (1992), Fleury and Mamber wrote that a franchise's identity depends more on adherence to the world of the film than conventions of film genre and extends to the paratexts of a franchise. As the Alien franchise moved to becoming more transmedial, it displayed how film franchises have brought new demands in the later digital age from audiences, demanding stricter continuity among texts, stronger collaboration between licensors and licensees, and regular engagement with fans. These include narratives a central drive for the franchise economy, either through consistency or through changes with reboots, remakes and spin-offs. Daniel Herbert expanded on this, suggesting that how Star Wars: The Force Awakens (2015) "may be a single film, but it held the responsibility of representing and supporting an entire media franchise" This extended to the metatext of franchises, such as the video game Aliens: Colonial Marines (2013) was poorly received by critics who noted its lack of narrative continuity and connection with the film series. This reception led led to 20th Century Fox halting development on Neill Blomkamp's Alien film production which would initially ignore Alien 3 and Alien Resurrection (1997) as audiences now placed immense pressure on individual texts in a film franchise to meet the expectations which reflect their mother text.
Film franchise
A film franchise has been described as a film series which not only continued the narrative through sequels and prequels, but also included expansion through ancillary intertexts which could include spinoffs, remakes and reboots. These formats did not have to exist as films either, and could be transmedial story telling, through other elements such as novels, video games and other works.
While some early film classical Hollywood era would spawn a film series, such as Tarzan of the Apes (1918), there were generally few series. Others were lower budget material was based on brands such as Superman as film serials and radio dramas. Early franchises and series such as the James Bond films and others often had recurring characters, settings, plot formulas, but predominantly acted as stand alone stories. As time went on, audiences values began to change, leading to a greater demand for more narrative and in-world consistency between films and their adjacent media, leading to their reception in either format could effect the development of future films in a franchise.
As conglomerates began to exploit their various film and television intellectual property rights, this allowed for multimedia reiteration of works that herald a new age of what that would generate long-term audience appeal through film franchises like Jaws and Star Wars. Production of franchises continued through the 1980s becoming more in the 1990s with film series like Batman (1989–1997) and other productions led to the rise of tentpole films in the late 1990s and 2000s.
By the 21st century, the conglomeration of American film and television industries favored film franchises over original content. Various financial factors in Hollywood filmmaking led to the development of film franchises over lower budget and independent films that would carry greater financial risks. These media franchises had a what Bryan Hikari Hartzheim, James Fleury and Stephen Mamber describe as a seismic impact on the film industry. Journalist Ben Fritz went as far to say in 2018 that the franchise film era was the most meaningful revolution in film industry since the studio system had ended in the 1950s. The change of dominance of film franchises effected previous forms of making films such as the star system and with a greater emphasis on films set in a shared universe and more unity in narrative in the subtext material in the film franchises. The global box office of Hollywood film franchises became dependent that it had franchises focusing attention on Chinese film markets, and would adapt some of their material to these audiences and later collaborate with production companies in the country.
Academic David Church in Horror Franchise Cinema (2021) wrote that terms "film franchise" and "film series" had become increasingly conflated in popular discourse. Church continued that a contemporary film franchise was multi-film series that not only pushes the narrative forward or backwards through sequels and prequels, but also includes expansion through ancillary intertexts. This allowed for a range from parallel storylines in spinoffs to re-evaluations of narratives in remakes or reboots, suggesting that a franchise has less to do with the longevity of a series, but to the proliferation that extends beyond linear development. James Fleury and Stephen Mamber echoed this in The Franchise Era: Managing Media in the Digital Economy (2019), stating that while a series consists of works in a single medium, a franchise migrates a brand across multiple forms of media. Derek Johnson further explained that a media franchise denotes "multiplied cultural production" and Daniel Herbert has specified that the term refers to a particularly "industrial" logic designed "to expand and spread" an intellectual property (IP) into an array of texts.
The importance of narrative continuity has changed in franchises over film history. Outside a few media franchises like Alien, Rocky and Shaft, few early film franchises follow a story continuity that an originating text established. Others are rebooted for new storylines like Planet of the Apes, while others such as Star Trek establish alternative timelines, serving them as both reboots and sequels. As the digital era went on, multimedia franchises became transmedial franchises which applied narrative expansion in all their texts.
As film is multimedia, it follows a top–down form of management as a franchise, where in which ancillary texts (such as tie-in video games) repeat the narrative of a primary text of a film. An example is the film Alien (1979) featuring Ellen Ripley portrayed by Sigourney Weaver trapped on the space vessel Nostromo fight to survive against an alien creature. As 20th Century-Fox followed up the first film, the franchise became transmedial as at first, it was followed up with a novelization and a pair of video games (Alien (1982) and Alien (1984)). These work borrow directly from the film's plot elements and present it abstractly as games.
Despite changes in film genres between films such as the more action film elements in Aliens and the prison film format of Alien 3 (1992), Fleury and Mamber wrote that a franchise's identity depends more on adherence to the world of the film than conventions of film genre and extends to the paratexts of a franchise. As the Alien franchise moved to becoming more transmedial, it displayed how film franchises have brought new demands in the later digital age from audiences, demanding stricter continuity among texts, stronger collaboration between licensors and licensees, and regular engagement with fans. These include narratives a central drive for the franchise economy, either through consistency or through changes with reboots, remakes and spin-offs. Daniel Herbert expanded on this, suggesting that how Star Wars: The Force Awakens (2015) "may be a single film, but it held the responsibility of representing and supporting an entire media franchise" This extended to the metatext of franchises, such as the video game Aliens: Colonial Marines (2013) was poorly received by critics who noted its lack of narrative continuity and connection with the film series. This reception led led to 20th Century Fox halting development on Neill Blomkamp's Alien film production which would initially ignore Alien 3 and Alien Resurrection (1997) as audiences now placed immense pressure on individual texts in a film franchise to meet the expectations which reflect their mother text.