evening redness

Here is my proposal for SFRA 2018, in Milwaukee.  As with nearly all of my conference proposals, this one is a bit rough and is more a promise to think about something than the actual thought itself. In any case, I am planning to be done with Here at the end of all things in the first half of the summer, and this paper (along with my essay on Dragonlance and my review essay on The Force Awakens) represents a new research direction in which I consider franchise as form.

Captain America and General Intellect: Abstraction in the Marvel Cinematic Universe

“The city is flying, we’re fighting an army of robots and I have a bow and arrow. None of this makes sense.”

–Hawkeye

In the “Fragment on Machines,” Marx claims, “The development of fixed capital [i.e. machines] indicates to what degree general social knowledge has become a direct force of production, and to what degree, hence, the conditions of the process of social life itself has come under the control of the general intellect and has been transformed in accordance with it.” Otherwise put, the knowledge objectified or “stored” in fixed capital animates production itself. Moreover, the material lives of human beings are subsequently transformed by this transformation of production. Ideally, the production of machines would lead to a reduction in labor time and an increase in leisure. This revolution, of course, has never come to pass.

This paper considers franchiseas fixed capital. Franchise has become machinic in that it objectifies, stores, and privatizes the general intellect, most notably generic forms invented and deployed by a wide range of producers working within a cultural commons. Far from decreasing or eliminating socially necessary labor time, franchises leverage their worlds in order to demand more creative labor from producers. Moreover, they require increased expenditures of time and money from consumers who “labor” not only to see films, read comics, and play games that appear under this or that franchise’s auspices, but also to understand and interpret the world these texts produce and assume, one that cannot rely on a fixed reality to hold itself together. In this context, Hawkeye’s lament about his limitations and the lack of sense in the Marvel Cinematic Universe becomes a clear admission that the fixed capital of franchise serves to increase socially necessary labor time rather than “leisure.”

As a test case for thinking about about franchise as fixed capital and the effects thereof, I take the Marvel Cinematic Universe. The MCU is characterized by extreme abstraction. Every franchise develops its own internal logics as it borrows and then turns away from genre and other aspects of the general intellect. The MCU is largely built upon the incompatibility of its world with itself. Alien invasions and the existence of gods should transform the world, as should Tony Stark’s cell phone all by itself. Clint Barton (aka Hawkeye) lives within pastoral bliss, on a farm, even as he fights the greatest threats the universe can throw at Earth. And yet, the world, compartmentalized into different spaces each with no apparent relation to any other space, continues in its day to day operations as if nothing is happening.None of it fits together; none of this makes sense. And yet, as the franchise offers us new material at an ever increasing pace (at least four films in 2018 alone), producers and consumers work harder and harder to keep up. As Hawkeye says, immediately after the line cited above, “I’m going back out there because it’s my job.”

This entry was posted on 25 March 2018 at 18:27 and is filed under Conferences, Franchise as form, papers, Writing with tags Franchise, General Intellect, genre, Grundrisse, Marvel, Marx, MCU, theory. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.