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The Transmediatic Superhero Logo - From Comic Books to Big and Small Screens

The Transmediatic Superhero Logo - From Comic Books to Big and Small Screens

virtual Thursday January 11 @ 2 pm EST

Free for MembersNon-Members:$35

The Transmediatic Superhero Logo - From Comic Books to Big and Small Screens

virtual Thursday January 11 @ 2 pm EST

Over the past two decades, Superhero movies have emerged as the most popular and profitable genre in the world of cinema. They have taken centre stage in mainstream pop culture and firmly established themselves as the highest-grossing film franchises. As of June 2022, the Marvel Cinematic Universe (MCU) has amassed a staggering $26.6 billion in worldwide box office revenue, surpassing other successful franchises like Star Wars ($10.32 billion) and Harry Potter ($9.59 billion). The first glimpse of any upcoming MCU project is typically unveiled through a logo. This symbolic sign is conventionally derived from the comic books that served as the source material for their superhero films and television series, which often undergo various modifications before reaching their final form — and used in promotional materials, merchandise, and integration into future MCU phase charts. The result of an intense dialogue within the mass media in the American culture industry from the beginning of the 20th century, the Superhero genre borrowed much of its multimodal structure from Science Fiction, Crime, and Adventure pulp fiction magazines of the 1920s-1930s, including cover logos, trade dresses, lettering styles, and imagery layouts. This presentation explores the origins of the visual codes found in Superhero logos and how they have evolved over the past eight decades, expanding beyond comic books into various other media forms.

About Bruno Porto
Graphic designer, educator, consultant and comics scholar, currently based in Toronto. An author of books and articles on design and communication, he has acted as curator of three editions of the Brazilian Graphic Design Biennial and another dozen visual arts exhibitions held in the Americas, Asia and Europe. Having sat on the boards of various Latin American design organizations, he consistently takes part in design juries for international awards and competitions, such as the iF Design Awards, Adobe Design Achievement Awards, Poster For Tomorrow, Le Blanc Award and CLAP Design, Communication and Branding Awards. A Ph.D. Researcher at the School of Humanities and Digital Sciences of Tilburg University, in The Netherlands, he has lectured in design and communication courses in Brasília (2012-2017), Shanghai (2006-2010), and Rio de Janeiro (1996-2006).


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