ABSTRACT
Various types of diversions appear in the Hunger Games films in the form of entertaining images used as propaganda to enforce the status quo and in the strategy of diverting images to provoke change. This chapter analyses how the franchise’s construction and exploitation of icons oppose the repetitiveness of seriality to its transforming potential. It includes the films and the transmedia marketing in its considerations, paying attention to the experimental implication of fans in the construction of a storyworld. The aim is to articulate the relevance of the narrative’s fragmented form as a self-reflexive evaluation of contemporary media’s involvement in society and cinema.
