Panel to the Screen: Style, American Film, and Comic Books during the Blockbuster Era
Panel to the Screen: Style, American Film, and Comic Books during the Blockbuster Era
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Abstract
Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. This book examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a “low” art form suited for children translating into “high” art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. The book provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.
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Front Matter
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Introduction
Comics Are in Right Now
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Part One Definitions and Historical Context
Drew Morton -
Part Two Remediation in Comic Adaptations
Drew Morton-
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The Dread of Sitting through Dailies that Look like Comic Strips: Graphical Remediation in Dick Tracy (1990) and the Remediation of the Multiframe in Hulk (2003)
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“He Cared More about the Appeasement of Fanboys …”: Spatiotemporal Remediation in 300 (2006) and Watchmen (2009) and Textual Remediation in American Splendor (2003)
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The Dread of Sitting through Dailies that Look like Comic Strips: Graphical Remediation in Dick Tracy (1990) and the Remediation of the Multiframe in Hulk (2003)
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Part Three Remediation Beyond Comic Adaptations
Drew Morton-
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Derived from Comic Strip Graphics: Remediation beyond Comic Book Adaptations in The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007)
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“There, That Looks Much Better”: The Joker, Sin City, The Spirit, and the Dialogical Process of Remediation
- Conclusion: Comics Are in Right Now?
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Derived from Comic Strip Graphics: Remediation beyond Comic Book Adaptations in The Matrix (1999), The Good, the Bad, and the Ugly (1966), and The Dark Tower: The Gunslinger Born (2007)
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End Matter
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