Film and Comic BooksIan Gordon, Mark Jancovich, Matthew P. McAllister University Press of Mississippi, 2007 - 328 páginas In Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based films; and the adaptation of films into comics. A wide range of comic/film adaptations are explored, including superheroes (Spider-Man), comic strips (Dick Tracy), realist and autobiographical comics (American Splendor, Ghost World), and photo-montage comics (Mexico's El Santo). Essayists discuss films beginning with the 1978 Superman. That success led filmmakers to adapt a multitude of comic books for the screen including Marvel's Uncanny X-Men, the Amazing Spider-Man, Blade, and the Incredible Hulk as well as alternative graphic novels such as From Hell, V for Vendetta, and Road to Perdition. Essayists also discuss recent works from Mexico, France, Germany, and Malaysia. This book of essays that explore how comic books inspire film and create new realms of visual art - Provides an edited anthology that explores the aesthetics, economics, and critical/commercial reception of film adaptations of comic books - Contains commentary on recent critical hits and commercial blockbusters such as American Splendor, Ghost World, Spider-Man, and Dick Tracy - Includes essays on films and comics from a variety of countries outside America, including Germany, France, Mexico, and Malaysia - Features contributions from Timothy P. Barnard (National University of Singapore), Michael Cohen (La Trobe University, Australia), Rayna Denison (University of Sussex), Martin Flanagan (University of Bolton), Sophie Geoffroy-Menoux (University of La Ru̧̧nion-France), Mel Gibson (University of Northumbria), Ian Gordon (National University of Singapore), Kerry Gough (University of Central England, Birmingham), Jonathan Gray (Fordham University), Craig Hight (University of Waikato), Mark Jancovich (University of East Anglia), Derek Johnson (University of Wisconsin-Madison), Pascal Lef·̧vre (University of Leuven), Paul M. Malone (University of Waterloo-Canada), Matthew P. McAllister (Penn State University), Neil Rae (Goldsmiths College, University of London), Aldo J. Regalado (University of Miami-Florida), Jan van der Putten (National University of Singapore), David Wilt (University of Maryland) - Publisher. |
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Página 34
... look back at Tracy's wallet , which is in the foreground . In the third , the woman from the orphanage has come to collect him and is walking up the corridor in the background , juxtaposed sharply beside the look of fear on the Kid's ...
... look back at Tracy's wallet , which is in the foreground . In the third , the woman from the orphanage has come to collect him and is walking up the corridor in the background , juxtaposed sharply beside the look of fear on the Kid's ...
Página 92
... look . The general response from comic readers was that the movie should not look like the comic . The process of accepting the interpretation of the characters and stories as portrayed in the movie adaptation is not a simple ...
... look . The general response from comic readers was that the movie should not look like the comic . The process of accepting the interpretation of the characters and stories as portrayed in the movie adaptation is not a simple ...
Página 96
... look good ? Is the acting good ? Do I care about the people in it ? Is it fun to watch ? " With both Clarisse and Roderick , we see not only an insistence that films be judged on their merits as films alone , but both clearly resent the ...
... look good ? Is the acting good ? Do I care about the people in it ? Is it fun to watch ? " With both Clarisse and Roderick , we see not only an insistence that films be judged on their merits as films alone , but both clearly resent the ...
Contenido
1 INCOMPATIBLE VISUAL ONTOLOGIES? | 1 |
TRANSLATION CREATIVITY AND ALIEN ECONCOMICS | 37 |
WILL THE REAL WOLVERINE PLEASE STAND | 64 |
Derechos de autor | |
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action actors adaptations Aliens comic Aliens comic book Aliens film American Splendor artist audience Axel Bartra Batman bewegte Mann Bilal's blockbuster brand cartoon Century Fox character cinema color comic aesthetic comic readers comic strip condom Cruz Dark Horse Comics Dark Horse's David Der bewegte Mann Dick Tracy documentary drama-documentary El Santo Enid fans fiction film and comics film's filmic filmmakers fotomontaje frame franchise genre Ghost World Giamatti Hang Tuah Harvey Pekar hero Hollywood identity images industry intertextual issues Jebat José G Kondom des Grauens licensing magazine mainstream Malay Marvel medium melodrama narrative Nikopol original panels Pekar photographic production Ralf König Ramlee release representation role Santo comic scene screen sequences shot Shuster Shyamalan Siegel Smallville Spider-Man star story Stradley strategies studio style success superhero comics Superman teen television texts tion titles translation Unbreakable viewers visual Warner Wolverine wrestler X-Men film