Film and Comic BooksIan Gordon, Mark Jancovich, Matthew P. McAllister Univ. Press of Mississippi, 2010 M01 6 - 304 páginas Contributions by Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan Gray, Craig Hight, Derek Johnson, Pascal Lefevre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David Wilt 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. |
Dentro del libro
Resultados 1-5 de 54
Página xii
... tion of a film into a comic . Kerry Gough reviews the processes through which Dark Horse Comics adapted the Alien ( s ) series of films to a success- ful comic book series . Just as with film adaptations the comic book pro- ducers had ...
... tion of a film into a comic . Kerry Gough reviews the processes through which Dark Horse Comics adapted the Alien ( s ) series of films to a success- ful comic book series . Just as with film adaptations the comic book pro- ducers had ...
Página xiii
... tion in the 1950s and the essentially crass , low - class nature of comics , and by extension things American , in the eyes of the British middle class . The second film though saw a shift in tone that Gibson ties to a refusal of film ...
... tion in the 1950s and the essentially crass , low - class nature of comics , and by extension things American , in the eyes of the British middle class . The second film though saw a shift in tone that Gibson ties to a refusal of film ...
Página xiv
... tion of these three fields of endeavor made El Santo a national idol in his native Mexico , and an immensely popular and immediately recognizable figure around the world ; for example in 2005 one [ xiv ] INTRODUCTION.
... tion of these three fields of endeavor made El Santo a national idol in his native Mexico , and an immensely popular and immediately recognizable figure around the world ; for example in 2005 one [ xiv ] INTRODUCTION.
Página 10
... tion and photography of Tim Burton's Batman ( 1989 ) and Warren Beatty's Dick Tracy ( 1992 ) . Elsewhere in this book Michael Cohen analyses in more detail what he calls Dick Tracy's " aesthetic of artifice " in production design ...
... tion and photography of Tim Burton's Batman ( 1989 ) and Warren Beatty's Dick Tracy ( 1992 ) . Elsewhere in this book Michael Cohen analyses in more detail what he calls Dick Tracy's " aesthetic of artifice " in production design ...
Página 11
... tion of sound in the late 1920s changed the nature of cinema drastically . All films became " talkies " —except for some experimental films . Sound is a powerful film technique , because sound engages a distinct sense mode and sound can ...
... tion of sound in the late 1920s changed the nature of cinema drastically . All films became " talkies " —except for some experimental films . Sound is a powerful film technique , because sound engages a distinct sense mode and sound can ...
Contenido
10 | |
34 | |
WILL THE REAL WOLVERINE PLEASE STAND UP? | 61 |
WHEN GENX MET THE XMEN | 83 |
WHAM BAM THE XMEN ARE HERE | 98 |
UNBREAKABLE AND THE LIMITS OF TRANSGRESSION | 113 |
TEEN TRAJECTORIES IN SPIDERMAN AND GHOST WORLD | 134 |
ITS A BIRD ITS A PLANE NO ITS DVD | 157 |
EL SANTO | 196 |
FROM BLOCKBUSTER TO FLOP? | 218 |
OLD MALAY HEROES NEVER DIE | 243 |
ENKI BILALS INTERMEDIAL FANTASIES | 265 |
NOTES | 282 |
REFERENCES | 294 |
CONTRIBUTORS | 314 |
INDEX | 318 |
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