Film and Comic BooksIan Gordon, Mark Jancovich, Matthew P. McAllister Univ. Press of Mississippi, 2010 M01 6 - 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.
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... artist uses clear contour lines to de- note the various objects in his pictures. Although such outlines in drawn pictures may be less analogous to the external world, they are not nec- essarily inferior in their capacity for grasping ...
... artist's visual thought is what matters; and somehow or other it must be 'true,' i.e. have a functional rela- tionship to what artist and spectator accept as truth.” (Rawson, 1987, 23). A successful artistic solution is so compelling ...
... artist — the fa- mous ' clear line ' — is the unifying element of the work that guarantees its coherence ; when this is lost , confusion and incredulousness surface . On the whole , the Tintin - adaptations are an indirect demonstration ...
... artists as crafty ( co ) directors of films ( see further in this book the analysis of Immortels ) . The mise - en - scene and the art direction are thus of paramount importance , because not only the characters , but also the decors ...
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Contenido
1 | |
13 | |
FROM HOLLYWOOD BLOCKBUSTER TO DARK HORSE COMIC BOOK | 37 |
MARVELS MUTATION FROM MONTHLIES TO MOVIES | 64 |
RETEXTUALIZING COMIC BOOK FILM RECEPTION | 86 |
THE BRITISH BROADSHEET PRESS AND THE XMEN FILMS AND COMIC | 101 |
UNBREAKABLE AND THE LIMITS OF TRANSGRESSION | 116 |
TEEN TRAJECTORIES IN SPIDERMAN AND GHOST WORLD | 137 |
THE CASE OF A MEXICAN MULTIMEDIA HERO | 199 |
THE APPARENT FAILURE OR POSSIBLE TRANSCENDENCE OF RALF KÖNIGS QUEER COMICS AESTHETIC IN MAYBE MAYBE NOT A... | 221 |
THE STORY OF HANG TUAH IN FILMS AND COMICS | 246 |
FROM COMIC BOOK NIKOPOL TRILOGY TO FILM IMMORTALS AD VITAM | 268 |
NOTES | 285 |
REFERENCES | 297 |
CONTRIBUTORS | 317 |
INDEX | 321 |
SUPERMAN SMALLVILLE AND THE PRODUCTION OF MELODRAMA | 160 |
TRANSLATING COMIC AUTOBIOGRAPHY INTO DRAMADOCUMENTARY | 180 |