By Ian Gordon, Mark Jancovich, Matthew P. McAllister
In Film and comedian Books individuals examine the issues of adapting one medium to a different; the interpretation of comics aesthetics into movie; viewers expectancies, reception, and response to comedian book-based movies; and the difference of flicks into comics.
A wide selection of comic/film variations are explored, together with superheroes (Spider-Man), comedian strips (Dick Tracy), realist and autobiographical comics (American Splendor, Ghost World), and photo-montage comics (Mexico's El Santo).
Essayists talk about movies starting with the 1978 Superman. That good fortune led filmmakers to evolve a mess of comedian books for the monitor together with Marvel's Uncanny X-Men, the Amazing Spider-Man, Blade, and the Incredible Hulk in addition to substitute picture novels reminiscent of From Hell, V for Vendetta, and Road to Perdition.
Essayists additionally talk about fresh works from Mexico, France, Germany, and Malaysia.
Essays from Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan grey, Craig Hight, Derek Johnson, Pascal Lef?vre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David Wilt
Ian Gordon is affiliate professor of historical past and convenor of yank experiences on the nationwide collage of Singapore. Mark Jancovich is professor of movie and tv reviews on the collage of East Anglia. Matthew P. McAllister is affiliate professor of movie, video, and media stories at Pennsylvania country college.
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Additional info for Film and Comic Books
T H E P R O B L E M AT I C A D A P TAT I O N O F D R AW N I M A G E S [ 11 ] That type of thing. Well, that would have been corny as hell on the screen. He left that out . . ” So the change from a “silent medium” to a “sound medium” poses also a lot of problems for the adaptation. The starting point of this article was the debate on the value of ﬁlmic adaptations of comics. Such ﬁlms may be popular, but they remain controversial, especially in the eyes of the cultural elite and the diehard comics fans.
6. Complicated makeup and prosthetics abstract and exaggerate a particular feature of each character, such as Flattop and The Brow. actions and the bizarre collection of villains is contingent upon accepting their implausibility as a cinematic “translation” of a comic aesthetic. Dick Tracy goes beyond simply transferring the character from the comic pages to the screen using elaborate costuming; the ﬁlm illustrates the hero’s iconic speciﬁcity through conspicuous framing and lighting. Tracy is introduced in shots that allow the spectator to fully contemplate the visual design of the character.
So every drawing style implies a certain interpretation of the reality in visual terms, a particular visual ontology (Rawson, 1987:19). A photographic image has, by its optic nature alone, a quite different visual ontology. Viewers do not react in the same way to a drawing as to a photographic image. Although photos can also be manipulated by using special software such as Photoshop, generally the viewer still accords more realism to a photo than to a stylized drawing. For instance, stylized drawings do not deliver a successful trompe l’oeuil, whereas an optic image can easily fool the eye and the mind of the viewer.