000 | 03107cam a2200397 i 4500 | ||
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001 | 19165447 | ||
003 | IIITD | ||
005 | 20180510162800.0 | ||
008 | 160706s2017 msua b s001 0 eng | ||
010 | _a 2016020358 | ||
020 | _a9781496809780 | ||
040 |
_aDLC _beng _cDLC _erda _dDLC |
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042 | _apcc | ||
050 | 1 | 0 |
_aPN1997.85 _b.M685 2017 |
082 | 0 | 0 |
_a791.436 _223 _bMOR-P |
084 |
_aLIT017000 _aSOC052000 _aSOC022000 _2bisacsh |
||
100 | 1 | _aMorton, Drew | |
245 | 1 | 0 |
_aPanel to the screen : _bstyle, American film, and comic books during the blockbuster era _cDrew Morton. |
260 |
_aNew York : _bUniversity Press of Mississippi, _c©2017. |
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300 |
_axi, 226 p. : _bill. ; _c24 cm. |
||
504 | _aIncludes bibliographical references (pages 205-219) and index. | ||
520 | _a"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. In Panel to the Screen, Drew Morton 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. Morton 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"-- | ||
650 | 0 |
_aFilm adaptations _xHistory and criticism. |
|
650 | 0 | _aMotion pictures and comic books. | |
650 | 0 | _aSuperhero films. | |
650 | 0 | _aComic strip characters in motion pictures. | |
650 | 0 |
_aMotion pictures _xProduction and direction _zUnited States. |
|
650 | 0 |
_aMotion picture industry _zUnited States. |
|
650 | 7 |
_aLITERARY CRITICISM / Comics & Graphic Novels. _2bisacsh |
|
650 | 7 |
_aSOCIAL SCIENCE / Media Studies. _2bisacsh |
|
650 | 7 |
_aSOCIAL SCIENCE / Popular Culture. _2bisacsh |
|
776 | 0 | 8 |
_iOnline version: _aMorton, Drew, 1983- author. _tPanel to the screen _dJackson : University Press of Mississippi, 2016 _z9781496809797 _w(DLC) 2016031386 |
906 |
_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg |
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942 |
_2ddc _cBK |
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999 |
_c24619 _d24619 |