Amazon cover image
Image from Amazon.com

Comic book film style : cinema at 24 panels per second / Dru Jeffries.

By: Material type: TextTextLanguage: English Publisher: Austin, TX : University of Texas Press, 2017Edition: First editionDescription: viii, 259 pages : illustrations ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 9781477314500
  • 1477314504
  • 9781477313251 (cloth : alk. paper)
  • 1477313257 (cloth : alk. paper)
Subject(s): DDC classification:
  • 741.43/6
LOC classification:
  • PN 1997.85 J47c 2017
Contents:
The six modes of interaction between comics and film -- Vandalizing the fourth wall : word-image hybridity and a comic book cinema of attractions -- These panels have been formatted to fit your screen : remediating the comics page through the cinematic frame -- The privileged instant : remediating stasis as movement -- The polymedial comic book film -- Conclusion.
Summary: Superhero films and comic book adaptations dominate contemporary Hollywood filmmaking, and it is not just the storylines of these blockbuster spectacles that have been influenced by comics. The comic book medium itself has profoundly influenced how movies look and sound today, as well as how viewers approach them as texts. Comic Book Film Style explores how the unique conventions and formal structure of comic books have had a profound impact on film aesthetics, so that the different representational abilities of comics and film are put on simultaneous display in a cinematic work. With close readings of films including Batman: The Movie, American Splendor, Superman, Hulk, Spider-Man 2, V for Vendetta, 300, Scott Pilgrim vs. the World, Watchmen, The Losers, and Creepshow, Dru Jeffries offers a new and more cogent definition of the comic book film as a stylistic approach rather than a genre, repositioning the study of comic book films from adaptation and genre studies to formal/stylistic analysis. He discusses how comic book films appropriate comics' drawn imagery, vandalize the fourth wall with the use of graphic text, dissect the film frame into discrete panels, and treat time as a flexible construct rather than a fixed flow, among other things. This cinematic remediation of comic books' formal structure and unique visual conventions, Jeffries asserts, fundamentally challenges the classical continuity paradigm and its contemporary variants, placing the comic book film at the forefront of stylistic experimentation in post-classical Hollywood.
Tags from this library: No tags from this library for this title. Log in to add tags.
Star ratings
    Average rating: 0.0 (0 votes)
Holdings
Item type Current library Home library Collection Shelving location Call number Copy number Status Date due Barcode
Libro Libro Biblioteca Juan Bosch Biblioteca Juan Bosch Humanidades Humanidades (4to. Piso) PN 1997.85 J47c 2017 (Browse shelf(Opens below)) 1 Available 00000120667

Includes bibliographical references (pages [241]-251) and index.

The six modes of interaction between comics and film -- Vandalizing the fourth wall : word-image hybridity and a comic book cinema of attractions -- These panels have been formatted to fit your screen : remediating the comics page through the cinematic frame -- The privileged instant : remediating stasis as movement -- The polymedial comic book film -- Conclusion.

Superhero films and comic book adaptations dominate contemporary Hollywood filmmaking, and it is not just the storylines of these blockbuster spectacles that have been influenced by comics. The comic book medium itself has profoundly influenced how movies look and sound today, as well as how viewers approach them as texts. Comic Book Film Style explores how the unique conventions and formal structure of comic books have had a profound impact on film aesthetics, so that the different representational abilities of comics and film are put on simultaneous display in a cinematic work. With close readings of films including Batman: The Movie, American Splendor, Superman, Hulk, Spider-Man 2, V for Vendetta, 300, Scott Pilgrim vs. the World, Watchmen, The Losers, and Creepshow, Dru Jeffries offers a new and more cogent definition of the comic book film as a stylistic approach rather than a genre, repositioning the study of comic book films from adaptation and genre studies to formal/stylistic analysis. He discusses how comic book films appropriate comics' drawn imagery, vandalize the fourth wall with the use of graphic text, dissect the film frame into discrete panels, and treat time as a flexible construct rather than a fixed flow, among other things. This cinematic remediation of comic books' formal structure and unique visual conventions, Jeffries asserts, fundamentally challenges the classical continuity paradigm and its contemporary variants, placing the comic book film at the forefront of stylistic experimentation in post-classical Hollywood.

There are no comments on this title.

to post a comment.