LEADER 03226nam 2200517 450 001 9910151719203321 005 20230810001355.0 010 $a1-4968-0982-3 035 $a(CKB)3710000000952374 035 $a(MiAaPQ)EBC4745701 035 $a(StDuBDS)EDZ0001919382 035 $a(EXLCZ)993710000000952374 100 $a20160706h20172017 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aPanel to the screen $estyle, American film, and comic books during the blockbuster era /$fDrew Morton 210 1$aJackson :$cUniversity Press of Mississippi,$d2018. 215 $a1 online resource (239 pages) $cillustrations 300 $aPreviously issued in print: 2016. 311 $a1-4968-0978-5 320 $aIncludes bibliographical references and index. 330 $a"Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into "high" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception"--$cProvided by publisher. 606 $aFilm adaptations$xHistory and criticism 606 $aMotion pictures and comic books 606 $aSuperhero films 606 $aComic strip characters in motion pictures 606 $aMotion pictures$xProduction and direction$zUnited States 606 $aMotion picture industry$zUnited States 615 0$aFilm adaptations$xHistory and criticism. 615 0$aMotion pictures and comic books. 615 0$aSuperhero films. 615 0$aComic strip characters in motion pictures. 615 0$aMotion pictures$xProduction and direction 615 0$aMotion picture industry 676 $a791.43/6 700 $aMorton$b Drew$f1983-$01378784 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910151719203321 996 $aPanel to the screen$93417739 997 $aUNINA