For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. Drawing on concepts from several disciplinary fields-including semiotics, literary and narrative theory, art history, and psychology-El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth. Intended for both academics and fans of the superhero genre, this anthology introduces the innovative and growing synergy between traditional comic books and digital media.Īutobiographical Comics by Elisabeth El Refaie A troubled childhood in Iran. This unique approach to the examination of digital media and superhero studies provides new and valuable readings of well-known texts and practices. The contributors to this volume engage cinema, comics, video games, and even live stage shows to instill readers with new ways of looking at, thinking about, and experiencing some of contemporary media's most popular texts. Essays in this volume engage with several of the most iconic heroes-including Batman, Hulk, and Iron Man-through a variety of academic disciplines such as industry studies, gender studies, and aesthetic analysis to develop an expansive view of the genre's potency. Superhero Synergies: Comic Book Characters Go Digital explores this developing relationship between superheroes and various forms of media, examining how the superhero genre, which was once limited primarily to a single medium, has been developed into so many more. Although this convergence is apparent in many genres, perhaps nowhere is it more persistent, more creative, or more varied than in the superhero genre. As a result, traditional ideas about the relationship between varying media have come under striking revision. Popular media no longer exists in isolation, but converges into complex multidimensional entities. In a single year alone, films featuring Batman, Spider-Man, and the Avengers have appeared on the big screen.
Their stories are now featured in films, video games, digital comics, television programs, and more. Gilmore (Editor) Matthias Stork (Editor) In the age of digital media, superheroes are no longer confined to comic books and graphic novels.
#STORYTELLING SEQUENTIAL ART MOVIE#
As it explores our abiding desire to experience the same characters and stories in multiple forms, Movie Comics gives readers a new appreciation for the unique qualities of the illustrated page and the cinematic moving image. While analyzing this production history, he also tracks the artistic coevolution of films and comics, considering the many formal elements that each medium adopted and adapted from the other. With a special focus on the Classical Hollywood era, Blair Davis investigates the factors that spurred this media convergence, as the film and comics industries joined forces to expand the reach of their various brands. Movie Comics is the first book to study the long history of both comics-to-film and film-to-comics adaptations, covering everything from silent films starring Happy Hooligan to sound films and serials featuring Dick Tracy and Superman to comic books starring John Wayne, Gene Autry, Bob Hope, Abbott & Costello, Alan Ladd, and Dean Martin and Jerry Lewis. Yet adaptations of comics have been an integral part of American cinema from its very inception, with comics characters regularly leaping from the page to the screen and cinematic icons spawning comics of their own. Movie Comics by Blair Davis As Christopher Nolan's Batman films and releases from the Marvel Cinematic Universe have regularly topped the box office charts, fans and critics alike might assume that the "comic book movie" is a distinctly twenty-first-century form.
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