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In Film and Comic Books contributors analyze theproblems of adapting one medium to another; the translation ofcomics aesthetics into film; audience.
Table of contents
- The 50 best comic book movies
- Comic Book Adaptation Movies at the Box Office - Box Office Mojo
- We rank some of the most screen-accurate comic casting decisions in cinema
It was, however, worth the wait. Although it loses much of the complexity of the source text, becoming instead a simple mystery, the film is better than you might remember. As with Gainsbourg, this is a tricky one. For Kosinski, it functioned as a way of pitching his original, cinematic vision to the studio. As such, the comic and the film are extremely closely intertwined, with Kosinski masterminding both from the very beginning.
This Cronenberg classic is notable for more than just a clean-shaven Viggo Mortensen and a gratuitous scene of 69ing — it is also one of the best comic book adaptations ever made. However, screenwriter Josh Olson altered the original story considerably. Films : Alien Vs.
Predator Paul W. Anderson, , Alien Vs. Predator: Requiem Greg and Colin Strause, This most celebrated and long-running of genre mash-ups had its origins not in the celebrated SNES game of , but in comic books. However, while the indulgent, fan-pleasing concept flourished on the page and on the computer screen , it floundered in the cinema. Any of the dignity of the original Alien franchise was lost in Paul W. The games and comics continue apace, but the cinema has since been spared.
Sixteen years on and the Men In Black movie franchise still has legs. Perhaps the main reason is the comedic chemistry between Mr.
The 50 best comic book movies
Jones and Mr. Smith, but the original premise still looks pretty strong: a secret group of men and women in sharp suits secretly save the world from the extra-terrestrial with the help of memory-wiping gadgets. Instead of limiting themselves to aliens, creators Lowell Cunningham and Sandy Carruthers include pretty much anything paranormal, including werewolves, zombies and demons. But although it seems prescient in its satire today, its roots go back to , and the bizarre Flaming Carrot Comics.
He is also a part of the Mystery Men, in fact a founding member, but the film jettisons him entirely. Pfarrer wrote the original story as a movie script, but due to special effects limitations, sold the idea to Dark Horse as a comic instead. By , special effects had caught up, and the film was made. Unfortunately, this tale of an American crew battling an alien life form on an abandoned Russian ship was both a critical and commercial flop.
The original comic miniseries follows two undercover agents from different agencies, trying to bring down a drug cartel together. Most obvious is the violence and language: the original comic has a fair amount of action and little bit of swearing, while the film goes buckwild with both. Though Denzel Washington and Mark Wahlberg crack wise occasionally, the film loses most of the wry humour of the comic. Gone is a slight, charming caper, and in its place is a much louder, heavier and slower beast.
Sabrina first appeared in Archie Comics in , and has had a long list of incarnations since then, including a manga version in Her original skimpily-clad appearance was appropriately toned down for the film, where Melissa Joan Hart plays a more demure Sabrina.
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Wisecracking Salem, the family cat, was intact however, and carried over to the successful TV series. The characters are currently on hiatus in comic form but prepare yourselves: there have been rumours of plans for another live-action film, effectively rebooting the franchise. The key element that both the comic and the film share is a focus on social stratification, and English-speaking readers will get a chance to compare for themselves when a translation of the book is released this year.
Perhaps unwisely, the film introduced a lot of comedy that was largely missing from the original comic, and audiences stayed away. Author Posy Simmonds was extremely happy with the film version, and so were audiences.
Comic Book Adaptation Movies at the Box Office - Box Office Mojo
A great title, a not-so-great film. Across its two hour running time, the film does fill in a lot of the gaps from the comic, particularly at the start. Moreover, the scriptwriters all five of them freely embellish their source, creating a whole roster of new characters. Created by Daniel Clowes, the series was stark and dark in its writing, with a spare but striking visual style, and the film was celebrated for successfully translating those elements to the big screen. It also has the distinction of showcasing Scarlett Johansson in possibly her last teenage role.
Originally appearing as a character in Conan The Barbarian, Red Sonja has proved a remarkably enduring heroine in comic book form. By contrast, the Kate Beckinsale film was a messy affair, bereft of style or suspense. The comic book movie genre follows a vigilante or outsider character engaged in a form of revenge narrative, and is pitched at a heightened reality with a visual style marked by a distinctly comic book imagery. Burke, , Using original audience research, industry numbers and reviews, Burke delineates these non-mutually exclusive categories and highlights the continuing commercial importance of perceived fidelity to the source material, even among non-fans.
Fans adjudicate this fidelity criticism, which is then amplified by mainstream audience beyond the boundaries of fandom To do so, the book presents a series of case studies, which serve to highlight the way certain attributes of comics are remediated into film and vice-versa. Puzzlingly, he suggests that an adaptation is not necessarily a remediation, though this definition would seem to position adaptation either as a specific case of remediation or a phenomenon existing at a different level altogether. In order not to get sidetracked by the difference in cultural and industrial practices in Japan and in Europe, Morton focuses exclusively on contemporary films , from Superman to Man of Steel based on American comics.
This is an important and effective concept, in that the Scott Pilgrim comics, film and video games do echo and reinforce each other but does not reward involvement through interlocking narratives. This fidelity is manifest in the way certain storylines are referred to, in the implication of fans or even of the original creators — Frank Miller being credited as the co-director of Sin City — and in some cases in stylistic remediation.
The high point of this chapter is the discussion of the Superman film and its stylistic choices, which has received less attention from academics that the later Batman movies, for instance, though it inaugurated the modern age of superhero movies with panache and a historical awareness of its predecessors. Finally, American Splendor allows Morton to examine the remediation of the specific relation between texts and pictures in comics, notably through the inclusion of on-screen thought balloons.
We rank some of the most screen-accurate comic casting decisions in cinema
They also resort to the same theorists for the most part, from Groensteen and McCloud to Bordwell and Thompson to Jenkins, which reinforces this overlap and strongly suggests that a core theoretical corpus exist for these comics adaptation studies. The thematic approach in The Comic Book Film Adaptation also produces a more satisfying overview of the phenomenon of comic book films, and the framework of genre theory proves helpful in charting the various discourses which surround these films. The Comic Book Film Adaptation, also the longer of the two books, is therefore a preferable entry point into the phenomenon, grounded in an impressive amount of original research, undergirded by a solid and extensive theoretical framework.
The book is thus focused on examples of overt remediation, which have often been widely discussed by other scholars, including Burke. It does succeed however in arguing for the recognition of stylistic remediation as a distinct creative and commercial strategy. These advances make it a recommended reading for scholars interested in the evolution of transmedia, a field recently enriched by a number of significant historical and theoretical works. Their publication by the University Press of Mississippi over the course of 18 months also points to the fact the interest generated by the adaptation of comics into films does not extend to other adaptation practices involving comics.