Comics as a Nexus of Cultures: Essays on the Interplay of by Mark Berninger, Jochen Ecke, Gideon Haberkorn, Donald E.

By Mark Berninger, Jochen Ecke, Gideon Haberkorn, Donald E. Palumbo, C. W. Sullivan III

Those essays from a variety of severe disciplines learn how comedian books and image narratives movement among a number of media, whereas merging formative years and grownup cultures and renowned and excessive artwork. The articles function overseas views on comics and image novels released within the united states, Canada, nice Britain, Portugal, Germany, Turkey, India, and Japan. issues diversity from movie variation, to journalism in comics, to the present manga growth.

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Extra info for Comics as a Nexus of Cultures: Essays on the Interplay of Media, Disciplines and International Perspectives (Critical Explorations in Science Fiction and Fantasy)

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BATMAN: Escalation? GORDON: We start carrying semi-automatics, they buy automatics. We start wearing Kevlar, they buy armor-piercing rounds. BATMAN: And? GORDON: And you’re wearing a mask and jumping off rooftops. Instead of the usual signature shot of the superhero’s silhouette atop a skyscraper, watching over the city’s well-being like a gargoyle, Batman Begins ends with one of the film’s key villains, Scarecrow, on the loose, and with the introduction of Batman’s best-known nemesis, The Joker, as the next case for the Dark Knight to pursue.

Comic book adaptations in the mainstream as well as in the independent sector are no longer only directed by reliable realisateurs, such as Brett Ratner or Rob Bowman, but by passionate auteurs who try to find a synthesis between their individual style and the trademarks established by the comic books. Comparable to the comic book “runs” authored by individual artists within the fixed mythology of a continuing series, the directors contribute their own interpretations to an ongoing franchise. Richard Donner’s and Richard Lester’s Superman films from the late 1970s and early 1980s proved that superhero adaptations could be true to the comic book as well as be attractive to a larger commercial audience.

But their narratives — without exception — fall within the realm of the “Sil- 3. From Trauma Victim to Terrorist (Hassler-Forest) 37 ver Age” in the history of American comics that presented straightforward, nonironic superhero narratives. Batman Begins digs much more deeply into the issues of childhood trauma and morality, firstly by making it clear how thin the line is that separates Batman’s vigilantism from the ideology of a terrorist organization. The first part of the film consists of flashbacks to Bruce Wayne’s childhood trauma, followed by a sequence about his self-imposed exile in an unidentified mountainous region in Asia.

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