The comic book film adaptation : exploring modern Hollywood's leading genre

386 Pages·2015·24.71 MB·English

by  Burke

THE COMIC BOOK FILM ADAPTATION
COMIC BOOK FILM
THE
ADAPTATION
Exploring Modern Hollywood’s Leading Genre
LIAM BURKE
University Press of Mississippi / Jackson
www.upress.state.ms.us
The University Press of Mississippi is a member of the Association of American University Presses.
Copyright © 2015 by University Press of Mississippi All rights reserved
Manufactured in the United States of America First printing 2015
∞
Library of Congress Cataloging-in-Publication Data Burke, Liam (Liam P.) The
comic book film adaptation : exploring modern
Hollywood’s leading genre / Liam Burke.
pages cm
Includes bibliographical references and index.
ISBN 978-1-62846-203-6 (hardback) — ISBN 978-1-62674-515-5 (ebook)
1. Film adaptations—History and criticism. 2. Motion pictures and comic books. 3. Superhero films. 4.
Comic strip characters in motion pictures. 5. Motion picture production and direction—United States. 6.
Motion picture industry—United States. I. Title.
PN1997.85B87 2015
791.43’6—dc23 2014042191
British Library Cataloging-in-Publication Data available
CONTENTS
Acknowledgments
Introduction
CHAPTER ONE
The Golden Age of Comic Book Filmmaking
CHAPTER TWO
The Comic Book Movie Genre
CHAPTER THREE
Fans, Fidelity, and the Grammar of Value
CHAPTER FOUR
A Comic Aesthetic
CHAPTER FIVE
How to Adapt Comics the Marvel Way
CONCLUSION
The Future of the Comic Book Movie
APPENDIX
North American Box-Office Totals for Comic Book Film Adaptations
Notes
Works Cited
Index
ACKNOWLEDGMENTS
With many solitary evenings spent pursuing an ever-receding goal, there are
more than a few parallels between researching a book and the exploits of comic
book loners. However, in compiling these acknowledgments I was reminded of
the hero’s epiphany in the final panels of Grant Morrison’s The Return of Bruce
Wayne, “The first truth of Batman … I was never alone. I had help.” I would like
to recognize the contributions of the many groups and individuals who guided
this book to publication.
Firstly, I want to thank Leila Salisbury and the team at the University Press
of Mississippi for taking on this project, and all the care and patience they
demonstrated. Much of this research was carried out during my time at the
Huston School of Film & Digital Media at the National University of Ireland,
Galway, and I would like to acknowledge my former colleagues Seán Crosson,
Sean Ryder, Tony Tracy, Dee Quinn, Conn Holohan, and Rod Stoneman for
their advice and support. Equally, I must recognize my colleagues at Swinburne
University of Technology, in particular Carolyn Beasley for her diligent
proofreading and Jason Bainbridge for applying the keen eye of a fan and a
scholar. I was fortunate to be funded by the Irish Research Council during the
earliest stages of this research, support for which I am very grateful.
I would like to thank the industry professionals who took the time to discuss
their work, including Evan Goldberg, Kevin Grevioux, Joe Kelly, Paul Levitz,
Steve Niles, Dennis O’Neil, Scott Mitchell Rosenberg, Michael E. Uslan, and
Mark Waid. These interviews provided insights that greatly enriched this study.
Special thanks must go to Will Sliney, whose dynamic cover leaves little doubt
as to why he is quickly becoming one of Marvel Comics most popular artists.
Over the course of my research, this book has consistently been reworked.
Much of this refinement can be attributed to the scholars I have met on the long
road to publication. Firstly, I would like to thank Will Brooker for his detailed
feedback and guidance. I want to recognize Peter Coogan, Randy Duncan, and
Kathleen McClancy of the Comics Arts Conference, and Imelda Whelehan and
Deborah Cartmell of the Association of Adaptation Studies for the many
opportunities to present my research and receive crucial advice. I would also like
to thank Martin Barker for important pointers, as well as the opportunity to
publish early findings in Participations: Journal of Audience and Reception
Studies. Furthermore, I must acknowledge the “anonymous” readers who
provided essential feedback.
A sincere thank-you to Neasa Glynn and the staff of the Eye Cinema,
Galway, for allowing me to carry out important audience research, as well as the
many filmgoers who graciously filled out surveys. I would like to acknowledge
my friends who lent their support and expertise. From helping out with surveys
to proofreading drafts, I am indebted to Dave Coyne, Veronica Johnson, Gar
O’Brien, Siobhan O’Gorman, Barry Ryan, Adam Scott, and Maura Stewart.
Graph-Man Andrew Rea deserves particular credit for his enthusiasm and
essential design skills. I would, of course, like to thank my family for their
unwavering encouragement. Finally, and most importantly, I need to express my
heartfelt appreciation to my wife, Helen, who has endured too many hours of
comics and films, incalculable dog-eared drafts, and holidays annexed by
conferences. Her support is unconditional, and it is to Helen that I dedicate this
book.