33 39 279 novel to 171 novels into film 170 nuclei

nostalgia, 27, 28, 33, 39, 279
Novel to Film , 15, 17, 171
Novels into Film , 170
nuclei, 15–16
NYPD Blue (Milch and Bochco 1993), 165
O Brother, Where Art Thou? , 211, 297
Oblivion (Kosinski 2013), 77, 269
Occupy Wall Street, 43, 45
Odin, Roger, 175
Oldboy (Park 2003), 5
Oldman, Gary, 239
Olsen, Jimmy, 158
O’Malley, Bryan Lee, 145, 226
“One More Day,” 65
O’Neil, Dennis: alter ego, 238; Bat-bible, 9,
164, 229, 293; Batman popularity, 32; bor-
rowing, 166; coloring, 210, 297; continu-
ity, 163; fidelity, 165; genre conventions,
105; Gotham City, 29; heightened realism,
286; villains, 255
Opper, Frederick Burr, 199
O’Reilly, Tim, 142
original comic art, 228, 298
Osborn, Norman, 61, 62
Our Cancer Year (Brabner, Pekar, and Stack
1994), 8, 210
Outcault, Richard F., 248
“Outfitting a Hero,” 259
Packaging Boyhood , 105
Packer, Sharon, 24
Paintbox, 212
palimpsest, 19, 82

364
Index
paratext, 66, 89, 90, 150
paratextual material: analysis, 9, 12; citation
of source material, 149; genre definition,
90; graphic stylization, 212; industrial
recognition, 86; markers, 99; transmedia
storytelling, 282
Parker, Gillian, 12, 274
parody, 108, 110, 114, 152, 253
Parody, Clare, 21, 22, 69, 173
Participations: Journal of Audience and
Reception Studies , 10
participatory culture, 76, 112, 134, 142, 152,
167, 265
Pascal, Amy, 55, 64
Pasko, Martin, 67, 250, 276, 277, 292
Pearce, Guy, 262
Pearson, Robert E.: anatomy, 255; coloring,
210, 297; fan community, 131, 162; inability
to move forward, 60; strict continuity, 163
Pedler, Martyn, 20, 97, 176, 188
Peeters, Benôit, 179
Pekar, Harvey: adaptation of work, 14; adap-
tation proper, 185; comic book conven-
tion, 100; freeze frame, 194; heightened
reality, 104; introduction of, 44; market-
ing, 283; vigilante, 286
Percy Jackson (Columbus 2010), 87
Perelman, Ron, 72
Perlmutter, Isaac, 58, 72
Perry White, 158
Persepolis (Satrapi and Paronnaud 2008),
5, 92
Phantom, The (Wincer 1996), 109
Phelps, Nigel, 211
Piano, The (Campion 1993), 85
Pierson, Michele, 48, 296
Pietrzak-Franger, Monika, 18, 20
Pirates of the Caribbean: Dead Man’s Chest
(Verbinski 2006), 25
plasticity, 213, 266
Platinum Comics, 74
plewds, 214, 215, 298
Plumb, Ali, 77
Poetics of Slumberland, The , 4, 7, 177, 249
Polan, Dana, 45
Polar Express, The (Zemeckis 2004), 7, 266
political hybridity, 38
Pope, Bill, 105, 298
Popeye (Altman 1980), 182, 184, 205, 242, 271
Porter, Edwin S., 4
posturing, 240, 245
Potts, John, 49
Power of Comics, The , 133, 273
Preacher , 133
Predator , 97
Pride and Prejudice , 54
Prince, 67
Prince, Stephen, 51, 214, 217, 279, 297
Prince of Persia , 267, 278, 280
Proctor, William, 10, 18, 273
Proctor and Gamble, 74
“Producer’s Game,” 109
Professor Xavier, 239
pro-filmic model, 204
Promethea , 133
PS: Political Science & Politics , 24
Psycho (Hitchcock 1960), 114–15
Pula, Chris, 163
Pulitzer, Joseph, 6
Punch (1841), 6
Punisher, 96, 285
Punisher, The (Hensleigh 2004), 95, 119, 151
Punisher: War Zone (Alexander 2008), 64,
160, 270, 285
Push (McGuigan 2009), 99, 102, 103, 106,
220, 221
Pustz, Matthew J.: demographic consistencies,
132, 133; fan community, 156, 290; fan dis-
course, 134, 145; marketing strategies, 154
Queen Gorgo, 78, 101
Queensboro Bridge, 25, 34
“Questions of Genre,” 39, 107, 115
Rachel Dawes, 62, 112, 164
Rae, Neil: episodic texts, 134; fan interpreta-
tion, 10, 86; fidelity, 87; importance of
fans, 166; non-reader fans, 112, 120
Raiders of the Lost Ark (Spielberg 1981), 59,
245, 285

365
Index
Raimi, Sam, 24, 30, 64, 105
Rambo (Stallone 2008), 97, 285
Rambo, John, 38, 101
Ra’s al Ghul, 41, 165
Raw, Laurence, 275
Ray, Robert B., 54, 131
re-articulation, 115
RED , 74
Red (Schwentke 2010), 97
Red Skull, 261
reductivism, 39
Reeve, Christopher, 238, 276, 277
Regalado, Aldo J., 31, 110, 134, 279
Reinventing Comics : 9/11 impact on com-