33 39 279 Novel to 171 Novels into Film 170 nuclei

33 39 279 novel to 171 novels into film 170 nuclei

This preview shows page 372 - 375 out of 381 pages.

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
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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
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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-
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