Yet, productions such as Sin City (USA 2005) or Sin City: A Dame to Kill For (USA 2014) show that such an approach is not sufficient any more and that the notion of ‘comic book to film adaptations’ as well as the basal idea of the intermedial transition (from comics to film) have become inadequate in order to describe contemporary movies that refer to the medium of comics.

A movie based on a comic book or comic series (etc.) would therefore always be film and never be comics. With reference to comic book to film adaptations this would mean that the assumed ‘original medium’ of comics is not only transferred to the medium of film, but once the graphic template is converted into a moving picture, the medium of comics will simply vanish and will not be (materially) present any longer. Only the latter one is materially present (Rajewsky 2002: 19). Rajewsky this intermedial transition can be described as the transformation of a media specific and fixed product into another medium, that is conventionally perceived as distinct from the first one. As this definition implies, there are two basic aspects that seem to be essential for comic book to film adaptations, namely the actual existence of a graphic source material and its transition into the medium of film. In general, comic book to film adaptations may be defined as adaptations of drawn comic strips and comic book series for the medium of film (Marschall 2002: 103). Early, Silent and Pre-cinematic Animation.

CFP dedicated to accepted SAS 2020 presenters.The Persistence of Walt Disney’s Snow White and the Seven Dwarfs.The Interdisciplinary Opportunity of Animation.Technological developments in animation II (the post digital).Technological developments in animation I (pre-digital).Past and Present of Independent Animation.Norman McLaren Centenary: McLaren and Movement.New Theoretical Approaches in Animation.

Animation Franchises and the Studio System.

Sin city comic art