<p>Over the past forty years American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City 300 and Scott Pilgrim vs. the World have adopted components of their source materials&#39; visual style. The screen has been fractured into panels the photographic has given way to the graphic and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words films have begun to look like comics.</p><p>Yet this interplay also occurs in the other direction. In order to retain cultural relevancy comic books have begun to look like films. Frank Miller&#39;s original Sin City comics are indebted to film noir while Stephen King&#39;s The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities.</p><p>In Panel to the Screen Drew Morton examines this dialogue in its intersecting and rapidly changing cultural technological and industrial contexts. Early on many questioned the prospect of a &quot;low&quot; art form suited for children translating into &quot;high&quot; art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets grosses and audience reception.</p>
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