Sad to report that there’s nothing really new on the videographic front for now. I had to finish proofing a piece on the Watchmen motion comics for an upcoming “In Focus” at Cinema Journal and to start getting my ducks in a row for SCMS 2017. Fall 2016 is looking to be quite busy – between the teaching and technology roundtable I’m participating on at Flow, two articles (one on Star Wars and one on videographic criticism), a speaking engagement at Towson University in October, run up to the book release, and my usual teaching load – it’s going to be pretty intense. Thankfully, the U gave me a teaching reduction for one course, which is most welcome.
I posted the bulk of my syllabi in the last post, but I have one to add for my Introduction to MCOM course (15 weeks, lower-division).
In the meantime, I’ve gotten a few of the marketing pull quotes for the book Panel to the Screen and they’re very flattering.
“Hot on the heels of Hollywood’s rush to mine and monetize the immense imagined worlds of comics, comes this patient, much-needed intervention by Drew Morton. Panel to the Screen provides a convincing, well-written, and persuasively argued ‘poetics’ of the often-complex film-comics interaction. Morton is particularly good at showing how and why stylistic aesthetics, industrial organization, and adaptation theories must be considered alongside each other, in order to grasp the full significance of the comics-to-film creative enterprise.”-John T. Caldwell, author of Production Culture: Industrial Reflexivity and Critical Practice in Film and Television
“At a time when superhero blockbusters dominate the box office, we need to know much more than we do about the formal and institutional factors shaping these films. In From Panel to Screen, Drew Morton provides a nuanced account of why these films look the ways they do as producers adopt a range of strategies for the cinematic remediation and translation of comics and in turn, he considers how comic artists absorb devices from Hollywood which make their books seem that much more screen-ready when read by studio executives. This groundbreaking book moves from one rich and compelling case study to the next and will be essential reading for anyone interested in comics, films, and the relationship between them. “-Henry Jenkins, author of Convergence Culture: Where Old and New Media Collide.
“Batman (1989) launched what has become a commercial legacy in Hollywood—the successful adaptation of the superhero comic book to the big screen as blockbuster entertainment. However, few scholars have traced the historical restructuring of the comic book’s cultural worth within the industry that preceded this development. Morton’s meticulous exploration of stylistic remediation in Sin City (2005) is particularly stunning, as he traces the filmmakers’ painstaking efforts to translate the graphic style and formal properties of Frank Millers’ revered 1991 comic book—its panels, speed lines, flat compositions, high contrast, low key lighting, and multi-frame—onto the movie screen.”-Denise Mann, author of Hollywood Independents: The Postwar Talent Takeover