Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0003
- Subject:
- Literature, Comics Studies
The comic book film adaptation trend ushered in by X-Men in 2000 soon developed into a full-fledged genre. Chapter Two charted the development of this genre and probed its boundaries. Identifying the ...
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The comic book film adaptation trend ushered in by X-Men in 2000 soon developed into a full-fledged genre. Chapter Two charted the development of this genre and probed its boundaries. Identifying the conventions of these films, the chapter defined the comic-book movie as a genre that follows a vigilante or outsider character engaged in a form of revenge narrative, and is pitched at a heightened reality with a visual style marked by distinctly comic book imagery. Refining earlier genre models with a bacterial growth analogy, the development of this genre was plotted and its next phase was predicted.Less
The comic book film adaptation trend ushered in by X-Men in 2000 soon developed into a full-fledged genre. Chapter Two charted the development of this genre and probed its boundaries. Identifying the conventions of these films, the chapter defined the comic-book movie as a genre that follows a vigilante or outsider character engaged in a form of revenge narrative, and is pitched at a heightened reality with a visual style marked by distinctly comic book imagery. Refining earlier genre models with a bacterial growth analogy, the development of this genre was plotted and its next phase was predicted.
Lia Brozgal
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789622386
- eISBN:
- 9781800341289
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789622386.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 2 brings together several strands of analysis which, together, produce an argument about both official archives and the representation of archives or archival material in works of fiction. ...
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Chapter 2 brings together several strands of analysis which, together, produce an argument about both official archives and the representation of archives or archival material in works of fiction. Beginning with a narrative about the Parisian police archives on October 17, this chapter charts the archives’ slow road to declassification and the various obstacles that have led to the persistent belief that the machinations of the French state make it impossible to ever fully know their contents. The second section operates in two modes: ethnographically, detailing the author’s own experience of consulting the freshly declassified police archives, and hermeneutically, that is, in the manner of literary critic, offering typological assessments and interpretations of the archival material itself. The final sections of this chapter connect the archive to the anarchive, demonstrating that the latter stages its own archive stories—narratives about the provenance of the archive, its history, and its effect on its user—by foregrounding the subjective experience of characters (researchers, detective, scholars, reporters) who work in, against, or in the absence of archives.Less
Chapter 2 brings together several strands of analysis which, together, produce an argument about both official archives and the representation of archives or archival material in works of fiction. Beginning with a narrative about the Parisian police archives on October 17, this chapter charts the archives’ slow road to declassification and the various obstacles that have led to the persistent belief that the machinations of the French state make it impossible to ever fully know their contents. The second section operates in two modes: ethnographically, detailing the author’s own experience of consulting the freshly declassified police archives, and hermeneutically, that is, in the manner of literary critic, offering typological assessments and interpretations of the archival material itself. The final sections of this chapter connect the archive to the anarchive, demonstrating that the latter stages its own archive stories—narratives about the provenance of the archive, its history, and its effect on its user—by foregrounding the subjective experience of characters (researchers, detective, scholars, reporters) who work in, against, or in the absence of archives.
