Frank Miller

Welche Rolle spielt die Kategorie Gender für die Konstitution von Comic und Film?
Véronique Sina geht dieser Frage anhand ausgewählter Comic- und Filmbeispiele wie Frank Millers »Sin City«, Enki Bilals »Immortel (ad vitam)« oder Matthew Vaughns »Kick-Ass« nach. Auf Basis einer detailreichen, vergleichenden Analyse beider Medien entwickelt sie das Konzept des performativen Comicfilms und verdeutlicht dabei gleichzeitig, wie sich Comic, Film und Gender wechselseitig generieren und produktiv aufeinander einwirken. Mit dieser Fokussierung auf die reziproke Beziehung der Performativität von Gender sowie der Medialität des Performativen leistet die Studie einen wichtigen Beitrag zu den Gender-Media Studies.

Resumen Este artículo estudia el diseño gráfico en el cómic Batman: The Dark Knight Returns (1986), de Frank Miller, en tanto elemento fundamental para el concepto, tratamiento narrativo y formato de publicación de la obra, aspectos cruciales en su impacto innovador y repercusión cultural. Se analiza en particular el diseño de portada, de página y del estilo gráfico con herramientas de los estudios de Cultura visual, Historia del arte, Sociología y Estética. Palabras clave: comic book, novela gráfica, diseño gráfico, imagen/texto, Frank Miller. Abstract This article studies Frank Miller's 'Batman: The Dark Knight Returns' (1986) graphic design, as a key figure for the concept, narrative treatment and publication format of the book, which were important parts of its formal innovation and cultural impact. In particular, cover design, page design and graphic style are discussed, using Visual culture, Art history, Sociology and Aesthetics tools.

The 1980s: The Superhero genre experiments the most significant transformation since the creation of Superman in 1939. A new age of superheroes begins, in which the funny characters for children become darker, violent, brutal, more and more realistic, disenchanted and adult. In Supergods Grant Morrison will call it Dark Age, when the antihero takes the superhero’s place. The Dark Age is considered the biggest revolution in superheroes comics – and yet it is possible to see many warning signs during the Silver Age: a man – The Man – had already started to revolutionize the superheroes world: Stan Lee. Stan created dozens of characters: his superheroes are more complex and human than ever before. They are anticipating the Dark Age, twenty years before it. Thanks to some of the most iconic creations of The Man, this article will show the characteristic of these characters who anticipate the Dark Age’s revolution.

https://revistas.unilasalle.edu.br/index.php/Dialogo/article/view/5788

Criticato per i suoi contenuti ideologici, 300, nella sua versione filmica e disegnata, è stato accusato di essere un’opera reazionaria. Una serie di approfondimenti progressivi rivela la coesistenza di più livelli di lettura, non sempre coerenti. Sotto la patina reazionaria si celano suggestioni irrazionalistiche e volontaristiche che, a loro volta, sembrano essere espressione di una forte ansia di assoluto. Più che esaltare la violenza l’opera prefigura per l’occidente un bivio, forse impossibile, tra due diverse alienazioni.