Notebook
Drawing on the Screen. Authorship and Narration in the First Cinematographic Adaptations of American Comics
Published 2013-07-01
Keywords
- Comics,
- cartoons,
- Winsor McCay,
- George Herriman,
- E. C. Segar
- Little Nemo,
- Krazy Kat,
- Popeye,
- Comics Code,
- Hays Code ...More
Abstract
The history of comics and animated cartoons are linked since the early twentieth century, when artists themselves began to adapt their creations for animated films. Such is the case of Winsor McCay, who claimed responsibility for the adaptation of Little Nemo. However, the gradual professionalization of the film industry led towards erasing the responsibility of the artists and to the infantilization of animation. This can be observed in the adaptations of Krazy Kat and Popeye, which institutionalized a relationship that has been going on for decades: the consideration that animated films should target children as audience.
References
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SIKOV, Ed (2000). Billy Wilder. Vida y época de un cineasta. Barcelona: Tusquets.
SMITH, Conrad (1977). The Early History of Animation: Saturday Morning TV Discovers 1915. Journal of the University Film Association, 29 (3), 23-30.
SMOODIN, Eric (1992). Cartoon and Comic Classicism: High-Art Histories of Lowbrow Culture. American Literary History, 4 (1), 129-140.
TRABADO, José Manuel (2012). Antes de la novela gráfica. Clásicos del cómic en la prensa norteamericana. Madrid: Cátedra.
BORDAT, Francis (1987). Le code Hays. L’autocensure du cinema américain. Vingtième Siècle. Revue d’histoire, 15, 3-16.
BURCH, Noël (1987). El tragaluz del infinito. Madrid: Cátedra.
DE LA FUENTE SOLER, Manuel y UREÑA SALCEDO, Juan Antonio (2006). Las entidades de gestión de los derechos de propiedad intelectual: la necesidad de una revisión general del sistema. En A. BOIX PALOP y G. LÓPEZ GARCÍA (eds.), La autoría en la era digital: industria cultural y medios de comunicación (pp. 131-166). Valencia: Tirant Lo Blanch.
DIAL, Donna (2000). Cartoons in Paradise: How the Fleischer Brothers Moved to Miami and Lost Their Studio. The Florida Historical Quarterly, 78 (3), 309-330.
EDELSTEIN, Sari (2007). Charlotte Perkins Gilman and the Yellow Newspaper. Legacy, 24 (1), 72-92.
EGGENER, Keith L. (1993). «An Amusing Lak of Logic»: Surrealism and Popular Entertainment. American Art, 7 (4), 30-45.
FELL, John L. (1971). Mr. Griffith, Meet Winsor McCay. Journal of the University Film Association, 23 (3), 74-87.
HOFFER, Tom W. (1976). From Comic Strips to Animation: Some Perspective on Winsor McCay. Journal of the University Film Association, 28 (2), 23-32.
LOPES, Paul (2006). Culture and Stigma: Popular Culture and the Case of Comic Books. Sociological Forum, 21 (3), 387-414.
NYBERG, Amy Kiste (1998). Seal of Approval. The History of the Comics Code. Jackson: University Press of Mississippi.
ORVELL, Miles (1992). Writing Posthistorically: Krazy Kat, Maus, and the Contemporary Fiction Cartoon. American Literary History, 4 (1), 110-128.
ROBB, Jenny E. (2007). From the Periodical Archives: Winsor McCay, George Randolph Chester, and the Tale of the Jungle Imps. American Periodicals, 17 (2), 245-259.
SELF, Robert (1985). Robert Altman and the Theory of Authorship. Cinema Journal, 25 (1), 3-11.
SIKOV, Ed (2000). Billy Wilder. Vida y época de un cineasta. Barcelona: Tusquets.
SMITH, Conrad (1977). The Early History of Animation: Saturday Morning TV Discovers 1915. Journal of the University Film Association, 29 (3), 23-30.
SMOODIN, Eric (1992). Cartoon and Comic Classicism: High-Art Histories of Lowbrow Culture. American Literary History, 4 (1), 129-140.
TRABADO, José Manuel (2012). Antes de la novela gráfica. Clásicos del cómic en la prensa norteamericana. Madrid: Cátedra.