CI5472 Teaching Film, Television, and Media
Module 3: Film Techniques
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The next step in studying technique is to examine the relationships between still images. One intermediate step involves having students study film techniques as employed in comics, particularly comics that employ imaginative visual techniques. Comic strip and book artists must tell a story through moving readers from image to image, often through changes in focus — moving closer to an object or person (close-up shot) versus further back (long-shot), or positioning readers as looking down on an object or person or up at a person. And, they must set the scene by placing objects or person in some setting (establishing shot). |
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Students could also study examples of films that are based on comics to examine how the films adopted the comic book style or characters to the screen. For example, the Spiderman and Spiderman II films employ some of the visual techniques in the original comic book series. |
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The film American Splendor, about the subject of a Crumb comic book series based on the experiences of a file clerk, Harvey Pekar, incorporates elements of comic book styles into the film itself, in which, for example, characters’ thoughts are shown in bubbles. |
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Similarly, the CrossGen comics book publisher is now producing five of its comics for sale as DVDs in stores or as downloaded files in an attempt to appeal to a younger audience. Reflecting a further blending of the comic book and film forms, cameras move across panels, actors read the words in balloons, and sound effects are included. |
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Students could also study the uses of comics to convey social or political messages. For examples, Lalo Alcaraz’s strip, La Cucaracha, reflects the satiric perspective of an artist who grew up the U.S./Mexico border, providing him with a outsider “Mexican” perspective on American culture and an “American” perspective on Mexican culture. |
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Gary Trudeau’s Doonesbury also satirizes various aspects of political and social life in America. |
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Links to comics book/graphic novel sites: |
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For further reading: |
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Eisner, W. (1994). Comics and sequential art. New York: Poorhouse. |
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Eisner, W. (1996). Graphic storytelling and narrative art. New York: Poorhouse. |
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Gammill, K., & Spurlock, J.D. (2001). Kerry Gammill's drawing monsters & heroes for film & comics. New York: Watson-Guptill. |
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Heller, S., & Chwast, S. (2001). Graphic style: From Victorian to digital. New York: Harry Abrams. |
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Hughers, D. (2003). Comic book movies. New York: Virgin. |
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McCloud, S. (1994). Understanding comics. New York: Perennial. |
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O'Neil, D. (2001). The DC comics guide to writing comics. New York: Watson-Guptill. |
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Shudo, T. (1999). The art of Pokemon, the movie: Mewtwo Strikes Back! New York: Viz Communications. |
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Comics and Film Technique |
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Defining Purposes for Editing Decisions: Creating Storyboards |
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Accessing On-line Films / Film Reviews / Ratings / Information |
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