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    I'm really torn and confused about what I'm going to do for my final paper.  I've been going back and forth between possible ideas, all of which leave me even more confused.  However, after meeting with Cooper, I think I have a loose idea as to what I want to do, though any feedback would be greatly appreciated.

    For the paper, I definitely want to explore a few aspects Watchmen that captured my interest and attention from the beginning and see how these are portrayed in the film adaptation.  For example, I stumbled upon an article online about the movie and it was discussed how Adrian's character is not as developed as he is in the novel.  This gave me the idea to see which aspects of the novel are either downplayed or lost in its translation to film.

    Something that I'm also thinking about would be exploring V for Vendetta since it's another graphic novel than Alan Moore created.  I have neither read the novel nor seen the movie adaptation, but obviously would for this paper.  While talking about Adrian in Watchmen as the mastermind behind the action, I would see if I could explore the same aspect in V for Vendetta, comparing how the two were treated in their film adaptations.

    In terms of looking at the translation of comic to film, this would also include a look at how the graphic novel Watchmen incorporates many cinematic elements, including zoom-outs and pan-outs and things of the sort.  These are incredibly important and effective in the comic, giving it a very movie-like feel visually.  I would focus on these elements and research their usage in films in general, then specifically both the literary and film versions of Watchmen, and if this occurs in V for Vendetta, then I would apply it to that as well.

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  1. Megan, since we've discussed this at length already I don't have a lot to add (i.e., the abstract summarizes our conversation).  I still like the technique and metaphysics of zoom-outs.  Let me know how things are coming along....

  2. Unknown User (ktc3)

    Hey Megan,

    It sounds like you have a pretty good kernel of an idea. I've read V for Vendetta and seen the film. If I remember (it was some years ago), the comic has a much rawer feel to it than Watchmen, while the film retains the Hollywood flashiness of Watchmen (the comic and movie). It's kind of political too (if a US citizen, Alan Moore would probably vote for Ron Paul).

    If I were, I'd shy away from analysis that solely focused on rooting out differences between the film and book versions of Watchmen, as you mention in paragraph 2. This alone might not make for a thesis that would be interesting to argue. However, it would be interesting to see you pair that with the cinematic elements you discuss in paragraph 4. I think this is the most interesting idea of your abstract. It would be interesting to see you analyze the cinematic techniques such as zooming and quick cuts between panels, likening it to movies. However, it would also be interesting to see how comics use such techniques in a different way from movies and what does that say about comics.

    One thing I notice is that this third person handicam perspective loses the introspective, subjective sense of written fiction--though, as the Mars scenes suggest, there are techniques, such as text boxes, to get around this. Probably the best way to formulate a thesis would be to ask yourself: what do these cinematic techniques accomplish in comics? what does it suggest about the genre as a whole? how can we understand zooming et al as a function of the unique interplay between text and image?

    Best of luck! You have some great ideas. Let me know if I can give you anymore feedback.


  3. Unknown User (nrc2)


    Sorry for taking so long to comment. It sounds like you have some good ideas. Obviously the "Watchmen" conversation has already been had, so I won't say too much more on that subject. I have also both read and seen V For Vendetta, and was struck (much more so than with Watchmen) as to how different the film was from the graphic novel. The film (which in this case I saw before reading the GN) is greatly simplified slightly hollywood-ized in this case, and the director seems to take the visuals far less literally than does the watchmen director, yet I might call V the better film, although I consider Watchmen the better graphic novel. Weather you agree or not, you might want to consider what makes a good Graphic novel vs. a successful adaptation vs. a good film in a more general sense.

    In terms of what you talk about in your last paragraph, I think it is definitely a good idea to consider how Graphic Novels in the age of film already incorporate cinematic elements into them - you mention Watchmen as an example - and it might be interesting to consider how these elements being incorporated into Graphic Novels influences the GN's adaptation to film.

    Another point worth considering: Most "comic book movies" today, by which I mean "The Dark Knight," any of the Spiderman or X-Men films - any movies that are based on comic book characters but not on a specific comic book or graphic novel - are typically adapted to comic book form subsequent to the release of the movie. It may be worthwile to try to get your hands on one of these comics and look at how adaptation works in the opposite direction from what you are already considering.