BLOCK BUSTER Abstract: This article explores the often contradictory relationship between films and comic book art. Adaptations of superhero comics have reinforced a commercialistic blockbuster mentality among the Hollywood studios. Adapta- tions of graphic novels have explored alternate visions of visual style and A comic book superhero, brought to life on the big screen. representation. Complications of these polarized effects and subsequent impli- cations will be discussed. year (Prince 5)—was X-Men: The Last weekend. X3, a Twentieth Century Stand (X3). Based on characters owned Fox release, had the full promotional Key words: blockbuster, comic books, by Marvel Entertainment, the largest power of Rupert Murdoch’s News film, graphic novels, superhero. U.S. comics publisher with approxi- Corp. behind it, which included tie-ins mately 37% of the market, X3 dem- with popular Fox network programs ummer 2006 waswas a telling season onstrated the huge amount of money American Idol, The Simpsons, and for the often polarized nature involved in producing a Hollywood Family Guy; local promotional news S of comic book-related movies,movies, blockbuster. X3 cost over $200 million stories on television affiliates; and as a comparison of twtwoo U.S. releases to make, showed in more than 3,700 an X3 page on the NewsCorp-owned indicates. A major studio “tentpole” U.S. theaters, and set a Memorial Day Web site MySpace.com (Angwin B3; release—a high-profile film with the box office record with an intake of $122 Johnson). The movie’s reviews were economic potential to singlehandedly million in four days (Kaltenbach 1). mixed, with one common criticism boost a studio’s financial profile for the Equally symbolic of modern Hol- being its conformity to an oft-cited lywood, however, was the film’s shortcoming among blockbusters: its Copyright © 20062007 Heldref Publications 67% box-office drop in its second emphasis on explosions over char- 108 BLOCK BUSTER Meets Superhero Comic, or ART HOUSE Meets Graphic Novel? The Contradictory Relationship between Film and Comic Art MATTHEW P. MCALLISTER IAN GORDON MARK JANCOVICH acter development (Denby 90). The novel story by Daniel Clowes, who also that it was “a bitter, witty college pic- number-two comics publisher, DC, wrote the screenplay. Distributed by ture unlike any other” (Phillips 1; Box controlling about 33% of the comics Sony Pictures Classics (Sony’s art film Office Mojo). market and not far behind in movie distributor), and coproduced by Mr. Such is the seemingly yin-yang nature revenue, continued its comeback later Mudd (actor John Malkovich’s produc- of the relationship between comic art that summer with the much-hyped tion company), the movie was shown at to motion pictures. Comic book-related Superman Returns (Box Office Mojo; several film festivals before its theatrical films have done much to both establish Steinberg Bl). release in fewer than 800 U.S. theaters the action-oriented mega-blockbuster and On the other hand, the release of the and earned less than $4 million at the the thematically and/or visually innova- modestly budgeted Art School Con- box office. Although the movie received tive art film, even if particular examples fidential during the same time period mixed notices, a common complaint by do not easily fall along a neat alternative- offers another facet of the relationship reviewers was not regarding its “Hol- mainstream continuum. This article will between the two institutions. This Terry lywoodness,” but rather its overly dark briefly examine these relations and posit Zwigoff-directed movie is a scornful and cynical tone (Kleinschrodt 10); potential developments for both film and look at art and life, based on a graphic one positive reviewer, though, noted comic books given this relationship. 109 110 JPF&T—Journal of Popular Film and Television Comic Books and the “Popcorniza- chapter-ending cliffhangers (sometimes of HBO, Warner Brothers Films, and tion” of the Hollywood Blockbuster literally, as burned in popular memory DC Comics (including the character by silent film cliffhangers like The Per- Aquaman). This mix is symbolical- As Stringer points out, although the ils of Pauline [1914]). Comics-licensed ly reified in Entourage despite public definition of a film blockbuster is diverse serials from this era included the very claims in summer 2006 by Time Warner and even contentious, “size” seems to be influential serial Flash Gordon (1936), President Jeffrey Bewkes that synergy a central concept (3). Big casts, big costs, as well as Superman (1948), The Adven- is “bullshit” (Karnitschnig A1). big distribution, big spectacle, and big rev- tures of Captain Marvel (1941), Dick Looking at specific films, any list enue—or at least some combination—are Tracy (1937), Spy Smasher (1942), of the most influential films for this implied as necessary conditions in many The Phantom (1943), and The Batman strategy would include such non- discussions of the blockbuster. The idea (1943). Aside from their visibility in comic book-related movies as 1975’s of the high publicity, expensive, and rev- the movie industry in the 1930s and Jaws (Gomery), and 1977’s Star Wars enue-generating “tentpole” picture is an 1940s and their role as early, usually (Kapell and Lawrence). But in addi- important strategy for the modern major economically successful, attempts at tion to these, Superman (1977), Super- film studios. As Schatz notes, “In terms adopting comic books/strips to film, man II (1980), and Batman (1989), all of budgets, production values and market one could argue that the style and for- DC-based Warner Brothers films, con- strategy, Hollywood has been increas- mat of these movies—perhaps exploit- tributed significantly as well. Acquir- ingly hit-driven since the early 1950s” ing the serialized narrative structure and ing National Periodical Publications (15). This immediate postwar establish- visual modalities of comics indirectly (DC Comics) in 1967 and then War- ment of the prestige A picture, however, influenced the episodic and cliffhanger ner Brothers-Seven Arts in 1969, Steve emphasized big-budgeted epics like The nature of the action film genre, some of Ross, the early architect of the company Ten Commandments (1956), Around the them self-consciously so, such as Raid- that would later become Time Warner, World in Eighty Days (1956), Lawrence ers of the Lost Ark (1981). valued National because of its success of Arabia (1962), and Cleopatra (1963); More important, modern comic book- in merchandising DC Comics’ charac- not all of these films were successful at based films have helped establish the ters and other figures, including James the box office, with Cleopatra being noto- industrial formula of the Hollywood Bond (Bruck; Jones; “Kinney Plans”). rious in this regard. popcorn blockbuster: fantastic action Superman, budgeted in 1977 at a Schatz and others have noted that movie as cultural event. Comic book whopping (for that era) $55 million, specific manifestations of blockbusters materials attract a youthful moviegoing established several precedents for the are historically specific. By the end of demographic, appeal to nostalgic older popcorn blockbuster, not the least of the l980s, the blockbuster A picture was audiences, and offer thrills and well- which was the idea of hiring big stars in defined by many in the industry different- defined archetype characters, especially action genres that previously were made ly than in earlier eras: still big budgeted, heroes who also have well-established under mostly B-picture budgets. Marlon but with a much larger advertising budget track records for popularity, licensing, Brando was hired early in the film’s pro- (especially targeting television) involv- and sequel potential. With the sound- duction to earn it popular publicity and ing cross-promotional partners; a wide bite simplicity of high-concept block- industrial credibility; Gene Hackman’s theatrical release pattern that includes buster films (i.e., the economy of the hiring soon followed. Foreshadowing the global market; the goal of a public- titles Batman Begins [2005] and Super- later efforts at coordinated licensing, ity-generating, huge opening weekend; man Returns [2006]), branded adver- Warner set up 1,000 retail displays the search for franchise-friendly premises tising and marketing is facilitated, an and 12,000 floor displays in bookstores and characters; and, in terms of genre, increasingly emphasized factor in an era to sell Superman-related merchandise the dominance of the action-adventure, of big media promotion (McAllister). through the Warner subsidiary Licens- special effects-oriented “popcorn” thriller. Illustrating the degree to which these ing Corporate of America. Superman’s Comic art—especially comic books—has factors are now culturally engrained, pre-1970s status as a globally appealing played a key role in this evolution of the the second season of HBO’s Hollywood character (Gordon) is also relevant. The Hollywood blockbuster, especially in the satire Entourage depicts character Vin- fact that Superman's non-U.S. box office narrowing of narrative genres and indus- cent Chase’s apex of blockbuster star- was larger than its U.S. box office was trial strategies that characterize post-1980 dom through his casting as the lead in an early precursor to the globalization blockbusters. the faux Warner Brothers-distributed of Hollywood and illustrated the appeal One early way that comics-based and James Cameron-directed Aquaman. of superhero movies to a worldwide films have contributed to this develop- (One episode in this storyline depicts audience (boxofficemojo.com); illus- ment is that comic strips and books the obsession of Chase and his bud- trating a global mind-set, the inclusion were key materials for the motion pic- dies with Aquaman topping the open- in international venues such as Cannes ture serial in the 1930s and 1940s. ing weekend box-office gross of then- (Stringer, “Neither One Thing” 203). In these serials, audiences would see champ Spider-Man.) Also no doubt Following up these characteristics was a chapter each week of an unfolding contributing to this synergistic mix of its sequel, Superman II (1980–1981).