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>Capeshit is a valuable form of film-making

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File: Civil War 2.jpg (36KB, 600x400px) Image search: [Google]
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>Capeshit is a valuable form of film-making
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>>85027614

It is when 80 million millennials weren't taught Jordan Peterson level hero archetypes.
>>
File: Capeshit Marvel DC (3).jpg (413KB, 1860x1400px) Image search: [Google]
Capeshit Marvel DC (3).jpg
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In an ideal world, comic book adaptations would be pushing the boundaries of audio-visual storytelling, offering a sense of style and playfulness unique to the medium. For all its juvenile flaws, the medium of handdrawn capeshit actually is its own artform and kept reinventing itself.

When you look at revered classics in cinema history, you see filmmakers with sensibilities that aren't that different from comic book artists. Filmmakers who understand the power of imaginative framing and editing, they played with depth, angles or colors schemes, experimented with montage techniques, sound design or lenses.

There's a reason why most of the formalist cinematic geniuses have taken inspirations from the comic books medium. Sergio Leone loved fumetti; Alain Resnais had the biggest comics collection of Europe in the 60's; Welles loved pulp comics and adapted The Shadow when he was still doing radio, Japanese new wave filmmakers adapted various manga and Seijun Suzuki even directed a Lupin III animated film, Fritz Lang embraced pulp serials and capeshit sensibility with characters like Dr. Mabuse...

French New Wave filmmakers got their film education at the Cinématheque, which was co-founded by George Franju, one of the earliest directors of capeshit (Judex and Nuits Rouges) and heir to Feuillade (Fantômas). Capeshit itself is rooted in cinematic tradition, with characters like the Joker being inspired by German Expressionist cinema (The Man Who Laughs), which someone like Burton understood when he in turn borrowed from and updated these aesthetics when he made his Batman films.

The clock tower ending of The Stranger was a device used many times in the early 1940s by Batman writer and co-creator Bill Finger. As Welles notes “(It was) pure Dick Tracy. I had to fight for it. Everybody felt, ‘Well, it’s bad taste and Orson’s going too far,’ but I wanted a straight comic-strip finish.”
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