By Jared Gardner
Projections argues that the possible unexpected visibility of comics isn't any twist of fate. starting with the parallel improvement of narrative comics on the flip of the twentieth century, comics have lengthy been a kind that invites—indeed requires—readers to assist form the tales being informed. at the present time, with the increase of interactive media, the inventive ideas and the interpreting practices comics were experimenting with for a century are actually in common call for. Recounting the background of comics from the nineteenth-century upward thrust of sequential comics to the newspaper strip, via comedian books and underground comix, to the photo novel and webcomics, Gardner exhibits why they provide the easiest versions for rethinking storytelling within the twenty-first century. within the procedure, he reminds us of a few liked characters from our prior and current, together with satisfied Hooligan, Krazy Kat, Crypt Keeper, and Mr. Natural.
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Sample text
Serials, on the contrary, offered multiple sites for consumption, most of which were located outside the space of the theater; and they encouraged viewers to see themselves as part of a community of fans . . ’”14 The first serial, What Happened to Mary? is a good case in point. Here Edison Pictures teamed up with McClure’s working-woman’s magazine, Ladies World, to present and promote the serial across the two media. As with Edison’s borrowings from serial comics the previous decade, the alliance with serial magazines was an attempt by the fledgling industry to capitalize on serial massmedia audiences.
They follow similar, increasingly codified models of editing, lighting, and cinematography, and on the level of scenic analysis one would be hard pressed to make clear distinctions between serials and feature films in 1914. But if both the long-form narrative cinema and the serial cinema that emerge at the same time share a certain genetic code, their differences become therefore more meaningful and help us get to the heart of serial storytelling in the new media of film and comics. The most obvious difference, and the one most often highlighted in studies of the silent serials, is the striking centrality of strong female protagonists to these films.
The recursive seriality of the comic makes legible, for instance, the “impossible” final shot of The Great Train Robbery (1903), which violates two fundamental rules of classical Hollywood filmmaking: it returns the bandit from the dead and it has him directly confront the audience. 52 Similarly the doubled narrative of American Fireman, in which the story of the rescue is shown twice in series (and not in parallel, as later edited), from two different perspectives, can be understood as drawing inspiration from the repetitive redundancy of comic narrative.
