Viewing Hollywood glamour through debates about fashion, identity, and social status, she discusses such films as What Price Hollywood?, The Bride Wore Red, and The Bitter Tea of General yen; big-budget, style-driven vehicles as Fashions of 1934 and Vogues of 1938; musicals; costume dramas; and Technicolor extravaganzas."--BOOK JACKET.

Screen Style celebrates the beautiful, stylish and often covetable outfits and costumes featured in 50 iconic and diverse series of the small screen: from Mad Men to Call My Agent, Bridgerton to Empire. By organising the series into genres - Comedy, Coming of Age, Crime, Historical, Retro, Contemporary - the author shows how designers take different approaches when manipulating the latent power of dress to create convincing characters and enhance the experience of the viewer. She reveals how the characters themselves can become role models for what to wear, transforming actors into fashion influencers. The book is beautifully illustrated with over 250 screen stills, each accompanied by an extended caption, further demonstrating how TV series have helped to set the standard for fashion on and off screen.

Viewing Hollywood glamour through debates about fashion, identity, and social status, she discusses such films as What Price Hollywood?, The Bride Wore Red, and The Bitter Tea of General yen; big-budget, style-driven vehicles as Fashions of 1934 and Vogues of 1938; musicals; costume dramas; and Technicolor extravaganzas."--BOOK JACKET.

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into "high" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.