![]() ![]() Despite its relatively recent publication, it has already attracted much scholarly attention. Rather than disproving it, Sin City is an exception that nuances Hutcheon’s interpretation of adaptation because of three main elements to its creation: the ‘multitrack’ nature of the graphic novel the relationship between the graphic novel and film and the concept that the translation between Miller’s work and the film is seen by the director as a translation rather than an adaptation.Īlison Bechdel's Fun Home: A Family Tragicomic (2006), an account of Bechdel's life with her father, is one of the most renowned contemporary autobiographical comics. This cinematic adaptation marketed itself as a faithful transition that imitated Miller’s art style, arguably the essence of Sin City, on screen through heavy use of CGI and chroma keying, and the fact that Rodriguez’ was so successful in replicating the graphic novel challenges Linda Hutcheon’s definition of adaptation as “repetition without replication” (xviii). While the adaptation of a comic book to film was not a particularly new concept at that time - film audiences had already been exposed to Tim Burton’s Batman films and Terry Zwigoff’s Ghost World - Sin City exploited a new niche: fidelity. ![]() ![]() In 2005, Robert Rodriguez adapted Frank Miller’s renowned graphic novel Sin City onto the silver screen. ![]()
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