MICHAEL H. PRICE: Movies Is Comics and Comics Is Movies
I’ve gone into some detail elsewhere about how my Forgotten Horrors series of movie encyclopedias (1979 and onward) dovetails with my collaborative comic-book efforts with Timothy Truman and John K. Snyder III. More about all that as things develop at ComicMix. This new batch of Forgotten Horrors commentaries will have more to do with the overall relationship between movies and the comics and, off-and-on, with the self-contained appeal of motion pictures. I have yet to meet the comics enthusiast who lacks an appreciation of film.
Although it is especially plain nowadays that comics exert a significant bearing upon the moviemaking business – with fresh evidence in marquee-value outcroppings for the Spider-Man and TMNT franchises and 300 – the greater historical perspective finds the relationship to be quite the other way around.
It helps to remember a couple of things: Both movies and comics, pretty much as we know them today, began developing late in the 19th century. And an outmoded term for comics is movies; its popular usage as such dates from comparatively recent times. The notion of movies-on-paper took a decisive shape during the 1910s, when a newspaper illustrator named Ed Wheelan began spoofing the moving pictures (also known among the shirtsleeves audience as “moom pitchers” and “fillums”), with cinema-like visual grammar, in a loose-knit series for William Randolph Hearst’s New York American.
Christened Midget Movies in 1918, Wheelan’s series evolved from quick-sketch parodies of cinematic topics to sustained narratives, running for days at a stretch and combining melodramatic plot-and-character developments with cartoonish exaggerations. Wheelan’s move to the Adams Syndicate in 1921 prompted a change of title, to Minute Movies. (Don Markstein’s Web-based Toonopedia points out that the term is “mine-yute,” as in tiny, rather than “minnit,” as in a measure of time. No doubt an intended sense of connection with the Hearst trademark Midget Movies.) Chester Gould showed up in 1924 with a Wheelan takeoff called Fillum Fables – seven years before Gould’s more distinctive breakthrough with Dick Tracy.
Gina Holden will be starring with Eric Johnson in the SciFi Channel’s new Flash Gordon series, debuting this August. No stranger to heroic fantasy projects, the Canadian actress previously appeared in Fantastic Four, The Butterfly Effect 2 and the upcoming Alien vs. Predator 2.
Speaking of MySpace, all 22 pages of DC’s Countdown issue 51 
As a contributor (audio commentaries, on-camera interviews, liner notes, and packaging copy) to more than three hundred DVDs in America and Asia, I’ve always wanted a source for what ComicMix is now allowing me to do — review DVDs specifically on the quality of their extras (audio commentaries, makings-of, et al). When deciding upon which DVDs to buy and which to rent, that’s often the deciding factor.
More accessible and superheroic is Born to Fight (Dragon Dynasty [The Weinstein Co.] Two-Disc Ultimate Edition), which is flailing feverishly to get out of the shadow of Thailands most famous and popular action export (Thai Warrior, aka Ong-Bak). The same fearless stunt crew worked on both films, but the latter starred Muy Thai boxing great Tony Jaa, whos attitude and strength mirror Bruce Lee while his acrobatics and films crib from Jackie Chan’s homework.
Tomorrow is Mothers Day. To some, it’s the most important day of the year. To others, it’s a crass exploitation, using real feelings to sell flowers, brunch, and long-distance calls. 
Chicago’s Museum of Contemporary Art
