When a full-page or a double-page composition does not have any incrusted panels, it is observed that this page corresponds exactly to a frame on the film screen. This is the only moment when an extraordinary equivalence between page and screen layouts of these two media is perceived. Maybe the only difference that occurs in specific moments of the adaptation is that, when a completely blank or dark full-page is transposed to the film, more details of the scenery are sometimes visible because of the few shadings of grey used in the film coloring and lighting processes, as opposed to the graphic novel black-and-white high contrast.
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| Top: A dark double-page composition in “That Yellow Bastard” (88, 89) and its film version. Bottom: A blank full-page in “That Yellow Bastard” (31) and its transposition to screen, with details from the scenery. |
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