Abstract
The objects of this study are eight X-Men: First Classcomic books, volume 1 published from September 2006 until April 2007 andX-Men: First Classmovie made in 2011.Texts in the forms of dialogues and visual images taken both from the comic books and the movie are the data which then are analysed qualitatively. Applying intersemiotic translation promoted by Zecca, this study is trying to uncover how social and economic factors influence translation process and whether there are any continuity and changes along the process.
 The study focuses on the social and economic aspects involved in the process of transforming X-Men: First Class comic books as the source text, into the movie version as the targeted texts. Some adaptation and changes occurred as the consequence; plot and story lines are twisted, characters involved are replaced for the purpose of meeting the expectation of the targeted market of the movie. Supported by those who were involved in the process and the social issues echoing at the time when the process is happening, the social issues depicted in the texts are also sifted.
Highlights
At the beginning of the 20th century, there was a new trend within film studies scholarship
Nur Saktiningrum different numbers of volumes for each title ranging from one title for one book or a single shot to one title for more than ten issues. These numerous X-Men volumes were the source material of the seven X-Men movies, and their two sequels, whose titles bear no “X-Men” name, have been released so far. These facts have raised several critical questions that the present study seeks to address: based on which volume(s) and which comic series were the X-Men movies made? What processes involved in the intermedial transformations of the XMen comic books as the source texts into their movie versions as the target texts? What changes and consistencies had been involved in the specified process?
There are a number of characters from the source text featured in the target text, changes are made to their roles, origins, and presence in the story
Summary
At the beginning of the 20th century, there was a new trend within film studies scholarship. Films were beginning to be the objects of critical studies as a work of art when theories pertaining to film had flourished In this period of development, studies of films had adopted a wider range of approaches that situate cinematic works in multidimensional spatial and temporal contexts. Nur Saktiningrum different numbers of volumes for each title ranging from one title for one book or a single shot to one title for more than ten issues These numerous X-Men volumes were the source material of the seven X-Men movies, and their two sequels, whose titles bear no “X-Men” name, have been released so far. These facts have raised several critical questions that the present study seeks to address: based on which volume(s) and which comic series were the X-Men movies made? These facts have raised several critical questions that the present study seeks to address: based on which volume(s) and which comic series were the X-Men movies made? What processes involved in the intermedial transformations of the XMen comic books as the source texts into their movie versions as the target texts? What changes and consistencies had been involved in the specified process?
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