movie-going experience as men do, in terms of desire and identification (Hansen 584). Rather, this paper is narrower in scope, seeking to focus solely on the narrative content of the motion picture, with respect to female sexuality, by using Ghost World as a model.
             Because it is an adaptation, Ghost World exists in two separate-but-equal forms and provides a unique opportunity for this brand of content analysis. Clowes and Zwigoff co-wrote the screenplay (which was later nominated for an Academy Award), and tried to eschew financing and distributing the film with the help of a major studio, instead raising money through friends and colleagues (Chocano). The filmmakers eventually received the backing of MGM's United Artists division, which handles "independent" art-house films. Clowes compared the experience of working with Zwigoff to "what it must have been like to work with hands-on, visionary directors such as Alfred Hitchcock and Stanley Kubrick" (Chocano). Indeed, Clowes's comparison of Zwigoff to such famous auteurs could be similarly made with respect to his own work on the comic form of the
             story. Underground comic artists are often considered auteurs because, akin to how Charlie Chaplin would write, direct, compose music for, and perform in all of his films, underground comic artists usually write, draw, and ink their work with few to no middle-men touching the art between conceptualization and publication (Ault). Given this amount of creative control, and considering the amount of corroborative evidence (Doane), Clowes and Zwigoff sought to make a film that remained true to the original comic and the characters Clowes created. In many aspects they succeeded, but several key elements to the comic (which, for example, focused far more on the disintegration of the Enid/Becky friendship) are conspicuously missing. A valid argument can be made that the specific changes this paper seeks to question ...