Ágnes Petho (ed.)
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.001.0001
- Subject:
- Film, Television and Radio, Film
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a ...
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This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.Less
This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.
Casie Hermansson
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9781474413565
- eISBN:
- 9781474460088
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413565.001.0001
- Subject:
- Film, Television and Radio, Film
Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to ...
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Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness.
This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations.
The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.Less
Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness.
This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations.
The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.
Marion Schmid
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474410632
- eISBN:
- 9781474464741
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474410632.001.0001
- Subject:
- Film, Television and Radio, Film
Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's ...
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Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.Less
Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.
Lisa Stead
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9780748694884
- eISBN:
- 9781474426701
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694884.001.0001
- Subject:
- Film, Television and Radio, Film
Off to the Pictures: Cinemagoing, Women’s Writing and Movie Culture in Interwar Britain offers a rich new exploration of interwar women’s fictions and their complex intersections with cinema. ...
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Off to the Pictures: Cinemagoing, Women’s Writing and Movie Culture in Interwar Britain offers a rich new exploration of interwar women’s fictions and their complex intersections with cinema. Interrogating a range of writings, from newspapers and magazines to middlebrow and modernist fictions, the book takes the reader through the diverse print and storytelling media that women constructed around interwar film-going, arguing that literary forms came to constitute an intermedial gendered cinema culture at this time. Using detailed case studies, this innovative book draws upon new archival research, industrial analysis and close textual readings to consider cinema’s place in the fictions and critical writings of major literary figures such as Winifred Holtby, Stella Gibbons, Elizabeth Bowen, Jean Rhys, Elinor Glyn, C. A. Lejeune and Iris Barry. Through the lens of feminist film historiography, Off to the Pictures presents a bold new view of interwar cinema culture, read through the creative reflections of the women who experienced it.Less
Off to the Pictures: Cinemagoing, Women’s Writing and Movie Culture in Interwar Britain offers a rich new exploration of interwar women’s fictions and their complex intersections with cinema. Interrogating a range of writings, from newspapers and magazines to middlebrow and modernist fictions, the book takes the reader through the diverse print and storytelling media that women constructed around interwar film-going, arguing that literary forms came to constitute an intermedial gendered cinema culture at this time. Using detailed case studies, this innovative book draws upon new archival research, industrial analysis and close textual readings to consider cinema’s place in the fictions and critical writings of major literary figures such as Winifred Holtby, Stella Gibbons, Elizabeth Bowen, Jean Rhys, Elinor Glyn, C. A. Lejeune and Iris Barry. Through the lens of feminist film historiography, Off to the Pictures presents a bold new view of interwar cinema culture, read through the creative reflections of the women who experienced it.
Alexandra Becquet
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.003.0007
- Subject:
- Literature, Criticism/Theory
This chapter examines the intermedial structure of Parade’s End, considering it as an art composition and Ford’s approach to ‘reflect’ and ‘reflect on’ the traumatic experience of the Great War. ...
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This chapter examines the intermedial structure of Parade’s End, considering it as an art composition and Ford’s approach to ‘reflect’ and ‘reflect on’ the traumatic experience of the Great War. While Impressionism is first shown as a fitting aesthetics to present the individual’s shattering experience of Armageddon through its subjective perception, the tetralogy’s sights and sounds are then studied for their translation into the text’s fabric and as they appeal to the readers’ senses and memory to immerse them into the narrative. The readers are indeed to synthesize a text stamped by the time-shift, an agent of both fragmentation and composition which relies on memory and on principles operating in music thus revealing the musical structure of Ford’s work. By means of the arts, Parade’s End exposes the trauma engendered by the war to transfer it onto its readers as the design of Ford’s intermedial composition depends on it.Less
This chapter examines the intermedial structure of Parade’s End, considering it as an art composition and Ford’s approach to ‘reflect’ and ‘reflect on’ the traumatic experience of the Great War. While Impressionism is first shown as a fitting aesthetics to present the individual’s shattering experience of Armageddon through its subjective perception, the tetralogy’s sights and sounds are then studied for their translation into the text’s fabric and as they appeal to the readers’ senses and memory to immerse them into the narrative. The readers are indeed to synthesize a text stamped by the time-shift, an agent of both fragmentation and composition which relies on memory and on principles operating in music thus revealing the musical structure of Ford’s work. By means of the arts, Parade’s End exposes the trauma engendered by the war to transfer it onto its readers as the design of Ford’s intermedial composition depends on it.
Sozita Goudouna
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474421645
- eISBN:
- 9781474444927
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421645.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage ...
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Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett's Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism.Less
Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett's Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism.
Ágnes Pethő
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction offers an overview of a wide spectrum of approaches to studying intermediality in the context of Eastern European cinemas, from concept-based studies to analyses of films, and the ...
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The introduction offers an overview of a wide spectrum of approaches to studying intermediality in the context of Eastern European cinemas, from concept-based studies to analyses of films, and the stylistic devices of intermediality. It presents the way in which the poetics of intermediality can reflect not only the correlations between arts and media, but also between art and life, corporeality and abstraction. The relevance of intermediality is that it enables us to grasp the complexity of reality and culture, to observe various tensional states of in-betweenness, along with anxieties, relations of power and conflict that define life in Eastern Europe. The introduction outlines some of the main figurations of intermediality or 'strategies of in-betweenness’ which have significantly shaped the aesthetic of contemporary Eastern European films followed by a brief summary of each chapter in this volume.Less
The introduction offers an overview of a wide spectrum of approaches to studying intermediality in the context of Eastern European cinemas, from concept-based studies to analyses of films, and the stylistic devices of intermediality. It presents the way in which the poetics of intermediality can reflect not only the correlations between arts and media, but also between art and life, corporeality and abstraction. The relevance of intermediality is that it enables us to grasp the complexity of reality and culture, to observe various tensional states of in-betweenness, along with anxieties, relations of power and conflict that define life in Eastern Europe. The introduction outlines some of the main figurations of intermediality or 'strategies of in-betweenness’ which have significantly shaped the aesthetic of contemporary Eastern European films followed by a brief summary of each chapter in this volume.
Hajnal Király
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0002
- Subject:
- Film, Television and Radio, Film
In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter ...
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In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter Strickland's Katalin Varga (2009) and Károly Ujj-Mészáros's Liza, theFox Fairy (2015), seem to resist Linda William's definition of melodrama as ‘body genre’, offering the spectacle of a body caught in the grip of intense sensation or emotion, triggering the emotional mimicry of the spectator. In the Hungarian films in question, female protagonists remain expressionless and their emotions are ‘translated’ into visual and aural stylisation. Instead of spectacular representations of emotions, these films operate with mood cues, visual and auditory (mostly musical) figurations of melancholic sense of loss and helplessness. In these films audiovisual stylisation is not only portraying the character's moods, but it compensates for the lack of bodily excess and ensures spectatorial embodiment with an intermedial figuration based on congruency, contrast or competition between image and sound.Less
In contemporary Hungarian cinema some melodramas presenting struggling female protagonists like Ágnes Kocsis's Fresh Air (2006) and Adrienn Pál (2010), Kornél Mundruczó's Johanna (2005), Peter Strickland's Katalin Varga (2009) and Károly Ujj-Mészáros's Liza, theFox Fairy (2015), seem to resist Linda William's definition of melodrama as ‘body genre’, offering the spectacle of a body caught in the grip of intense sensation or emotion, triggering the emotional mimicry of the spectator. In the Hungarian films in question, female protagonists remain expressionless and their emotions are ‘translated’ into visual and aural stylisation. Instead of spectacular representations of emotions, these films operate with mood cues, visual and auditory (mostly musical) figurations of melancholic sense of loss and helplessness. In these films audiovisual stylisation is not only portraying the character's moods, but it compensates for the lack of bodily excess and ensures spectatorial embodiment with an intermedial figuration based on congruency, contrast or competition between image and sound.
Judit Pieldner
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in ...
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This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in between the analogue and the digital, the natural and the artificial, the cinematic and the photographic. Through examples taken from contemporary Polish and Czech cinema, including Hi, Tereska! (Cześć, Tereska, Robert Gliński, 2001), TheReverse (Rewers, Borys Lankosz, 2009), Ida (Paweł Pawlikowski, 2013), Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013), Cold War (Zimna wojna, Paweł Pawlikowski, 2018) and I, Olga Hepnarová (Já, Olga Hepnarová, Tomáš Weinreb and Petr Kazda, 2016), it discusses the uses and functions of the black-and-white image rendering female identity caught in the grip of Eastern European history. The black-and-white image is often associated with high artistry and the photographic quality of film; accordingly, the emphasis is laid on photographic compositions, static shots, long takes and tableau moments, which confer on the digital monochrome subtle sensations of intermediality.Less
This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in between the analogue and the digital, the natural and the artificial, the cinematic and the photographic. Through examples taken from contemporary Polish and Czech cinema, including Hi, Tereska! (Cześć, Tereska, Robert Gliński, 2001), TheReverse (Rewers, Borys Lankosz, 2009), Ida (Paweł Pawlikowski, 2013), Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013), Cold War (Zimna wojna, Paweł Pawlikowski, 2018) and I, Olga Hepnarová (Já, Olga Hepnarová, Tomáš Weinreb and Petr Kazda, 2016), it discusses the uses and functions of the black-and-white image rendering female identity caught in the grip of Eastern European history. The black-and-white image is often associated with high artistry and the photographic quality of film; accordingly, the emphasis is laid on photographic compositions, static shots, long takes and tableau moments, which confer on the digital monochrome subtle sensations of intermediality.
Melinda Blos-Jáni
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0007
- Subject:
- Film, Television and Radio, Film
There is a tendency in recent nonfiction film to recontextualise archival photographs in creative ways. In films like Felvidék. Caught In-Between (Vladislava Plančíková, 2014) photographs are part of ...
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There is a tendency in recent nonfiction film to recontextualise archival photographs in creative ways. In films like Felvidék. Caught In-Between (Vladislava Plančíková, 2014) photographs are part of a collage work, while films like Crulic. The Path to Beyond (Anca Damian, 2011) use photographs in animated environments. At the other extreme is Radu Jude's Dead Nation (2017) presenting a series of photographs as a film that paradoxically demonstrates the lack of images of the Romanian Holocaust. These films open up new possibilities for the medium of photography, redefining through cinema the complex relationship between photography/the indexical trace and history. This chapter builds upon the phenomenological approach to images by George Didi-Hubermann and László Tarnay in order to discuss intermedial relations of nonfiction films and to present what the photographic image means in the post-media age documentary.Less
There is a tendency in recent nonfiction film to recontextualise archival photographs in creative ways. In films like Felvidék. Caught In-Between (Vladislava Plančíková, 2014) photographs are part of a collage work, while films like Crulic. The Path to Beyond (Anca Damian, 2011) use photographs in animated environments. At the other extreme is Radu Jude's Dead Nation (2017) presenting a series of photographs as a film that paradoxically demonstrates the lack of images of the Romanian Holocaust. These films open up new possibilities for the medium of photography, redefining through cinema the complex relationship between photography/the indexical trace and history. This chapter builds upon the phenomenological approach to images by George Didi-Hubermann and László Tarnay in order to discuss intermedial relations of nonfiction films and to present what the photographic image means in the post-media age documentary.
Katalin Sándor
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter discusses cinematic intermediality in Jasmila Žbanić's film, For Those Who Can Tell No Tales (2013) as a modality of addressing the traumatic memory of atrocities and mass rapes ...
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This chapter discusses cinematic intermediality in Jasmila Žbanić's film, For Those Who Can Tell No Tales (2013) as a modality of addressing the traumatic memory of atrocities and mass rapes committed during the 1992–1995 Bosnian war. Traumatic memory is not primarily formed through symbols or narratives but rather resembles ?a wounded body’ (Broderick–Traverso), and therefore it may disrupt cultural strategies of memorialisation, narrativization and representation through which personal, collective or historical trauma is approached. In Žbanić's film, intermediality becomes a mode of addressing collective trauma by ‘acknowledging’ the unrepresentable within representation and by foregrounding the interstitial and corporeal aspect of traumatic memory. The intermedial cinematic discourse that incorporates photofilmic pictures, fragments of performance art and practices of non-cinematic image-making (such as amateur video diary) performs an irresolute and affective memorialisation of war trauma engaging the viewer in potentially transformative memory work.Less
This chapter discusses cinematic intermediality in Jasmila Žbanić's film, For Those Who Can Tell No Tales (2013) as a modality of addressing the traumatic memory of atrocities and mass rapes committed during the 1992–1995 Bosnian war. Traumatic memory is not primarily formed through symbols or narratives but rather resembles ?a wounded body’ (Broderick–Traverso), and therefore it may disrupt cultural strategies of memorialisation, narrativization and representation through which personal, collective or historical trauma is approached. In Žbanić's film, intermediality becomes a mode of addressing collective trauma by ‘acknowledging’ the unrepresentable within representation and by foregrounding the interstitial and corporeal aspect of traumatic memory. The intermedial cinematic discourse that incorporates photofilmic pictures, fragments of performance art and practices of non-cinematic image-making (such as amateur video diary) performs an irresolute and affective memorialisation of war trauma engaging the viewer in potentially transformative memory work.
Fátima Chinita
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter argues that Russian Ark is a rare intermedial achievement because of the quantity of media involved and, more importantly, the theatrical nature of the enterprise, which contributes to ...
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This chapter argues that Russian Ark is a rare intermedial achievement because of the quantity of media involved and, more importantly, the theatrical nature of the enterprise, which contributes to an intense feeling of immersion on the viewers’ part. The film is structured as a walk through the recesses of the Hermitage, undertaken by the two protagonists, a nineteenth-century French Marquis and an anonymous present-day man. Their motion in space and their interactions (or lack thereof) with other figures − either historical or contemporary – emulate an act of space-based immersive theatre. Characters and spaces are gradually discovered in theatrical tableaux by the protagonists and film viewers alike, with the resulting feeling of being ‘there’, transported into other eras. Russian Ark is meant to be fully experienced, holistically perceived by the film viewers as a spatial and sensual journey of discovery. Ultimately, the viewers long for the eternity of the spectacle, performed as a rite against death.Less
This chapter argues that Russian Ark is a rare intermedial achievement because of the quantity of media involved and, more importantly, the theatrical nature of the enterprise, which contributes to an intense feeling of immersion on the viewers’ part. The film is structured as a walk through the recesses of the Hermitage, undertaken by the two protagonists, a nineteenth-century French Marquis and an anonymous present-day man. Their motion in space and their interactions (or lack thereof) with other figures − either historical or contemporary – emulate an act of space-based immersive theatre. Characters and spaces are gradually discovered in theatrical tableaux by the protagonists and film viewers alike, with the resulting feeling of being ‘there’, transported into other eras. Russian Ark is meant to be fully experienced, holistically perceived by the film viewers as a spatial and sensual journey of discovery. Ultimately, the viewers long for the eternity of the spectacle, performed as a rite against death.
Malgorzata Bugaj
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474435499
- eISBN:
- 9781474481076
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474435499.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter examines how Alexander Sokurov's Mother and Son (Mat i syn, 1997), Father and Son (Otsets i syn, 2003) and Alexandra (2007) situate themselves at the intersection of the immediate and ...
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This chapter examines how Alexander Sokurov's Mother and Son (Mat i syn, 1997), Father and Son (Otsets i syn, 2003) and Alexandra (2007) situate themselves at the intersection of the immediate and the constructed cinematic experience. The films under discussion emphasise the trace of physical presence on screen through haptic images conveying the multisensory dimension of the human experience, in particular touch and smell. Simultaneously, the Russian family trilogy consciously underscores the awareness of film as a medium carrying the story along with the mediation and remediation of painterly and medical images. Each section of the chapter focuses on a discrete part of the trilogy and investigates the oscillation between the material and artificial that is characteristic of these works.Less
This chapter examines how Alexander Sokurov's Mother and Son (Mat i syn, 1997), Father and Son (Otsets i syn, 2003) and Alexandra (2007) situate themselves at the intersection of the immediate and the constructed cinematic experience. The films under discussion emphasise the trace of physical presence on screen through haptic images conveying the multisensory dimension of the human experience, in particular touch and smell. Simultaneously, the Russian family trilogy consciously underscores the awareness of film as a medium carrying the story along with the mediation and remediation of painterly and medical images. Each section of the chapter focuses on a discrete part of the trilogy and investigates the oscillation between the material and artificial that is characteristic of these works.
Matilde Nardelli
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474444040
- eISBN:
- 9781474490573
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474444040.001.0001
- Subject:
- Film, Television and Radio, Film
Michalangelo Antonioni’s 1960s films are widely recognized as both exemplars of cinema and key texts in ushering in cinema’s ‘modern’ incarnation. Reconnecting Antonioni’s aesthetically audacious ...
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Michalangelo Antonioni’s 1960s films are widely recognized as both exemplars of cinema and key texts in ushering in cinema’s ‘modern’ incarnation. Reconnecting Antonioni’s aesthetically audacious films of the 1960s to the ferment of their historical time, Antonioni and the Aesthetics of Impurity addresses these works’ crucial, yet overlooked, affinity with the new ‘impure’ art practices that emerged in the period. At the same time, the book also offers a novel reading of the films’ dialogue with postwar pictorial abstraction. Revealing an Antonioni who embraced both mixed and mass media and reflected on them via his cinema, the book, through both an intermedial and a transnational focus, replaces auteuristic accounts of the director’s work with a new understanding of its critical significance in late-twentienth century cinema and visual culture.Less
Michalangelo Antonioni’s 1960s films are widely recognized as both exemplars of cinema and key texts in ushering in cinema’s ‘modern’ incarnation. Reconnecting Antonioni’s aesthetically audacious films of the 1960s to the ferment of their historical time, Antonioni and the Aesthetics of Impurity addresses these works’ crucial, yet overlooked, affinity with the new ‘impure’ art practices that emerged in the period. At the same time, the book also offers a novel reading of the films’ dialogue with postwar pictorial abstraction. Revealing an Antonioni who embraced both mixed and mass media and reflected on them via his cinema, the book, through both an intermedial and a transnational focus, replaces auteuristic accounts of the director’s work with a new understanding of its critical significance in late-twentienth century cinema and visual culture.
Weihong Bao
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816681334
- eISBN:
- 9781452950655
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816681334.001.0001
- Subject:
- Film, Television and Radio, Film
Cinema in modern China was a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a ...
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Cinema in modern China was a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions. Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity. Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.Less
Cinema in modern China was a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions. Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity. Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.
Samuel J. M. M. Alberti
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199584581
- eISBN:
- 9780191725159
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199584581.003.0005
- Subject:
- History, History of Science, Technology, and Medicine
Chapter 5 investigates how specimens were deployed in displays, how the specimens were re-assembled, how morbid anatomists arranged them in cases and on shelves. We find that they were re-integrated ...
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Chapter 5 investigates how specimens were deployed in displays, how the specimens were re-assembled, how morbid anatomists arranged them in cases and on shelves. We find that they were re-integrated to form a physical map of disease—no longer an individual person but a dividual body. Or rather, bodies: the healthy body contrasted with the different ways in which parts of it became diseased; the human body compared to the animals (most collections included an element of comparative anatomy); and the corroding, discoloured,organic body in the shadow of the ideal perfection of the wax model or clinical illustration. Paper, wax, and text formed a series of overlapping, intermedial systems that buttressed the organic morbid body.Less
Chapter 5 investigates how specimens were deployed in displays, how the specimens were re-assembled, how morbid anatomists arranged them in cases and on shelves. We find that they were re-integrated to form a physical map of disease—no longer an individual person but a dividual body. Or rather, bodies: the healthy body contrasted with the different ways in which parts of it became diseased; the human body compared to the animals (most collections included an element of comparative anatomy); and the corroding, discoloured,organic body in the shadow of the ideal perfection of the wax model or clinical illustration. Paper, wax, and text formed a series of overlapping, intermedial systems that buttressed the organic morbid body.
Eddie Falvey
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474447621
- eISBN:
- 9781474476669
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474447621.003.0003
- Subject:
- Film, Television and Radio, Film
Falvey contrasts critical work on Maurice Sendak’s Where the Wild Things Are with its role at the epicentre of a series of intermedial adaptations, including Jonze and Dave Eggers’ screenplay, ...
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Falvey contrasts critical work on Maurice Sendak’s Where the Wild Things Are with its role at the epicentre of a series of intermedial adaptations, including Jonze and Dave Eggers’ screenplay, Eggers’ novel The Wild Things and, chiefly, Jonze’s 2009 film. The chapter observes how critical frameworks used to explore the novel’s conceptualization of child psychology can be mapped onto Jonze’s story and his aesthetics; Falvey details Jonze’s exploration of the shifting spaces of identity, existence and nature using filmic means.Less
Falvey contrasts critical work on Maurice Sendak’s Where the Wild Things Are with its role at the epicentre of a series of intermedial adaptations, including Jonze and Dave Eggers’ screenplay, Eggers’ novel The Wild Things and, chiefly, Jonze’s 2009 film. The chapter observes how critical frameworks used to explore the novel’s conceptualization of child psychology can be mapped onto Jonze’s story and his aesthetics; Falvey details Jonze’s exploration of the shifting spaces of identity, existence and nature using filmic means.
Katelyn E. Knox
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781781383094
- eISBN:
- 9781781384152
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781383094.003.0005
- Subject:
- History, European Modern History
This chapter continues the book’s inquiry into the way twenty-first century authors and artists interrogate institutionalized spectacularism both in their works’ content and form by analysing Léonora ...
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This chapter continues the book’s inquiry into the way twenty-first century authors and artists interrogate institutionalized spectacularism both in their works’ content and form by analysing Léonora Miano’s intermedial novel Blues pour Élise (2010). The novel probes the relationship between minorities’ literal (in)visibility within predominantly whitewashed mediascapes (Appadurai) and their figurative recognition. Far from simply pointing out how the relative absence of racial and ethnic minorities within France’s mediascape impacts its Afropean characters, however, the novel puts itself forth as an Afropean mediascape—its own remedy to the normative, whitewashed French mediascape. Juxtaposing two characters’ views on how to improve Afropeans’ literal and figurative visibility in France, the chapter also reveals underlying causes of this (in)visibility: the painful traumas of France’s colonial past. The novel, then, suggests that opening these painful histories can prove cathartic for all populations involved, and can lead to more inclusive visions of French national identity.Less
This chapter continues the book’s inquiry into the way twenty-first century authors and artists interrogate institutionalized spectacularism both in their works’ content and form by analysing Léonora Miano’s intermedial novel Blues pour Élise (2010). The novel probes the relationship between minorities’ literal (in)visibility within predominantly whitewashed mediascapes (Appadurai) and their figurative recognition. Far from simply pointing out how the relative absence of racial and ethnic minorities within France’s mediascape impacts its Afropean characters, however, the novel puts itself forth as an Afropean mediascape—its own remedy to the normative, whitewashed French mediascape. Juxtaposing two characters’ views on how to improve Afropeans’ literal and figurative visibility in France, the chapter also reveals underlying causes of this (in)visibility: the painful traumas of France’s colonial past. The novel, then, suggests that opening these painful histories can prove cathartic for all populations involved, and can lead to more inclusive visions of French national identity.
Mike Miley
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9781496825384
- eISBN:
- 9781496825438
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496825384.001.0001
- Subject:
- Film, Television and Radio, Film
Truth and Consequences interrogates the ways in which over two dozen works of fiction and film find meaning in the game show. Writers and filmmakers use the game show intermedially as a metaphor for ...
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Truth and Consequences interrogates the ways in which over two dozen works of fiction and film find meaning in the game show. Writers and filmmakers use the game show intermedially as a metaphor for what it means to be a person, a lover, a family, and a citizen in the media age. Despite media culture’s promises of global equality and connectivity (and one’s efforts to realize that promise), individuals wind up isolated by market-driven deception, wealth, or ethnicity. People use media to achieve greater intimacy with others, but the market nudges them to keep their distance from each other in the name of exploring options. Other networks can still assert themselves, such as the family, but can only sustain themselves if they openly defy and rewrite the rules of the media culture they inhabit. Although America espouses a commitment to democratic freedom, the state partners with imagemakers to make one’s lack of choice entertaining and resistance self-defeating. Amidst these obstacles, Americans still feel called upon to remember, to connect, to buzz in, to answer in the hopes that an escape awaits in the next round, behind the next door.Less
Truth and Consequences interrogates the ways in which over two dozen works of fiction and film find meaning in the game show. Writers and filmmakers use the game show intermedially as a metaphor for what it means to be a person, a lover, a family, and a citizen in the media age. Despite media culture’s promises of global equality and connectivity (and one’s efforts to realize that promise), individuals wind up isolated by market-driven deception, wealth, or ethnicity. People use media to achieve greater intimacy with others, but the market nudges them to keep their distance from each other in the name of exploring options. Other networks can still assert themselves, such as the family, but can only sustain themselves if they openly defy and rewrite the rules of the media culture they inhabit. Although America espouses a commitment to democratic freedom, the state partners with imagemakers to make one’s lack of choice entertaining and resistance self-defeating. Amidst these obstacles, Americans still feel called upon to remember, to connect, to buzz in, to answer in the hopes that an escape awaits in the next round, behind the next door.
Kim Knowles and Marion Schmid (eds)
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9781474446341
- eISBN:
- 9781474495233
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474446341.001.0001
- Subject:
- Film, Television and Radio, Film
As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature ...
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As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.Less
As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema, and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
