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.
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.
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.
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.
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.
Jeffrey Geiger and Karin Littau (eds)
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748676118
- eISBN:
- 9780748695096
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748676118.001.0001
- Subject:
- Film, Television and Radio, Film
In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with ...
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In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with what we now refer to as New Media? This collection addresses these questions by focusing on the relations of cinema to other media, cultural productions, and diverse forms of entertainment, exploring these sometimes parallel and sometimes more densely intertwined histories. Cinematicity in Media History makes visible the complex ways in which media anticipate, interfere with, and draw on one other, demonstrating how cinematicity makes itself felt in practices of seeing, reading, writing, and thinking both before and after the ‘birth’ of cinema. Contributors examine the interrelations between cinema, literature, painting, photography, and gaming, not only to each other, but amid a host of other minor and major media such as the magic lantern, the zoetrope, the flick-book, the iPhone, and the computer. Each chapter provides insights into the development of media and their overlapping technologies and aesthetics.Less
In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with what we now refer to as New Media? This collection addresses these questions by focusing on the relations of cinema to other media, cultural productions, and diverse forms of entertainment, exploring these sometimes parallel and sometimes more densely intertwined histories. Cinematicity in Media History makes visible the complex ways in which media anticipate, interfere with, and draw on one other, demonstrating how cinematicity makes itself felt in practices of seeing, reading, writing, and thinking both before and after the ‘birth’ of cinema. Contributors examine the interrelations between cinema, literature, painting, photography, and gaming, not only to each other, but amid a host of other minor and major media such as the magic lantern, the zoetrope, the flick-book, the iPhone, and the computer. Each chapter provides insights into the development of media and their overlapping technologies and aesthetics.
Mary Simonson
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199898015
- eISBN:
- 9780199369683
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199898015.001.0001
- Subject:
- Music, Dance, History, American
In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded ...
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In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, silent film, and more. Onstage and on-screen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful. This book examines these performances and the performers behind them, focusing particularly on the ways in which they negotiated turn-of-the-century American social and cultural issues, including technological developments and commodification, new modes of perception, evolving understandings of the body and the self, and shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.Less
In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, silent film, and more. Onstage and on-screen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful. This book examines these performances and the performers behind them, focusing particularly on the ways in which they negotiated turn-of-the-century American social and cultural issues, including technological developments and commodification, new modes of perception, evolving understandings of the body and the self, and shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.
Martin Dinter
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199665747
- eISBN:
- 9780191758201
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199665747.003.0014
- Subject:
- Classical Studies, Archaeology: Non-Classical
This chapter offers a methodological approach to interrogate Latin literature's engagement with epigram through embedded inscriptions. When epigram moved on from its inscriptional roots to become a ...
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This chapter offers a methodological approach to interrogate Latin literature's engagement with epigram through embedded inscriptions. When epigram moved on from its inscriptional roots to become a literary genre and thus an abstract concept, it opened up not only itself but also inscriptions for dissection and reception in other genres. The theoretical approach of intermediality (Intermedialität) can provide a framework for exploring the blurring of inscriptional and narrative modes in Latin poetry. This chapter examines how Greek epigraphic formulae such as kai su are absorbed into Latin poetry, where they then develop a life of their own. (Over)emphasising the sepulchral origin of kai su, Latin authors invent a literary game in which the expression tu quoque serves as epitaphic gesture towards death or death to come. Undeniably, in Greek funerary epitaph the phrase kai su is a common feature as both the deceased and the passerby are addressed frequently (cf. Anacreon, AP 7.263). However, already in the Greek epigram genre we encounter both actual inscriptions on stone and ‘Buchepigramme’, literary fabrications featuring epigraphic pretensions. In this literary game the formula kai su advances from its inscriptional function to the status of an epigraphic marker. Translated into Latin as tu/te quoque this address then often bears sepulchral connotations and constitutes an epitaphic gesture marking or foreshadowing death. Virgil thus opens the second half of his epic with an epitaph on Aeneas' nurse Caieta (Aen. 7.1-4) which features tu quoque as opening address but we also find tu/te quoque employed in less obviously epitaphic context such as close combat.Less
This chapter offers a methodological approach to interrogate Latin literature's engagement with epigram through embedded inscriptions. When epigram moved on from its inscriptional roots to become a literary genre and thus an abstract concept, it opened up not only itself but also inscriptions for dissection and reception in other genres. The theoretical approach of intermediality (Intermedialität) can provide a framework for exploring the blurring of inscriptional and narrative modes in Latin poetry. This chapter examines how Greek epigraphic formulae such as kai su are absorbed into Latin poetry, where they then develop a life of their own. (Over)emphasising the sepulchral origin of kai su, Latin authors invent a literary game in which the expression tu quoque serves as epitaphic gesture towards death or death to come. Undeniably, in Greek funerary epitaph the phrase kai su is a common feature as both the deceased and the passerby are addressed frequently (cf. Anacreon, AP 7.263). However, already in the Greek epigram genre we encounter both actual inscriptions on stone and ‘Buchepigramme’, literary fabrications featuring epigraphic pretensions. In this literary game the formula kai su advances from its inscriptional function to the status of an epigraphic marker. Translated into Latin as tu/te quoque this address then often bears sepulchral connotations and constitutes an epitaphic gesture marking or foreshadowing death. Virgil thus opens the second half of his epic with an epitaph on Aeneas' nurse Caieta (Aen. 7.1-4) which features tu quoque as opening address but we also find tu/te quoque employed in less obviously epitaphic context such as close combat.
Susan Potter
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780252042461
- eISBN:
- 9780252051302
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042461.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter focuses on an expanded visual archive that is emblematic of the intermediality of early cinema: the electric light dance performances of late-nineteenth-century celebrity Loïe Fuller and ...
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This chapter focuses on an expanded visual archive that is emblematic of the intermediality of early cinema: the electric light dance performances of late-nineteenth-century celebrity Loïe Fuller and their early film copies. The chapter argues that Fuller’s on-stage performances, and the cinematic remediations that imitated her disembodied modes of performance, represent a specific response to, and transformation of, conditions of vision, practices of looking, and modes of voyeurism that had until recently been cultural norms for women. Fuller’s visual archive suggests how the developing sexual subjectivities of female spectators were already bound up in proto-cinematic forms of spectatorship that turned on the visual pleasures of the moving female body. Appropriating and reorienting the sexuality effects of late-nineteenth-century visual culture, Fuller’s performances sustained a paradoxically disembodied and depersonalized homoerotic mode of spectatorship.Less
This chapter focuses on an expanded visual archive that is emblematic of the intermediality of early cinema: the electric light dance performances of late-nineteenth-century celebrity Loïe Fuller and their early film copies. The chapter argues that Fuller’s on-stage performances, and the cinematic remediations that imitated her disembodied modes of performance, represent a specific response to, and transformation of, conditions of vision, practices of looking, and modes of voyeurism that had until recently been cultural norms for women. Fuller’s visual archive suggests how the developing sexual subjectivities of female spectators were already bound up in proto-cinematic forms of spectatorship that turned on the visual pleasures of the moving female body. Appropriating and reorienting the sexuality effects of late-nineteenth-century visual culture, Fuller’s performances sustained a paradoxically disembodied and depersonalized homoerotic mode of spectatorship.
Xiaoning Lu
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9789888528011
- eISBN:
- 9789882204508
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888528011.003.0005
- Subject:
- Society and Culture, Cultural Studies
The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between ...
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The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between cinema and the traditional Chinese performing art of xiangsheng in the mid-1950s, seeking to tease out an innovative strand of comic filmmaking in the Mao era. Specifically, it takes as its case study the xiangsheng dianying (crosstalk film) of 1956, Wandering in the Zoo, Awaking from a Dream (Youyuan jingmeng), starring the well-known xiangsheng duo of Hou Baolin and Guo Qiru. Through an introduction of xin xiangsheng, a new type of xiangsheng created for the new Chinese society and a careful textual analysis of this particular xiangsheng dianying, the chapter illustrates that the interplay of xiangsheng and film, as seen in Wandering in the Zoo, Awaking from a Dream, transfigured each of the two media, increased much of the viewing pleasure of this film, and provided an understanding of the specificities of both xiangsheng and film. This rather ingenious experimentation of dynamical intermediality demonstrates that laughter under Mao could be innovative and experimental. Less
The first wave of film comedy in socialist China enjoyed only an ephemeral presence amidst the Hundred Flowers Campaign. This chapter turns attention to the intersection of and interaction between cinema and the traditional Chinese performing art of xiangsheng in the mid-1950s, seeking to tease out an innovative strand of comic filmmaking in the Mao era. Specifically, it takes as its case study the xiangsheng dianying (crosstalk film) of 1956, Wandering in the Zoo, Awaking from a Dream (Youyuan jingmeng), starring the well-known xiangsheng duo of Hou Baolin and Guo Qiru. Through an introduction of xin xiangsheng, a new type of xiangsheng created for the new Chinese society and a careful textual analysis of this particular xiangsheng dianying, the chapter illustrates that the interplay of xiangsheng and film, as seen in Wandering in the Zoo, Awaking from a Dream, transfigured each of the two media, increased much of the viewing pleasure of this film, and provided an understanding of the specificities of both xiangsheng and film. This rather ingenious experimentation of dynamical intermediality demonstrates that laughter under Mao could be innovative and experimental.
Sebastian Matzner and Gail Trimble
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780198846987
- eISBN:
- 9780191881930
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198846987.003.0011
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The epilogue takes stock of the volume’s insights, reflects on the connections and tensions between the contributors’ individual approaches, and delineates how the kinds of critical intervention and ...
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The epilogue takes stock of the volume’s insights, reflects on the connections and tensions between the contributors’ individual approaches, and delineates how the kinds of critical intervention and conceptual recalibration offered here can set the scene for future interdisciplinary work. It sums up and explores the variations in perspective that remain in the light of the volume as a whole, while also sounding out the emerging common ground that can be established in spite of the sometimes irreducible—and productive—differences. It also draws out and comments on the recurring concerns of this volume—which cluster in particular around the issues of historically contingent reception aesthetics, dynamics of performance, affect, intermediality, narrative ontology, and differences between genres—in order to show how the volume as a whole advances the developing theoretical field of historical narratology. In doing so, it makes the case for the importance of expanding the scope and methods of narrative theory through incorporating specifically classical parameters of narration to confront and address some of the unsatisfactory dimensions of structuralist narratology. In this way, the epilogue also sketches avenues for future research and points out the ways in which the present volume seeks to set an agenda for new directions in classical and interdisciplinary scholarship.Less
The epilogue takes stock of the volume’s insights, reflects on the connections and tensions between the contributors’ individual approaches, and delineates how the kinds of critical intervention and conceptual recalibration offered here can set the scene for future interdisciplinary work. It sums up and explores the variations in perspective that remain in the light of the volume as a whole, while also sounding out the emerging common ground that can be established in spite of the sometimes irreducible—and productive—differences. It also draws out and comments on the recurring concerns of this volume—which cluster in particular around the issues of historically contingent reception aesthetics, dynamics of performance, affect, intermediality, narrative ontology, and differences between genres—in order to show how the volume as a whole advances the developing theoretical field of historical narratology. In doing so, it makes the case for the importance of expanding the scope and methods of narrative theory through incorporating specifically classical parameters of narration to confront and address some of the unsatisfactory dimensions of structuralist narratology. In this way, the epilogue also sketches avenues for future research and points out the ways in which the present volume seeks to set an agenda for new directions in classical and interdisciplinary scholarship.
Ryan Bishop
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748643073
- eISBN:
- 9780748689071
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748643073.001.0001
- Subject:
- Film, Television and Radio, Film
Cinema mostly taught viewers how to understand cinema, constantly thematizing its addresses to and relationship to its audience. Comic cinema has provided a self-reflexive critique of this ...
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Cinema mostly taught viewers how to understand cinema, constantly thematizing its addresses to and relationship to its audience. Comic cinema has provided a self-reflexive critique of this auto-technological or auto-medial training, allowing audiences to glimpse the many ways they were being conditioned and articulated in the mechanical era by this quintessential example of art form become industry. Comic cinema then considers through its own medial relations to the construction of human perception and consciousness (or aesthetics). Comedy and Cultural Critique in American Film adds to the conversation of film comedy in two primary, interrelated ways. One is it argues for the centrality of comedy in film as a means for staging (or attempting) cultural criticism. Another focuses on the powerful and sustained shifts in visual culture emergent in the 20th century that cinema helped generate, foster, and question. As a result, comedic film often addresses technology (industrial, mechanical, visual, digital, military, etc.) and techne generally that constitute the grounds of possibility for cinema itself that fall into its purview of self-reflexive cultural criticism. Cinema becomes an important site for producing and critiquing visual technology within US and global cultural politics, examining the status of the mechanically-produced and reproduced moving image, and the thematizing of its own power. In so doing, cinema simultaneously represents itself as a unique medium that is also part of a larger trajectory of visual and audiovisual technologies that have contributed not only to cinema’s formation but also created media environment in which it must function.Less
Cinema mostly taught viewers how to understand cinema, constantly thematizing its addresses to and relationship to its audience. Comic cinema has provided a self-reflexive critique of this auto-technological or auto-medial training, allowing audiences to glimpse the many ways they were being conditioned and articulated in the mechanical era by this quintessential example of art form become industry. Comic cinema then considers through its own medial relations to the construction of human perception and consciousness (or aesthetics). Comedy and Cultural Critique in American Film adds to the conversation of film comedy in two primary, interrelated ways. One is it argues for the centrality of comedy in film as a means for staging (or attempting) cultural criticism. Another focuses on the powerful and sustained shifts in visual culture emergent in the 20th century that cinema helped generate, foster, and question. As a result, comedic film often addresses technology (industrial, mechanical, visual, digital, military, etc.) and techne generally that constitute the grounds of possibility for cinema itself that fall into its purview of self-reflexive cultural criticism. Cinema becomes an important site for producing and critiquing visual technology within US and global cultural politics, examining the status of the mechanically-produced and reproduced moving image, and the thematizing of its own power. In so doing, cinema simultaneously represents itself as a unique medium that is also part of a larger trajectory of visual and audiovisual technologies that have contributed not only to cinema’s formation but also created media environment in which it must function.
Julie Sauvage
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781526136770
- eISBN:
- 9781526146748
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526136787.00010
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines the way The Bloody Chamber intermingles literary, pictorial and musical elements to ground a new aesthetic of reading. Drawing on both aesthetic and psychoanalytic theory, it ...
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This chapter examines the way The Bloody Chamber intermingles literary, pictorial and musical elements to ground a new aesthetic of reading. Drawing on both aesthetic and psychoanalytic theory, it argues that Carter plays on the traditional gendering of space and time, as well as their related fine arts. She thus uses painting and music to blur the boundaries and implicit hierarchies between genres and genders, but also between the senses to which they appeal, giving prominence to the repressed sense of hearing, which is closely linked to touch. Looking first at ‘The Bloody Chamber’, it shows that it provides a key to a collection which should be read like a score and calls for performative readings, in the musical sense. Broadening the perspective, it then provides an overview of the whole collection as structured around visual, musical, and consequently tactile, refrains in the sense Gilles Deleuze and Félix Guattari understand them. It demonstrates that Carter thus renews a somewhat stultified genre, which trapped characters and readers into predetermined roles, by turning the very motives that constituted the death trap into a constant de-territorialization process, reviving their capacity to affect her readers and urge them to reconfigure their own relationship to otherness.Less
This chapter examines the way The Bloody Chamber intermingles literary, pictorial and musical elements to ground a new aesthetic of reading. Drawing on both aesthetic and psychoanalytic theory, it argues that Carter plays on the traditional gendering of space and time, as well as their related fine arts. She thus uses painting and music to blur the boundaries and implicit hierarchies between genres and genders, but also between the senses to which they appeal, giving prominence to the repressed sense of hearing, which is closely linked to touch. Looking first at ‘The Bloody Chamber’, it shows that it provides a key to a collection which should be read like a score and calls for performative readings, in the musical sense. Broadening the perspective, it then provides an overview of the whole collection as structured around visual, musical, and consequently tactile, refrains in the sense Gilles Deleuze and Félix Guattari understand them. It demonstrates that Carter thus renews a somewhat stultified genre, which trapped characters and readers into predetermined roles, by turning the very motives that constituted the death trap into a constant de-territorialization process, reviving their capacity to affect her readers and urge them to reconfigure their own relationship to otherness.
Jeffrey Geiger and Karin Littau
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748676118
- eISBN:
- 9780748695096
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748676118.003.0001
- Subject:
- Film, Television and Radio, Film
The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in ...
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The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in isolation from others. It further signals a commitment to the comparative study of media, which abandons the compartmentalized approach of ‘structuring the study of media around individual media’ (Jenkins). Here intermediality becomes a useful concept for the environment in which this comparative labour is undertaken, since to study intermediality is to follow the intertwined histories and transformative relations between old and new, mechanical and electronic, analogue and digital, word-based and image-based media.Less
The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in isolation from others. It further signals a commitment to the comparative study of media, which abandons the compartmentalized approach of ‘structuring the study of media around individual media’ (Jenkins). Here intermediality becomes a useful concept for the environment in which this comparative labour is undertaken, since to study intermediality is to follow the intertwined histories and transformative relations between old and new, mechanical and electronic, analogue and digital, word-based and image-based media.