Intermediality

Dance in Debussy's Paris: Re-figuring Art and Music

by Juliet Bellow

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

"Tensional Differences": The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films

by Ágnes Pethő

Essay in the recently re-launched Vertigo Magazine, a special issue dedicated to the provocative cinema of Jean-Luc Godard.

This essay discusses the way in which Godard, in his films made during the period of the Nouvelle Vague, addresses the... more This essay discusses the way in which Godard, in his films made during the period of the Nouvelle Vague, addresses the issues regarding the rivalry between the emerging modern cinema and the other arts and media.

More Than Dust: The Burning Man Festival

by Selçuk Balamir

Überlegungen zu medialen Konstellationen und den medialen Qualitäten literarischer Darstellung in Eduard Mörikes "Maler Nolten"

by Cornelia Rémi

Forthcoming in: Wolf Gerhard Schmid, Stefan Keppler-Tasaki (eds.): Zwischen Gattungsdisziplin und Gesamtkunstwerk. Literarische Intermedialität 1815-1848. Berlin/New York: de Gruyter, 2012.

Der Aufsatz beschäftigt sich anhand von Eduard Mörikes Roman mit dargestellter Medialität und der Medialität... more Der Aufsatz beschäftigt sich anhand von Eduard Mörikes Roman mit dargestellter Medialität und der Medialität literarischer Darstellung im Übergang zwischen Romantik und Realismus.

Auditory Space

by Jem Kelly

This article reappraises and develops Marshall McLuhan’s theory of ‘Auditory Space’ as a critical tool for... more This article reappraises and develops Marshall McLuhan’s theory of ‘Auditory Space’ as a critical tool for interrogating emergent, immersive modes of new media performance.  Commonalities in the practise of Erwin Piscator, Steve Reich and Beryl Korot are explored, specifically in their respective applications of technology as a means by which to re-present historical events and document lived experiences with political intent. Contemporary views on historiography and historicity are explored and  contextualised with respect to postmodern theory. A performance of Steve Reich and Beryl Korot’s Three Tales is analysed, in the light ‘auditory space’, with reference to ways in which Three Tales evoke collective memory, to raise political concerns and issues of authenticity and to affect the spectator. Each of these practitioners use contemporaneous technologies to communicate to audiences of their day in ways that suit the tenor and technological environment of their times. These notions are briefly discussed from a historical perspective in relation to theatrical stagings that operate different approaches to illusion or anti-illusion. I draw on Jacques Derrida’s theories of deconstruction and his critique of Artaud’s Theatre of Cruelty. The affective potential of music is assessed using phenomenology as a means through which to describe perceptual modes encountered in multi-channelled performance.

Uomini con la macchina fotografica

by Francesco Zucconi

in "La fotografia. Oggetto teorico e pratica sociale", Nuova Cultura, Roma 2011

From Louis Delluc to David Rodowick, the relation with photography is the starting point of every film theory, but in... more From Louis Delluc to David Rodowick, the relation with photography is the starting point of every film theory, but in the history of cinema we can find also a lot of films where the photographer is the central character and the photographic practice is the topic. Beyond the relationships between cinema and photography as expressed in film theory, this article puts forward the hypothesis that it is possible to identify a series of “theoretical films” on photographic representation. Films capable of developing a theory of the photographic medium as an investigative and knowledge tool. From Rear window (1954) by Alfred Hitchcock to Blow-up (1966) by Michelangelo Antonioni, until Flags of our fathers (2006) by Clint Eastwood, this article discusses how the film may be able to think about the patterns of knowledge of the photographic image and, through it, about his own ability to represent and understand the world.

The Depiction of 9/11 in Literature The Role of Images and Intermedial References

by Sonia Baelo-Allué

more http://rhr.dukejournals.org/content/2011/111/184.full.pdf+html


The 9/11 terrorist attack on the United States has become one of the most represented disasters in history since it produced an unprecedented visual impact on those around the world who watched the second plane crash into the South Tower live on television. In an atmosphere in which reality resembled fiction, fiction was initially rejected as a suitable means for understanding and relating to the enormity of the events because it apparently had nothing to offer that journalism and the news could not provide. Ten years later, these initial misgivings have been overcome and 9/11 fiction has become a genre in itself. This essay explores the use of newspaper articles, radio transcripts, phone messages, e-mails, and interviews with eyewitnesses in Frédéric Beigbeder's Windows on the World (2004); the use of moving images—a flip book—and other visuals inserted in Jonathan Safran Foer's Extremely Loud and Incredibly Close (2005); and the references to well-known photographs of 9/11 in Don DeLillo's Falling Man (2007). These authors do not ignore the mediated nature of 9/11 but display it through the incorporation of other media in their fiction, which renders their representation of the trauma more effective.

The ‘solitary mallard’: On Sebald and translation

by Lynn Wolff

Journal of European Studies, December 2011; 41 (3-4): 323-340, Special Issue: W. G. Sebald, Guest editor: Richard Sheppard

Using theories of translation, this essay defines and distinguishes between the multiple levels of translation in W.... more Using theories of translation, this essay defines and distinguishes between the multiple levels of translation in W. G. Sebald’s fictional works and examines how they present different challenges to the translator. I shall begin by discussing problems of textual translation such as Sebald’s syntax, style, tone and deployment of specialized terminology. I shall then discuss questions of intra- and intertextual translation, and the complicating factor of Sebald’s use of intermediality. Third, I shall consider the issue of metaphorical translation, conceptualized as the root of representation, because it is the overarching concern of all Sebald’s writing. Also using comments made by Sebald’s translators and his own changes and ‘corrections’ to their translations, this essay considers how these levels of translation further elucidate both the specificity of Sebald’s poetics and the particularity of the literary discourse to enact, thematize and reflect upon processes of translation that occur when capturing experience in writing.

Jean-Luc Godard's Passages from the Photographic to the Post-Cinematic.Images in between Intermediality and Convergence

by Ágnes Pethő

Published in Acta Universitatis Sapientiae: Film and Media Studies, 2011, vol.4.

The article begins with an attempt to trace the various domains of Godard’s widespread infl uence that reaches beyond... more The article begins with an attempt to trace the various domains of Godard’s widespread infl uence that reaches beyond contemporary cinema in our post-media culture (installation art, literature, music, graphic design, commercial videos, the current vogue of the “Godardesque” retro look promoted on the scene of fashion world, and fi nally, photography). The advertising strategies used by the Band of Outsiders fashion label using Polaroid photos that reconstruct or imitate Godard images are
analysed in more detail, their connection with a “photo-op” culture and the emergence of the “photo-fi lmic” image is emphasised. The article then connects all these “Godardesque” features that survive in the postcinematic world to the intermedial use of photography in Godard’s films that may have pre-fi gured their post-fi lmic appropriation. Some of the relevant junctures are pointed out between “the cinematic” and the “photographic” revealing how photography in Godard’s fi lms seems to offer a centre stage for inter-medial tensions but it can also facilitate the assimilation by other media. His latest fi lm, Film Socialisme is analysed in this sense as an allegoric passage of the photographic image from intermediality to media convergence.

"Paupières mûres": un scénario intournable de Benjamin Fondane?

by Nadja Cohen

Nadja Cohen, « « Paupières mûres », un scénario intournable », in « Ce que le cinéma fait à la littérature (et réciproquement) », Fabula LHT (Littérature, histoire, théorie), n°2, 01 décembre 2006.

Bibliography of publications in media and (inter) mediality studies

by Joachim Vlieghe

The Bible in two keys: Traditionalism and Evangelical Christianity on the Fort Apache reservation

by M. Eleanor Nevins

Language and Communication 2010, in a special issue entitled "Intertextuality and Misunderstanding"

This article examines contrasting entextualizations of the Bible across conflicting Traditionalist and Evangelical... more This article examines contrasting entextualizations of the Bible across conflicting Traditionalist and Evangelical Christian identities on the Fort Apache reservation in Arizona. On the one hand, each makes use of Apache language idioms and genre precedents to underwrite their respective claims to authentic Apache identities. On the other hand, each selects different components of that loosely shared repertoire of discursive precedents in their entextualizations of the Bible in order to articulate contrasting transformative projects for their community as well as to assert the contemporary relevance of their voices
within differently imagined global orders. This analysis constitutes the local speech community as a locus of ethnolinguistic inquiry in which relations to encompassing social
orders are mediated in part by the circulation of texts. In this process conventions and precedents serve as a reservoir of resources mobilized for use in competing strategies advanced by differently affiliated actors in dialogue with one another. In this way multiplicity and dynamism as a characteristic of local communities is defined as a crucial dimension of local–global discursive processes.

Bibliography of publications in media and (inter) mediality studies

by Geert Vandermeersche

Intermediality as cultural literacy and teaching the graphic novel

by Geert Vandermeersche

In their article "Intermediality as Cultural Literacy and Teaching the Graphic Novel" Geert Vandermeersche... more In their article "Intermediality as Cultural Literacy and Teaching the Graphic Novel" Geert Vandermeersche and Ronald Soetaert argue for the inclusion of the graphic novel for the teaching of cultural literacy and literature. As the printed book is no longer the sole carrier of cultural literacy, Vandermeersche and Soetaert postulate that literary culture must be repositioned in intermedial culture and practices. In order to do so, Vandermeersche and Soetaert apply Werner Wolf's typology of intermediality, aspects of narratology, and scholarship about comics. Following a theoretical discussion they analyze the graphic novel series The Unwritten, a text that thematizes the intermedial nature of (Western) culture today and mediates the function of literature and cultural literacy. Consequently, as Vandermeersche's and Soetaert's analysis suggests, narration incorporates references to and the thematization of other media and literary texts, which, in turn, creates embedded stories that try to link the entire fabric of literary culture together. As such, it changes the way we look at the transfer of cultural literacy to readers and students of literature and culture.

From Doing to Performing Phenomenology: Implications and Possibilities

by Sigrid Merx

Theater, video en de kristallisering van tijd

by Sigrid Merx

Onder ogen zien. Esthetiek en ethiek bij Hotel Modern

by Sigrid Merx

Swann's Way: Video and Theatre As An Intermedial Stage for the Representation of Time

by Sigrid Merx

Perception and Presence: Analyzing Intermediality in Performance

by Sigrid Merx

This link is to an E-book Mapping Intermediality in Performance (ed. Sarah Bay-Chang et al.)  My article "Perception and presence: Analyzing intermediality in performance" , co-authored with Liesbeth Groot Nibbelink can be found on page 218-229