Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives

• Authors: Judit Pieldner
• Languages of publication: EN

Abstracts

EN

Among the various connotations of intermediality one is related to the performative aspect of the term. As Ágnes Pethő (2011, 42) formulates: “Intermediality is seen, more often than not, as something that actively ‘does,’ ‘performs’ something, and not merely ‘is.’” This notion of intermediality implies a dynamic category within which media constellations are in continuous motion, being reconfigured by one another, the cinematic medium becoming a playground of media interactions. András Jeles, Hungarian experimental filmmaker formulates the paradox that a particular medium can best express its own mediality through the “foreign” material of other arts and media. The medial consonances and dissonances transform the cinematic medium into a liminal space where meaning as event can take shape. Jeles’s film entitled Parallel Lives (Senkiföldje, 1993) is aimed at such event-like liminality in several respects: culturally, it turns towards a burdened site of the still unprocessed past of the Hungarian society; thematically, it addresses the topic of the Holocaust; and medially, it proposes to artistically render the unrepresentable. The film appeals to the other arts, incorporating a set of literary, painterly and musical allusions that contrast a culturally aestheticized view of the child in pain with the ultimate, inescapable and incommensurable reality.

Keywords

EN

the real vs. the intermedial; intermediality as event; tropes of the unrepresentable; archival footage; András Jeles

• Publisher: Sciendo
• Journal: Acta Universitatis Sapientiae, Film and Media Studies
• Year: 2015
• Volume: 11
• Issue: 1
• Pages: 127-142

Dates

published

2015-12-01

online

2016-04-06

Contributors

author

Judit Pieldner

• Sapientia Hungarian University of Transylvania (Miercurea Ciuc, Romania)

Identifiers

DOI

10.1515/ausfm-2015-0019