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1

Intermediale Komponenten, Beziehungen und Funktionen in öffentlichen Stadttexten

100%

Opiłowski R.

Linguistische Treffen in Wrocław

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2022

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issue 22

195-207

EN

Contemporary texts in public space offer different forms and functions. Regulative, commercial, transgressive and last but not least pandemic texts use multimodal means in the composition of text forms and for the transfer of corresponding information, offers, bids or bans. The spectrum of use is truly extensive. Against this background, the article asks about intermediality in urban texts such as posters and notices, because intermedial relations – mainly known from audiovisual and hypertextual contexts – are efficient strategies of textual effect. The phenomenon of intermediality is explained from the perspective of components, relationships and functions in the text because these three kinds of manifestation can synthetically show the emergence and pragmatic manifestation of intermediality. Individual examples are from June and July 2021 and were photographed in Warsaw, Berlin and Luxembourg.

2

Adapting the Medium: Dynamics of Intermedial Adaptation in Contemporary Japanese Popular Visual Culture

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Pusztai B.

Acta Universitatis Sapientiae, Film and Media Studies

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2015

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vol. 10

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issue 1

141-152

EN

With respect to adaptation studies, contemporary Japanese popular culture signifies a unique case, as different types of media (be those textual, auditive, visual or audio-visual) are tightly intertwined through the “recycling” of successful characters and stories. As a result, a neatly woven net of intermedial adaptations has been formed - the core of this complex system being the manga-anime-live-action film “adaptational triangle.” On the one hand, the paper addresses the interplay of the various factors by which the very existence of this network is made possible, such as the distinctive cultural attitude to “originality,” the structure of the comics, animation and film industries, and finally, the role of fictitious genealogies of both traditional and contemporary media in the negotiation of national identity. On the other hand, the essay also considers some of the most significant thematic, narrative, and stylistic effects this close interconnectedness has on the individual medium. Special attention is being paid to the nascent trend of merging the adaptive medium with that of the original story (viewing adaptation as integration), apparent in contemporary manga-based live- action comedies, as the extreme case of intermedial adaptation. That is, when the aim of the adaptational process is no longer the transposition of the story but the adaptation (i.e. the incorporation) of the medium itself- elevating certain medium-specific devices into transmedial phenomena.

3

Adaptacja filmowa jako przykład zjawiska intermedialności

100%

Ogonowska A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2013

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issue 5

113-127

EN

The paper considers the problem of adapting literary works in the context of the intermediality phenomenon. The author examines the significance of the latter category, considers the movie as an example of an intermedial text and shows the consequences of ‘translation’ of literature to other media and media transmissions. Intermediality, in the opinion of the author, is a part of the nature of the modern media market, to a large extent shaped by the specific needs of consumers.

4

The Impression of Reality and the Awareness of the Medium in Alexander Sokurov’s Family Trilogy

100%

Bugaj M.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

7-25

EN

Drawing on Brigitte Peucker’s question – “in cinematic experience, what promotes the impression of reality, and when does medium awareness come into play?” – I examine how Sokurov’s family trilogy constitutes a certain oscillation between the immediate and the constructed. The films under discussion connect with the sensual, physical-biological and socio-political reality, while, simultaneously, they emphasize the artificial and stylised. Mother and Son employs distancing painterly images which deemphasise the figures of the characters while it finishes with the extreme close-up exploring the skin as a raw material used to construct image with its varied colours and textures. Father and Son, on the other hand, enters the dialogue with medicine; through the employment of haptic images and medical appropriations, the film focuses on the sensual along with the biological dimension of the body. Set within a clear socio-political context, Alexandra explores the senses which are not readily available in cinema, that is touch and smell, and thus emphasises the trace of the physical presence on screen. This paper demonstrates how Sokurov’s family trilogy situates itself on the intersection of the Bolter and Grusin’s “desire for immediacy” with the mediated and remediated.

5

GRA Z GATUNKIEM JAKO SPOSÓB PRZEZWYCIĘŻENIA KRYZYSU TRADYCYJNYCH FORM W LITERATURZE BIAŁORUSKIEJ (NA PODSTAWIE DZIENNIKA FACEBOOKOWEGO RADZIWA „PRUDOK” ANDRUSIA HORWATA)

100%

Raspapou A.

Acta Neophilologica

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2019

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vol. XXI/1

79-85

EN

In this article, I analyze the problem of the interaction between literary and paralit-erary genres in the work of the Belarusian writer Andrus Horvat, winner of the Maxim Bahdanovich “Debut” Award in 2017. The intermedial potential, especially genealogical features of his work Radziwa ‘Prudok’ [‘Prudok’ Radio Station] will be discussed, as well as how it operates within the context of literature and various forms of visual art, which are subsumed under the main theme of this work, i.e. the search for the lost identity by the young generation of Belarusians.

6

Frames, Windows, and Mirrors. Sensing Still Bodies in Films by Manoel de Oliveira

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Király H.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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vol. 8

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issue 1

7-20

EN

In the case of Oliveira’s Doomed Love (Amor de Perdição, 1978) (an adaptation of the homonymous classic Portuguese novel), Bresson’s model theory provides an adequate theoretical model for a melodrama in which characters, ‘hit by fate,’ are following their destinies as if ‘under hypnosis.’ Besides a typically frontal, iconic representation of bodies thoroughly framed by windows, doors, and mirrors, in this and many other films by Oliveira, the intermedial figure of tableau vivant also reveals the movement-stillness mechanisms of the medium of film by turning, under our eyes, the body into a picture. His Abraham’s Valley (Vale Abraão, 1993) is also relevant for a fetishistic representation of (female) feet and legs. This visual detail, somewhat reminding of Buñuel’s similar obsession, is not only subversive in terms of representation of socio-cultural taboos, but is also providing a compelling sensual experience of both the body and the medium.

7

Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice

100%

Blom I.

Acta Universitatis Sapientiae, Film and Media Studies

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2013

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vol. 7

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issue 1

97-110

EN

The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.

8

„Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter

100%

Sommerfeld B.

Germanica Wratislaviensia

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2016

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vol. 141

135-149

DE

Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr (2014) des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts (von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman) zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.

EN

The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich (2014). Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse (Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman), scrutinizing and redefining analogue media by referring to various topoi, metaphors (the analogue as a mental imprint of the real). Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.

9

Współczesny świat w obiektywie Marcina Maciejowskiego: realizm medialny

88%

Ogonowska A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2011

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issue 2

86-95

EN

The article deals with the works of Marcin Maciejowski in the perspective of intermedia connections of his works with photography, film and painting. The author of the article is particularly interested in tracing the intertextual and intermedia games in the space of culture as well as their informative, cognitive and ludic functions. A separate section of the article is devoted to the description of media realism.

10

Material windows and working stations. The discourse networks behind skeuomorphic interface in Pathfinder: Kingmaker

88%

Żmuda M. D.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2021

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vol. 29

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issue 38

73-94

EN

The article probes the intermedial structure of the skeuomorphic interface in Pathfinder: Kingmaker. The author indicates that intermedia research in game studies is often diachronically limited, focusing on material and semiotic interactions between “old” and “new” media. He proposes to open the field onto historically aware discoursive analysis and bases his method on Friedrich Kittler’s notion of “discourse networks”. This allows him to inspect the game in relation to technologically-founded networks that embody or bring into life specific modes of though and experience. During his analysis, he discovers that the interface design is involved with navigation devices in Late Medieval and Early Renaissance periods, Alberti’s windows as objects through with narrative spaces become visible, isometric modes of objective thinking, industrial and cybernetic notions of control, and the Xerox invention of the computer as a working environment.

11

Opera Stefana Themersona (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

88%

Hejmej A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 16

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issue 2

77-91

EN

The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam – London 1972) and the question of intermediality in general. An interpreta-tion of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Diver-tissements /1962/ and factor T /1956/), places Themerson’s idea in the context of aes-thetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work etc.) and argues that an aesthetics of intermediality appears to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other hand, the phenomenon of intermediality as aesthetics of existence.

12

From Brushes to Lenses: An Ekphrastic Stroll in "A Line Made by Walking" by Sara Baume

88%

Ferreira J. S., Vieira M. d. P.

Lublin Studies in Modern Languages and Literature

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2020

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vol. 44

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issue 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

There is a sizeable body of scholarship concerning the ekphrastic relation of literature to painting – however, there has been ascending interest in other sources of inspiration, such as photography. The aim of this paper is to explore whether the categories used to analyse ekphraseis of paintings might apply to the ekphraseis inspired by photography in Sara Baume’s A Line Made by Walking (2017), considering that they provide insightful information regarding the creative process of the protagonist and her inner state. The notion of ekphrasis (Clüver, Vieira, Webb) and theories of photography (Barthes, Machado, Sontag) will be used as theoretical support.

FR

L'article contient uniquement le résumé en anglais.

13

Réécrire Don Juan au XXe siècle : entre hybridité et intermédialité, nouveaux modes d’exploitation d’un mythe

88%

Gournay A.

Quêtes littéraires

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2016

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issue 6

118-127

EN

The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.

14

Travel Writing on the Edge: An Intermedial Approach to Travel Books and Travel Blogs

88%

Calzati S.

Acta Universitatis Sapientiae, Film and Media Studies

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2015

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vol. 10

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issue 1

153-168

EN

After discussing the limits and potentialities of the definitions of travel writing proposed by Paul Fussell (1980). Patrick Holland and Graham Huggan (1998) and Jan Borm (2004), the article presents a characterization of travel writing both as a genre with a precise rhetorical status, as well as a praxis of knoivledge, which derives from the interplay between travelling and writing. Building on this, a comparison between two Italian travel books and two Italian travel blogs about China is proposed. Specifically, by considering these texts as “intermedial transpositions” (Wolf 2008) that realize the same generic and epistemological matrix (i.e. travel writing), a Multimodal Critical Discourse Analysis (MCDA) is conducted in order to assess: 1) how the book and the blog, as different medial formats, interpret the rhetorical features of the travel writing genre: and 2) to what extent the gnoseological and cross-cultural potentials of travel writing, as a praxis of knowledge, is affected by the process of transposition.

15

The World of The Walking Dead – Transmediality and Transmedial Intermediality

88%

Beil B., Schmidt H. C.

Acta Universitatis Sapientiae, Film and Media Studies

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2015

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vol. 10

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issue 1

73-88

EN

As transmedia franchises increasingly populate our cultural environment, many questions arise about the effect of the different media involved in the depiction of storyworlds. Through the analysis of different examples, with special emphasis on the particular case of The Walking Dead, and drawing primarily from Henry Jenkins’s concept of “transmedia storytelling” and Jens Schroter’s concept of intermediality, this paper aims to show how different media aesthetics contribute to the process of storytelling and enrich the experience of the consumer. Usually overlooked in other analyses, we argue that these formal and aesthetical characteristics, such as the interactive nature of video games, call for a broader approach that transcends the accustomed search of common narrative aspects. This will be exemplified by a closer comparative look at the adventure game The Walking Dead: The Ganie (Telltale Games, 2012) and The Walking Dead: Survival Instiiict (Terminal Reality, 2013). The transformations that the different media demand contribute not only to the narrative, but also provide different tools for the construction of storyworlds and different ways to engage with it.

16

Rhizomatic Narrative and Intermediality in Treme

88%

Bene A.

Acta Universitatis Sapientiae, Film and Media Studies

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2015

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vol. 10

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issue 1

61-71

EN

In this paper, I study the narrative structure and the layers of meaning in the Treme (2010-2013), using the concept of rhizome introduced in A Thousand Plateaus by Deleuze and Guattari (1987) and the Hannerzian “root metaphor” of creole culture. As for New Orleans in the Treme, music makes the narrative structure not just multilinear but rhizomatic. Moreover, spontaneity and hybridity highlight dialogicity and poliphony as well as a strong ironic and subversive capacity concerning music and creole culture. On a narratological level, analysing the critical representation of social problems after the destruction of Hurricane Kathrina raises the problems of focalization and narratorial distance

17

Accommodating the Mess: The Politics of Appropriation inIt for Others(2013)

88%

Blair P.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

149-165

EN

In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It for Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It for Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.

18

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’sThe Oak(1992)

88%

Sándor K.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

45-66

EN

The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, The Oak displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.1

19

Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema

88%

Pieldner J.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

87-114

EN

The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions and tableaux vivants in representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’s Bibliothèque Pascal (2010) and Cristian Mungiu’s Beyond the Hills (După dealuri, 2012). An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which (institutional, colonial) power relations are reinscribed. The tableau as a figuration of intermediality performs the tension between the sensation of the “real” and its reframed image, and proves especially suitable for mediating between low-key realism and highly stylized forms.1

20

Art and Reality inThe Arbor(2010)

88%

Mello C.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

115-128

EN

This article offers an in-depth analysis of 2010 British film The Arbor by Clio Barnard. The director’s debut feature is a groundbreaking work dedicated to the lives of playwright Andrea Dunbar and her eldest daughter Lorraine. Dunbar grew up in the Buttershaw Estate in Bradford and drew on her own experiences to write her first play The Arbor at the age of 15, followed by Rita, Sue and Bob Too!. She struggled with alcoholism and died of a brain haemorrhage in 1990, at the age of 29. Lorraine’s life followed down a difficult path as she became a drug addict and was jailed for manslaughter for causing the death of her two-year old child by gross neglect. My aim is to explore how the film combines different media, namely theatre, television and radio, in a cinematic experience defined by multiple registers and multiple voices, and how this structure works towards creating as much as conserving individual and collective memories, highlighting the fictional nature of memories. This leads to a reflection on the lip-synching technique, employed as the main vehicle for memory in the film, which provokes as much empathy and compassion as it does critical thinking, thus turning Brecht’s binary equation reason-emotion in its head.1

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Intermediale Komponenten, Beziehungen und Funktionen in öffentlichen Stadttexten

Adapting the Medium: Dynamics of Intermedial Adaptation in Contemporary Japanese Popular Visual Culture

Adaptacja filmowa jako przykład zjawiska intermedialności

The Impression of Reality and the Awareness of the Medium in Alexander Sokurov’s Family Trilogy

GRA Z GATUNKIEM JAKO SPOSÓB PRZEZWYCIĘŻENIA KRYZYSU TRADYCYJNYCH FORM W LITERATURZE BIAŁORUSKIEJ (NA PODSTAWIE DZIENNIKA FACEBOOKOWEGO RADZIWA „PRUDOK” ANDRUSIA HORWATA)

Frames, Windows, and Mirrors. Sensing Still Bodies in Films by Manoel de Oliveira

Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice

„Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter