By Agnes Petho
In the final 20 years “intermediality” has emerged as the most not easy ideas in media thought without scarcity of assorted taxonomies and definitions. What brought on the writing of the essays accumulated during this quantity, notwithstanding, was once now not a wish for extra classifications utilized to the realm of relocating images, yet a powerful urge to enquire what the “inter” implied through the assumption of “intermediality” stands for, and what it truly involves within the cinema. The ebook bargains in all of the person chapters a cross-section view of particular situations within which cinema turns out to consciously place itself “in-between” media and humanities, using options that faucet into the multimedial complexity of cinema, and produce into play the tensions generated by means of media modifications. The introductory theoretical writings care for the historiography of imminent intermedial phenomena in cinema featuring while a few of the attainable “gateways” which could open up the cinematic photo in the direction of the perceptual frames of different media and humanities. The ebook additionally includes essays that research extra heavily particular paradigms within the poetics of cinematic intermediality, just like the attract of portray in Hitchcock’s movies, the beautiful methods of framing and un-framing haptical imagery in Antonioni’s works, the narrative allegories of media variations, the be aware and snapshot performs and ekphrastic recommendations in Jean-Luc Godard’s “total” cinema, the flâneuristic intermedial gallery of relocating pictures created by means of José Luis Guerín, or the categories of intermedial metalepses in Agnès Varda’s “cinécriture.” From a theoretical vantage aspect those essays holiday with the culture of taking into account intermediality in analogy with intertextuality and try out a phenomenological (re)definition of intermedial family. additionally, many of the analyses objective movies that disclose the coexistence of the hypermediated adventure of intermediality and the semblance of truth, connecting the questions of intermediality either to the indexical nature of cinematic illustration and to the categorical ideological and cultural context of the flicks, hence supplying insights right into a few questions in regards to the “politics” of intermediality in addition.
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Additional info for Cinema and Intermediality: The Passion for the In-Between
But putting aside these ambivalences that can lead to such “final” perspectives and interpretations of academic policies, perhaps it is ultimately more adequate to describe the “place” of intermedial film researches not so much in terms of a “rift” or “divergence” between schools of thought or in terms of a politics of science, but merely as a kind of “invisibility,” “a blind spot of film theory,” as François Jost put it (2005, 111–112). Paradoxically, both Bordwell’s “piecemeal-theorizing” and Rodowick’s researches into the “figural” or the “virtual life of film” have a lot in common with “intermedial studies” of film, one in method, the other in actual content: the Bordwellian “piecemeal” – as suggested earlier – can be seen as just another name of the “slices” of researches done along “the research axis of intermediality;” while Rodowick’s theorizing can be seen as revolving around the same questions as debated by media theorists regarding cinema,14 even if he does not explicitly place himself along this “axis” of intermedial researches.
Is film (even in its traditional form) an “intermedium,” a “composite” medium, in other words, perhaps the ultimate “mixed” or “hybrid” medium that combines all kinds of media in its texture of signification? Or should we more likely regard it merely as a “place,” a “field” where intermedial relationships and/or media transformations can occur? Is cinema therefore a prototype or a unique case for intermediality as some of the studies suggest? In one of the groundbreaking books written on cinematic intermediality, Jürgen E.
The state in which we can observe intermediality according to this view is never a fixed form or structure but the “events of difference,” of “oscillations,” and as such, merely as the “interim” of forms. e. the way medium and form become observable and the way in which one form of a medium can be seen within another medium) to the perception of the duality of “figure” and “ground” as it is understood in the visual psychology of the so called Gestalt theory and in which one form can be perceived alternately either as “figure” or as “ground” depending on the context and reflexive predisposition.