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Intermediality.

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Presents a new history of Brazilian Cinema, based on its dialogue with other arts and mediaLaunches an entirely new historiographic method, drawing on intermediality in order to reconstruct the history of a national cinemaUnveils the multimedia and polymathic wealth behind the various historical periods in Brazilian cinema. Provides an overarching historical coverage of Brazilian cinema, through an innovative approach that connects different periods in Brazilian film history through the multiple art and media forms interwoven in them. Proposes that different phases of a national cinema can be framed as comparable and interrelated phenomena, rather than relying on evolutionary chronologies and classical-modern or centre-periphery models. Explores new ways of understanding Brazilian film history, and the history of cinema in general. From its inception, Brazilian cinema has combined extra-filmic artistic and cultural forms, both local and imported, resulting in an original aesthetic blend. Theatre, dance, music, circus, radio, television and the plastic arts left a distinctive mark on Brazilian cinema’s poetics and politics, as can be observed in a host of fascinating phenomena analysed in this book, including: the film prologues that connected the screen to the stage in the 1920s; the chanchada musical comedies, inflected by vaudeville theatre and the radio; the manguebeat and árido movie movements that blurred the boundaries between music and film; and contemporary multimedia installations and other experiments. By adopting intermediality as a historiographic method, this book reconstructs the history and cultural wealth behind filmic expressions in Brazilian cinema.

Motion pictures --- Intermediality --- History

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Intermedial Encounters is a collective volume written by film scholars honouring the uniquely homogenous academic work centred on Ágnes Pethő's concept of intermediality. The chapters of the book have been written by scholars, artists, colleagues, and disciples who share Ágnes's passion for intermediality and for cinema in general. They have been invited to contribute either a personal account of their own relationship with the academic field of intermediality or a film analysis of their choice (not necessarily related to the phenomenon of intermediality). Therefore, the volume creates a cluster for new research developments by those who founded or joined the academic discourse around this specific concept. The book is divided into sections representing different specific areas within this discourse and also corresponding to different stages in Ágnes Pethő's research. Embracing the idea of hybridity and of in-betweenness, there are photo essays included between the sections, and articles are richly illustrated with film stills and other types of images, creating the intermedial bond between intellectual reflection and affection. In this way, the book attempts to offer a multisensory experience in itself. After an introductory part presenting Ágnes Pethő's career path, the section Personal Encounters consists of subjective accounts of her inspiring presence written by a former student, a visiting professor, and a scholar of intermediality (Nándor Jakab-Benke, Anna Geréb, and Jens Schröter). The section title An Archaeology of Intermediality is inspired by Ruggero Eugeni's article on the origins of intermediality, while it also alludes to intermediality preceding cinema in pre-historical art described by Jürgen E. Müller, to Michael Haneke's metacinema (Mircea Deaca), or to Derrida's term cinécriture contributing to the discourse of intermediality, as Jolán Orbán suggests. The section Cinema In-between Media points to the first chapter from Pethő's book Cinema and Intermediality. The Passion for the In-Between (2011, republished in an enlarged edition in 2020), in which intermediality is placed in a philosophical and phenomenological perspective. From this perspective, this section is preoccupied withdifferent inscriptions of one medium into another: the electronic vocabulary of video (Yvonne Spielmann), still photographs, and asynchronous voice-over in Hollis Frampton's structural film (Susan Felleman), early Italian cinema's return to the pictorial (Ivo Blom), and even the presence of silent cinema in Hungarian ekphrastic poetry (Orsolya Milián). The section Intermediality and Authorial Reflexivity opens with an abstract, theoretical perspective on the specular affinities of cinema in relation to self-reflexivity and intermediality (Fátima Chinita) and continues with analyses of various films sustaining this approach, focusing on authorial presence and the relationship between film and literature (films by Hong Sang-soo, Feng Xiaogang, Piotr Subbotko, Federico Fellini, and 584 New Hollywood films are discussed by Teréz Vincze, Ying Zhu, Ewa Mazierska, and Zsófia Ferencz). The section The Allure of Painting in Cinema evokes Pethő's seminal article written on Hitchcock as a "visual artist working on the media border of painting and cinema" and contains articles addressing the intermediality of painting and cinema as different ways to achieve immersion: by way of transgressing a picture's frames into the cinematic world (Joachim Paech) or as a way to get immersed in a painting through cinema (Brigitte Peucker), intermedial transgressions between painting and cinema are also discussed in film analyses by Judit Pieldner and Katalin Turnacker. The sections Screens of Memory in Post-1989 Romanian Cinema and The Poetics and Politics of Intermediality in Hungarian Cinema recall the recent collection edited by Pethő: Caught In-Between. Intermediality in Contemporary Eastern European and Russian Cinema (2020) and contain discussions of two national film cultures in geographical vicinity but advocating different film aesthetics. The authors of these studies are film scholars (Andrea Virginás, Christina Stojanova, KatalinSándor, Mónika Dánél, Gábor Gelencsér, Miklós Sághy, Balázs Varga) who contributed greatly to the interpretation of Eastern European cinema, and now they demonstrate how an intermedial approach can open new directions in understanding local cinema culture in broader theoretical and global contexts. Embodied Visions points to the conference and collective volume The Cinema of Sensations (2015), just as Scenes of the L'entre-images evokes the edited volume Film in the Post-Media Age (2012), while the section The Real and the Intermedial echoes the title of the 2015 Cluj-Napoca conference. Recent currents of film phenomenology and film philosophy have had an impact on Pethő's understanding of intermediality, and by channelling key notions such as embodied vision and haptic visuality, l'entre image, post-media age eventually led to a redefinition of the term and to the expansion of the research field. These sections show the methodological potential and the versatility of the aforementioned concepts not only in films but in expanded cinema, arts in general, and also in VR and new media experiments. The book closes with Ágnes Pethő's curriculum vitae, a list of publications, and the conferences that she has organized.

Intermediality. --- Interpersonal communication.

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Das Buch stellt den Anspruch, Phänomene, die man als "Klassiker" bezeichnet, besser zu verstehen und zugleich tradierter Vorstellungen darüber, was als klassisch gilt oder zu gelten hat, zu korrigieren. Dazu wird "Klassik" nicht, wie in den historischen und ideologiekritischen Debatten üblich, als Epochenbegriff verstanden, sondern als eine kulturelle Praxis, die in medialen und lebensweltlichen Adaptionen realisiert wird. Gefragt wird, kurz gesagt, wie und warum einige Autor*innen oder Werke über längere historische Perioden hinweg präsent bleiben und ein Kulturgut – in dem Fall exemplarisch die Ballade – so ausdrücklich prägen, dass sie als "Klassiker" wahrgenommen werden. Die Antwort geht von der These aus, dass dies – im Unterschied zu immer noch verbreiteten essentialistischen Erklärungsansätzen – nicht von der Qualität des Autors oder der Autorin bzw. ihrer Werke abhängt, sondern von soziokulturellen Bedarfskonstellationen.Im Ergebnis der Arbeit steht ein Zugriff, der "Klassik" nicht wiederholt als ein umstrittenes Konzept problematisiert, sondern als kulturwissenschaftliches Phänomen komplementär zum Kanon heuristisch profiliert und darüber hinaus ein Begriffsangebot zu dessen Analyse macht. For the last three centuries, prominent thinkers have been asking themselves what it is that constitutes a classic. This volume takes up this question and shows how cultural artifacts become and remain classics through transcultural circulation, i.e., through their adaptation in ever-changing media and the expansion of the cultural milieu in which they are received.

LITERARY CRITICISM / European / German. --- Intermediality. --- canon. --- folk song. --- transculturality.

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Die Abstraktes und Fernes vergegenwärtigende, Vergangenes memorierende und Wahrheit beteuernde Funktion von Bildlichkeit steht in Verbindung mit Fiktionalem vor besonderen Herausforderungen und kann poetologische Funktionen übernehmen. Der vorliegende Band untersucht in exemplarischen Fallstudien den Stellenwert von Bildlichkeit im Artusroman. Zu den berühmtesten selbstreflexiven Szenen der europäischen Artusromane zählt die Betrachtung der Bildergeschichte von Lancelots Ehebruchsliebe durch König Artus im ›Lancelot‹: Der Roman spiegelt sich selbst im Bild und deckt damit eine außerordentliche Nähe des Genres zur Bildlichkeit auf. Sie reicht von pikturalen Neuschöpfungen der Romanstoffe in Bilderzyklen oder Darstellungen von Einzelszenen arthurischer Romane auf Gebrauchsgegenständen über sehr unterschiedliche Text-Bildverhältnisse in illustrierten Handschriften und Drucken bis hin zu plastisch-bildhaft beschriebenen Szenen in Artusromanen, die in der Regel auf bekannte ikonographische Muster verweisen. Oftmals werden im Text auch Bilder oder andere Kunstgegenstände beschrieben. Solche ›Text-Bilder‹ können eine handlungsbestimmende Funktion erhalten, als intertextuelle Referenzen dienen oder poetologische Reflexionen anstoßen. Images make what is absent present and validate it. Fiction therefore seems to encourage visual fantasy in particular. This volume examines the broad spectrum of imagery in Arthurian romances: image cycles, combinations of text and image in manuscripts and printed texts, how images are addressed in texts, and text-"images," all of which can help to shape the plot, serve as intertextual references, or encourage poetological reflection.

Arthurian Romance. --- Arthurian epic. --- ekphrasis. --- iconography. --- intermediality. --- literary history.