NEW ASPECTS OF INTERPRETATION OF INTERMEDIALITY
Article Sidebar
Published:
Jun 20, 2021
Keywords:
intermediality, film, theater, event, representation, remediation
Main Article Content
Abstract
The subject of analysis in this study is the re-reading of the media convergences that appear in the 1960s of the last century, shown through the artwork Prune. Flat. (1965) by Robert Whitman. The intermediateity characteristic for this work occurs as a result of simultaneous performance and film projection, which in the process of overlapping and juxtaposition create a nexus of media specifics, which immanently belong to the separate disciplines. Their merging generates new media specificity, according to R. Konstelanetz, a medium of extended theater, and the re-reading aims to show that, expansion occurs as a communication and a
dialogue between different disciplines in a new art form, event, and as such could be read, not only as an extension of the theater, but also of the film. The study aims to show that this is an essential dialectical principle of shaping and structuring, through the application of the terms co-presence, disruptive mechanism, assembly, according to Bertolt Brecht. The co-relationship between media articulations exposes the boundaries of poetic determinism and ontological valence, determines the author’s voice and point of view (M. Ball), placing the conflict between the structural elements on a conceptual level (S. Eisenstein). The study goes through the genealogy of the process of structuring the work, covering a referential rhizome between the poetic act as an act of resistance according to G. Agamben and various theoretical intersections which through a deductive approach re-examine mediation as a formulation of the new aesthetic materiality.
dialogue between different disciplines in a new art form, event, and as such could be read, not only as an extension of the theater, but also of the film. The study aims to show that this is an essential dialectical principle of shaping and structuring, through the application of the terms co-presence, disruptive mechanism, assembly, according to Bertolt Brecht. The co-relationship between media articulations exposes the boundaries of poetic determinism and ontological valence, determines the author’s voice and point of view (M. Ball), placing the conflict between the structural elements on a conceptual level (S. Eisenstein). The study goes through the genealogy of the process of structuring the work, covering a referential rhizome between the poetic act as an act of resistance according to G. Agamben and various theoretical intersections which through a deductive approach re-examine mediation as a formulation of the new aesthetic materiality.
Downloads
Download data is not yet available.
Article Details
How to Cite
Rajčinovska Pavleska, Natali. 2021. “NEW ASPECTS OF INTERPRETATION OF INTERMEDIALITY”. Journal of Contemporary Philology 4 (1), 193–206. https://doi.org/10.37834/JCP21410193rp.
Section
Culture
Copyright © 2014 Blaže Koneski Faculty of Philology, Skopje
Journal of Contemporary Philology (JCP)
Современа филологија
References
Вилиќ, Н. (1998). Осум предавања за уметноста и новите технологии. Скопје: Музеј на современата уметност.
Adorno, W. T. (1997). Aesthetic Theory. London and New York: Continuum.
Agamben, G. (2019). Creation and Anarchy: The Work of Art and the Religion of Capitalism. Kotsko, А. (trans.). Stanford, California: Stanford University Press.
Bal, M. (2004). Narration and Focalization. In Bal M. (ed.). Narrative Theory: Critical Concepts in Literary and Cultural Studies, Vol. 1, Major Issues in Narrative Theory, 263-296. London: Routledge.
Barthes, R. (2004). Introduction to the structural analysis of narratives. In Bal M. (ed.). Narrative Theory, Critical Concepts in Literary and Cultural Studies, Vol. 1, Major Issues in Narrative Theory, 65-94. London: Routledge.
Bazin, A. (2005). What Is Cinema? Volume 1. Gray, H. (trans.) California: University of California Press.
Benjamin, W. (1998). Understanding Brecht. Bostock A. (trans.). London, New York: Verso.
Flanagan, Martin. (2014). Dialogism. In Branigan, E. and Buckland W. (eds.). The Routledge Encyclopedia of Film Theory, 128–132. London, New York: Routledge.
Brecht, B., and Willett, J. (ed., transl.). (1964). Brecht on Theatre: The Development of An Aesthetic. New York: Hill and Wang.
Brecht, B., i Suvin, D. (prev.). (1966). Dijalektika u teatru. Beorgad: Nolit.
Bolter, J. D. and Grusin, R. (1999). Remediation: Understanding New Media. Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Bouuriaud, N. (2002). Relational Aesthetics. Pleasance, S., Woods, F., Copeland, M. (trans.). Dijon: Les presses du réel.
Eisenstein, Sergei. (1949). Film Form: Essays in Film Theory. Leyda, J. (ed., and trans.). New York, London: A Harvest, Harcourt, Brace and World, Inc.
Eisenstein, S. (2007). Montage is Conflict//1929. In Campany D. (ed.). The Cinematic, Documents of Contemporary Art, 30–32. Co-published by London: Whitechapel and Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Greimas, A. J. and Courtés, J. (1982). Semiotics and Language: An Analytical Dictionary. Bloomington: Indiana University Press.
Habermas, J. (1991). The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Heidegger, M. (2013). The Event. Rojcewicz, R. (trans.). Bloomington and Indianapolis: Indiana University Press.
Kirby, M. (ed.) (1965). Happenings: An Illustrated Anthology. New York: E. P. Dutton and Co., Inc.
Kostelanetz, R. (1980). The Theatre of Mixed Means: An introduction to happenings, kinetic environments, and other mixed-means performances. New York: RK Editions.
McLuhan, M. (2008). Razumijevanje medija. Zagreb: Golden marketing – Tehnička knjiga.
Pudovkin, V. I. (1954). Film Director and Film Material. In Pudovkin, V. I. Film Technique and Film Acting: the cinema writings of V.I.Pudovkin, 51-93. Montagu, I. (trans.). London: Vision.
Rees, A. L., White, D., Ball, S. and Curtis, D. (eds.). (2011). Expanded Cinema: Art, Performance, Film. London: Tate Publishing.
Schechner, R., Brady, S. (ed.). (2013). Performance studies: An introduction. Third edition. London: Routledge.
Stojanović, D. (1978). Teorija filma. Beograd: Nolit.
Walsh, M., Griffiths, K. M. (ed.). (1981). The Brechtian Aspect of Radical Cinema. London: British Film Institute.
Adorno, W. T. (1997). Aesthetic Theory. London and New York: Continuum.
Agamben, G. (2019). Creation and Anarchy: The Work of Art and the Religion of Capitalism. Kotsko, А. (trans.). Stanford, California: Stanford University Press.
Bal, M. (2004). Narration and Focalization. In Bal M. (ed.). Narrative Theory: Critical Concepts in Literary and Cultural Studies, Vol. 1, Major Issues in Narrative Theory, 263-296. London: Routledge.
Barthes, R. (2004). Introduction to the structural analysis of narratives. In Bal M. (ed.). Narrative Theory, Critical Concepts in Literary and Cultural Studies, Vol. 1, Major Issues in Narrative Theory, 65-94. London: Routledge.
Bazin, A. (2005). What Is Cinema? Volume 1. Gray, H. (trans.) California: University of California Press.
Benjamin, W. (1998). Understanding Brecht. Bostock A. (trans.). London, New York: Verso.
Flanagan, Martin. (2014). Dialogism. In Branigan, E. and Buckland W. (eds.). The Routledge Encyclopedia of Film Theory, 128–132. London, New York: Routledge.
Brecht, B., and Willett, J. (ed., transl.). (1964). Brecht on Theatre: The Development of An Aesthetic. New York: Hill and Wang.
Brecht, B., i Suvin, D. (prev.). (1966). Dijalektika u teatru. Beorgad: Nolit.
Bolter, J. D. and Grusin, R. (1999). Remediation: Understanding New Media. Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Bouuriaud, N. (2002). Relational Aesthetics. Pleasance, S., Woods, F., Copeland, M. (trans.). Dijon: Les presses du réel.
Eisenstein, Sergei. (1949). Film Form: Essays in Film Theory. Leyda, J. (ed., and trans.). New York, London: A Harvest, Harcourt, Brace and World, Inc.
Eisenstein, S. (2007). Montage is Conflict//1929. In Campany D. (ed.). The Cinematic, Documents of Contemporary Art, 30–32. Co-published by London: Whitechapel and Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Greimas, A. J. and Courtés, J. (1982). Semiotics and Language: An Analytical Dictionary. Bloomington: Indiana University Press.
Habermas, J. (1991). The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Cambridge, Massachusetts: The Massachusetts Institute of Technology Press.
Heidegger, M. (2013). The Event. Rojcewicz, R. (trans.). Bloomington and Indianapolis: Indiana University Press.
Kirby, M. (ed.) (1965). Happenings: An Illustrated Anthology. New York: E. P. Dutton and Co., Inc.
Kostelanetz, R. (1980). The Theatre of Mixed Means: An introduction to happenings, kinetic environments, and other mixed-means performances. New York: RK Editions.
McLuhan, M. (2008). Razumijevanje medija. Zagreb: Golden marketing – Tehnička knjiga.
Pudovkin, V. I. (1954). Film Director and Film Material. In Pudovkin, V. I. Film Technique and Film Acting: the cinema writings of V.I.Pudovkin, 51-93. Montagu, I. (trans.). London: Vision.
Rees, A. L., White, D., Ball, S. and Curtis, D. (eds.). (2011). Expanded Cinema: Art, Performance, Film. London: Tate Publishing.
Schechner, R., Brady, S. (ed.). (2013). Performance studies: An introduction. Third edition. London: Routledge.
Stojanović, D. (1978). Teorija filma. Beograd: Nolit.
Walsh, M., Griffiths, K. M. (ed.). (1981). The Brechtian Aspect of Radical Cinema. London: British Film Institute.