Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text.
The essays in this collection, which were written by European and North American specialists, position intermediality as a praxis of interpretative analysis in order to show how intermediality challenges our notion of art. The writers examine the various intermedial relations between the arts, which may take the form of reference to another form of art, a combination of two or more forms of art or a generic transformation from one form of art to another. In such cases, an intermedial approach helps us to grasp the changing relationship between the arts, which affects our reception of experience. Intermediality has profoundly changed our understanding of interdisciplinary relations, formerly examined in the field of interart studies. By introducing a medial aspect, intermediality has succeeded in making a “leap” from past practices of artistic interrelatedness to our contemporary medial age, in which literature along with other arts may be understood as a medium. This ambitious undertaking has contributed to the liberation of literature and other arts from an isolated position in the established scholarly landscape with its clear-cut borderlines between disciplines. The essays in this collection are a valuable contribution to this on-going discussion about the relationships between the arts. The variety of essays published in this collection makes it an excellent introduction to academics and university students in such disciplines as literature, music, theatre, art history and media studies. Due to its clarity – which does not sacrifice philosophical depth concerning the role of intermedial studies for several forms of art – this book will also be of interest to academics and students who are currently working at advanced level art schools.
This handbook provides an extensive overview of traditional and emerging research areas within the field of intermediality studies, understood broadly as the study of interrelations among all forms of communicative media types, including transmedial phenomena. Section I offers accounts of the development of the field of intermediality - its histories, theories and methods. Section II and III then explore intermedial facets of communication from ancient times until the 21st century, with discussion on a wide range of cultural and geographical settings, media types, and topics, by contributors from a diverse set of disciplines. It concludes in Section IV with an emphasis on urgent societal issues that an intermedial perspective might help understand.
This handbook offers students and researchers compact orientation in their study of intermedial phenomena in Anglophone literary texts and cultures by introducing them to current academic debates, theoretical concepts and methodologies. By combining theory with text analysis and contextual anchoring, it introduces students and scholars alike to a vast field of research which encompasses concepts such as intermediality, multi- and plurimediality, intermedial reference, transmediality, ekphrasis, as well as related concepts such as visual culture, remediation, adaptation, and multimodality, which are all discussed in connection with literary examples. Hence each of the 30 contributions spans both a theoretical approach and concrete analysis of literary texts from different centuries and different Anglophone cultures.
Intermedial Ecocriticism: The Climate Crisis Through Art and Media provides an extensive understanding of the climate crisis as it is represented in a number of medial forms, including scientific reports, popular science, graphic novels, documentaries, websites, feature films, and advertising. Theoretically, this is the first book that combines two important theories from the humanities: ecocriticism and intermedial studies. The book carefully develops Intermedial Ecocriticism as a method of investigating how climate crisis is represented and communicated through diverse media types. The chapters each include a comparative analysis of two or three specific media products and how they mediate the climate crisis.
A groundbreaking collection of essays looking at the concepts of 'intermediality' and 'multimodality' - the relationship between various forms of art and new media - and including case studies ranging from music, film and architecture to medieval ballads, biopoetry and Lettrism.
This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.
The Emerging Contours of the Medium explores a crucial aspect of media thinking, focusing particularly on the 'mediality' of literature, a medium that remains today on the margins of the theoretical discussion of media. The book was written by a collective of authors based in the Institute of Czech Literature, Czech Academy of Sciences, Czech Republic. Even though interest in the technological and media aspects of literature has been slowly building momentum in the past several decades, from comparative perspectives to written culture to new media, the concept of the medium has not informed this process, and its systematic integration into literary studies has never been effectively carried out. Nor has the specific mediality of literature been successfully integrated into the general concept of media/lity in media science. Contributors to this work provide both an explanation of and solution to this mutual blindness, setting out from the question: What are the conditions for elaborating a media-theoretical framework in which to situate literature as a medium? The Emerging Contours of the Medium, available for the first time in English, is divided into three parts, which correlate to the three main research areas of the principles for a media theory of literature. Part 1 develops a perspective of the (pre)history of media thinking, grounding the principles of the genealogical integration. Part 2 concentrates on and develops the related perspectives of media philosophy and media anthropology. Part 3's main focus is the way media – as dispositifs interlinking the parameters of perception and communication – provide the ground for making emergent media phenomena visible, whether it be between media (in their mutual synergy or discrepancies), between media artefacts, or between human and apparatus. Stanislava Fedrová is Head of the Department of Art Historiography and Theory at the Institute of Art History at the Czech Academy of Sciences, researcher at the Institute of Czech Literature of the Czech Academy of Sciences and Assistant Professor of Literature and Intercultural Communication at Masaryk University, Czech Republic. Her scholarly interests include literary theory, art theory, visual culture and intermedial research, with a focus on the relations between verbal and visual media. She is co-author, with Alice Jedlicková, of Visible Descriptions: Visuality, Suggestivity and Intermediality of Literary Description (2016). Tomáš Chudý works as an independent researcher, translator (Kittler, Luhmann, Taylor etc.) and lawyer for the Czech National Bank. His research interests include media philosophy and the interrelation of technical and humanist paradigms by means of working with signs, as well as interlinking social and economic aspects in technically mediated communication. He has published in scholarly journals, such as Social Studies, and he is the co-author, with Richard Müller et al., of the Czech edition of The Emerging Contours of the Medium: Literature and Mediality (2020). Alice Jedlickova is Senior Researcher at the Institute of Czech Literature of the Czech Academy of Sciences, and Associate Professor of Literature and Intercultural Communication at Masaryk University, Czech Republic. Her research interests include intermedial studies (socio-spatial relations of cultural representations) and its history, literary theory, diachronic poetics and the theory of narrative. She is the editor of, and principle contributor to Narrative Modes of 19th Century Czech Prose (2022), and co-author, with Stanislava Fedrová, of the interdisciplinary inquiry Visible Descriptions: Visuality, Suggestivity and Intermediality of Literary Description (2016). She has published on transmediation as a marker of cultural continuity and on the potential of intermedial approach in education recently. Richard Müller is Senior Researcher at the Institute of Czech Literature of the Czech Academy of Sciences, professor of Comparative Literature at New York Univeristy Prague, and professor of Literary Criticism and Writing at the Prague School of Creative Communication. His research interests include the contextual transformations of literary mediality, the history of semiotics, (post)structuralism and cultural materialism, the genealogies of literary and media theory, and the writings of Franz Kafka. He is the editor of the scholarly journal Czech Literature, co-author, with Tomáš Chudý et al., of the Czech edition of The Emerging Contours of the Medium: Literature and Mediality (2020), and co-author, with Pavel Šidák et al., of The Dictionary of Modern Literary Theory (2011). Martin Ritter is Senior Researcher at the Institute of Philosophy of the Czech Academy of Sciences. His research interests lie in phenomenology (especially concerning Jan Patocka), critical theory and German medial philosophy. As editor and translator, he has prepared a three-volume edition of Walter Benjamin's work, and is author of Walter Benjamin's Philosophy of Language (2009). His most recent book is Into the World: The Movement of Patocka's Phenomenology (2019, in English). Josef Šebek is Assistant Professor of Czech and Comparative Literature at the Faculty of Arts of Charles University in Prague, Czech Republic. His research concerns cultural materialism, the sociology of Pierre Bourdieu and current French sociology of literature and works also on contemporary theory of discourse and rhetoric, media theory of literature, genres of life writing and queer studies. He is the editor of the scholarly journal Word &Sense, and author of Literature and the Social: Bourdieu, Williams, and Their Successors (2019). Pavel Šidák is researcher at the Institute of Czech Literature of the Czech Academy of Sciences editor-in-chief of the scholarly journal, Czech Literature, and professor of Literary Criticism and Writing at Prague School of Creative Communication, Czech Republic. His research interests include literary theory, literary genology and the relation between literature and folklore. He is the co-author, with Richard Müller et al., of The Dictionary of Modern Literary Theory (2011) and author of Introduction into the Study of Genres (2018). Josef Vojvodík is Professor of Czech and Comparative Literature at the Faculty of Arts at Charles University in Prague, Czech Republic. His research focuses on modern literature and visual arts (specifically, symbolicist and post-symbolicist modernism and the avant-garde movements of the 1920s–1930s with 'transhistoric' links to Mannerism and Baroque), as well as German and French media, social and cultural anthropology, and phenomenology. He is the author of Surface, Latency, Ambivalence: Mannerism, Baroque and the (Czech) Avant-Garde (2008) and Pathos in Czech Art, Poetry and Artistic-Aesthetic Thinking of 1940's (2014).
Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on Andre Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors Francois Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, Agnes Varda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.Key Features:A wide-ranging study which explores the complex, often ambiguous ways in which the New Wave engages with the other arts in both its discursive construction and cinematic practiceAffords a new prism for understanding New Wave filmmaking and its legacy through comprehensive analysis of the ways in which the New Wave aesthetic was shaped through intermedial dialogue and medium rivalry Reassesses one of the most acclaimed movements in film history drawing on cutting-edge theory in the prominent field of intermediality studiesOffers an inclusive, heterogeneous view of the New Wave through inclusion of lesser-known directors such as Guy Gilles, Jean-Daniel Pollet and Jacques Demy alongside renowned Nouvelle Vague filmmakers
