Remediation, intermediality and embodiment
Originally, Jay David Bolter and Richard Grusin coined the term ‘remediation’ to counteract the dominant ‘modernist myth of the new’ (1998, back cover), according to which digital technologies in particular were thought to break free from older media by setting new aesthetic and cultural principles. Yet, as Bolter and Grusin have shown, using a wide selection of examples from computer games to digital photography, film, television, virtual reality and the World Wide Web, such
This essay uses Edward Said’s theory of affiliation to consider the
relationship between James Baldwin and contemporary artists Teju Cole and Glenn
Ligon, both of whom explicitly engage with their predecessor’s writing in
their own work. Specifically, Baldwin’s essay “Stranger in the
Village” (1953) serves a through-line for this discussion, as it is
invoked in Cole’s essay “Black Body” and Ligon’s
visual series, also titled Stranger in the Village. In
juxtaposing these three artists, I argue that they express the dialectical
energy of affiliation by articulating ongoing concerns of race relations in
America while distinguishing themselves from Baldwin in terms of periodization,
medium-specificity, and their broader relationship to Western art practice. In
their adoption of Baldwin, Cole and Ligon also imagine a way beyond his
historical anxieties and writing-based practice, even as they continue to
reinscribe their own work with his arguments about the African-American
experience. This essay is an intermedial study that reads fiction, nonfiction,
language-based conceptual art and mixed media, as well as contemporary politics
and social media in order consider the nuances of the African-American
experience from the postwar period to our contemporary moment. Concerns about
visuality/visibility in the public sphere, narrative voice, and
self-representation, as well as access to cultural artifacts and aesthetic
engagement, all emerge in my discussion of this constellation of artists. As a
result, this essay identifies an emblematic, though not exclusive, strand of
African-American intellectual thinking that has never before been brought
together. It also demonstrates the ongoing relevance of Baldwin’s
thinking for the contemporary political scene in this country.
Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.
separate it from what ‘film’ might have meant to Marin Karmitz or Beckett in 1966. So far in the current century, Play has been translated into three new media that did not exist in any form when Beckett wrote the play: live webcast from a robotic camera ( Intermedial Play , 2017), virtual reality ( Virtual Play , 2017–19) and augmented reality ( Augmented Play , 2018–19).
As I am the director and co-conceiver (with Néill O’Dwyer and others) of these latter three works, these most recent intermedial and virtual adaptations inform this chapter, along
contains an extensive filmography, a
detailed bibliography (including lists of thousands of reviews and other
items printed in the Swedish and international press), and an index of
stage productions and television and radio programmes. The volume also
includes comprehensive analyses of Bergman’s work by the author
Following the Steene tradition, Maaret Koskinen has also
published a number of books and articles on Bergman, characteristically
employing a film-theoretical and intermedial approach. Her
This book on Swedish filmmaker Ingmar Bergman contains eighteen new scholarly chapters on the director’s work, mainly in the cinema. Most of the contributors—some Swedish, others American or British—have written extensively on Bergman before, some for decades. Bergman is one of the most written-about artists in film history and his fame still lingers all over the world, as was seen in the celebrations of his centenary in 2018. The book was specifically conceived at that time with the aim of presenting fresh angles on his work, although several chapters also focus on traditional aspects of Bergman’s art, such as philosophy and psychology. Ingmar Bergman: An Enduring Legacy thus addresses a number of essential topics which have not featured in Bergman studies before, such as the director’s relations with Hollywood and transnational film production. It also deals at length with Bergman’s highly sophisticated use of film music and with his prominence as a writer of autobiographical literature, as well as with the intermedial relations to his films that this perspective inevitably entails. Finally, the book addresses Bergman’s complex relations to Swedish politics. Many different approaches and methods are employed in the book in order to show that Bergman remains a relevant and important artist. The analyses generally focus on some of his most memorable films, like Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, Persona, and Fanny and Alexander; but some rarer material, including Hour of the Wolf, The Lie, and Autumn Sonata, is discussed as well.
original essays in The Eye of Prey: Essays zu Samuel Becketts Film- und Fernseharbeiten . These scholarly approaches have been complemented by various testimonies and essays written by practitioners, who have given valuable insight into Beckett's media practices.
In the last decade, scholarly attention has increasingly turned to an examination of Beckett as a multimedial or intermedial artist. A pioneering study in this field is Clas Zilliacus's Beckett
and Broadcasting: A Study of the Works of Samuel
the collaborations reported here is their inter-medialities. For example, there are many scholarly examples of rich sonic ethnography, work that goes considerably deeper than musical ethnography in the classic practice of ethnomusicology. But here we experience something more than just a shift in focus from song repertoires to sonic relations, something more than an inquiry into the ‘power of sound to order and structure space’. Starting anew from both the ordinary and special practices of listening, a sonic ethnography can invite a rethinking of strategies for
Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
Sarah Bernhardt's Queen Elizabeth (Henri Desfontaines and Louis Mercanton, 1911) was an international popular success, released in the US as a headline attraction for the Famous Players company founded by Charles Frohman and Adolph Zukor in order to distribute the film. It drew other theatrical stars to the cinema and helped to inaugurate the longer playing narrative film, furthering a new category of spectacle in cinema itself. Yet scholars and historians have long denounced Queen Elizabeth as anachronistic and stagey, material proof of its star's inability to engage with film. Examining specific scenes and shots, this chapter will show that the film's appropriation of a rich history of the stage, painting and literature challenges us to think of early cinema in new and provocative ways. The aim is not to uncover a lost masterpiece, but to demonstrate that only today, at a point at which we can discuss intermediality, transnational art forms and feminism as related undertakings, is it possible to explore Bernhardt's 'moving' Tudor Queen.
repeated interrogations that the text relates. The textures are hard, shiny, and lit by a predominantly harsh white light that shows a functional high-tech space with a coherent design signature. Choices of shot type, lighting and composition have very different effects, as comparison between adaptations can show. Moreover, these choices invite work on the specificities of visual media and the intermedial relationships between those media.
Textures of black
Beckett wrote the word ‘Black’ across a diagram of the television screen in