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Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema 导论:当代东欧电影中的中间艺术
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0001
Ágnes Pethő
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引用次数: 2
Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Those Who Can Tell No Tales 贾斯米拉Žbanić《给那些无法讲述故事的人》中的创伤、纪念和中介性
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0008
K. Sandor
{"title":"Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Those Who Can Tell No Tales","authors":"K. Sandor","doi":"10.3366/edinburgh/9781474435499.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0008","url":null,"abstract":"This chapter discusses cinematic intermediality in Jasmila Žbanić's film, For Those Who Can Tell No Tales (2013) as a modality of addressing the traumatic memory of atrocities and mass rapes committed during the 1992–1995 Bosnian war. Traumatic memory is not primarily formed through symbols or narratives but rather resembles ?a wounded body’ (Broderick–Traverso), and therefore it may disrupt cultural strategies of memorialisation, narrativization and representation through which personal, collective or historical trauma is approached. In Žbanić's film, intermediality becomes a mode of addressing collective trauma by ‘acknowledging’ the unrepresentable within representation and by foregrounding the interstitial and corporeal aspect of traumatic memory. The intermedial cinematic discourse that incorporates photofilmic pictures, fragments of performance art and practices of non-cinematic image-making (such as amateur video diary) performs an irresolute and affective memorialisation of war trauma engaging the viewer in potentially transformative memory work.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116200407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
This is Not Magritte: Corneliu Porumboiu’s Theory of Representation 这不是马格利特:科尼琉·波伦布乌的表征理论
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0011
Zsolt Gyenge
{"title":"This is Not Magritte: Corneliu Porumboiu’s Theory of Representation","authors":"Zsolt Gyenge","doi":"10.3366/edinburgh/9781474435499.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0011","url":null,"abstract":"The chapter attempts to provide an analysis of Porumboiu's body of work in a way that goes beyond the notions of Realism that is usually discussed in relation to the New Romanian Cinema. Theories of visual and verbal representation are identified that seem to be central to several of his Porumboiu's films from Foucault's seminal discussion of Magritte through Barthes's analysis of the Panzani commercial, Gadamer's description of the differences between signs, images and symbols, to Mitchell's notion of metapicture. Two important issues are highlighted: the mediality of representations and their relation to the represented reality. The author contends that although these theoretical issues are clearly brought up in the stories and dialogues of the films, Porumboiu fails to make them an intrinsic part of his own filmic form of expression.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"26 25","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113984155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema 中间调色法与当代波兰叙事电影
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0012
G. Laverdière
{"title":"Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema","authors":"G. Laverdière","doi":"10.3366/edinburgh/9781474435499.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0012","url":null,"abstract":"New technologies have deeply informed the ways to think about cinema, film and video. If digital cinema is often understood as a break with past film aesthetics, this chapter rather sees continuity. Digital culture also preserves and prolongs video culture. This chapter examines the use of video and digital images in the context of minor national cinemas, and takes the view that digital filmmaking is a continuation not only of argentic cinema but also of video aesthetics. It suggests that certain Polish films use analogue and digital video cameras in ways that can be considered as strategies of unveilment, which assist the critical discourse that these works engage in regarding the social reality they depict.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116419323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Real and the Intermedial in Alexander Sokurov’s Family Trilogy 亚历山大·索科洛夫《家庭三部曲》中的真实与中介
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0010
Malgorzata Bugaj
{"title":"The Real and the Intermedial in Alexander Sokurov’s Family Trilogy","authors":"Malgorzata Bugaj","doi":"10.3366/edinburgh/9781474435499.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0010","url":null,"abstract":"This chapter examines how Alexander Sokurov's Mother and Son (Mat i syn, 1997), Father and Son (Otsets i syn, 2003) and Alexandra (2007) situate themselves at the intersection of the immediate and the constructed cinematic experience. The films under discussion emphasise the trace of physical presence on screen through haptic images conveying the multisensory dimension of the human experience, in particular touch and smell. Simultaneously, the Russian family trilogy consciously underscores the awareness of film as a medium carrying the story along with the mediation and remediation of painterly and medical images. Each section of the chapter focuses on a discrete part of the trilogy and investigates the oscillation between the material and artificial that is characteristic of these works.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116216065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema 当代罗马尼亚电影中的骗子叙事和狂欢式的中间性
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0006
Christina Stojanova
{"title":"Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema","authors":"Christina Stojanova","doi":"10.3366/edinburgh/9781474435499.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0006","url":null,"abstract":"Based on similarities in Mikhail Bakhtin's and Carl Gustav Jung's ideas about dialogism, this chapter discusses the inclusion of sequences featuring heterogenic audio-visual media of conspicuously lower quality – the shooting of a film, TV reportage, a home video – in representative selection of films by veteran Romanian directors Mircea Daneliuc and Lucian Pintilie, as well as in films by Corneliu Porumboiu and Gabriel Achim from the New Romanian Cinema generation. The chapter then argues that the resultant intermedial carnivalesque, or trickster narrative, is facilitated by a Trickster figure, usually a director's stand-in of ambiguous cultural, ideological and ethical repute. This self-reflexive and meta-médiatique versatility of Trickster narratives, the chapter concludes, have proven time and again to be superb vehicles for cinematic encoding, which explains the fascination of Romanian film auteurs with tricksterish re-enactments and intermedial carnivalesque.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115974267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Photographic Passages to the Past in Eastern European Non-Fiction Films 东欧非虚构电影中通往过去的摄影通道
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0007
Melinda Blos-Jáni
{"title":"Photographic Passages to the Past in Eastern European Non-Fiction Films","authors":"Melinda Blos-Jáni","doi":"10.3366/edinburgh/9781474435499.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0007","url":null,"abstract":"There is a tendency in recent nonfiction film to recontextualise archival photographs in creative ways. In films like Felvidék. Caught In-Between (Vladislava Plančíková, 2014) photographs are part of a collage work, while films like Crulic. The Path to Beyond (Anca Damian, 2011) use photographs in animated environments. At the other extreme is Radu Jude's Dead Nation (2017) presenting a series of photographs as a film that paradoxically demonstrates the lack of images of the Romanian Holocaust. These films open up new possibilities for the medium of photography, redefining through cinema the complex relationship between photography/the indexical trace and history. This chapter builds upon the phenomenological approach to images by George Didi-Hubermann and László Tarnay in order to discuss intermedial relations of nonfiction films and to present what the photographic image means in the post-media age documentary.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122316649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema 当代匈牙利和俄罗斯电影中的超级英雄类型和图像叙事
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0013
Bence Kránicz
{"title":"Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema","authors":"Bence Kránicz","doi":"10.3366/edinburgh/9781474435499.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0013","url":null,"abstract":"The chapter examines how certain contemporary Eastern European genre films use superhero stories rooted in American comic books, and apply specific techniques and methods of the comic book form. Besides the visual connections between the two media, film and comics, the chapter also addresses intermediality and adaptation through the representation of the superhero, and deals with questions concerning postcolonial and post-socialist interpretations of superhero adaptations outside of the United States. It focusses on the connections and continuity between national mass culture, folklore and contemporary national genre films. The interpretations focus primarily on Shaman Vs. Ikarus (György Pálfi, Hungary, 2002) and Black Lightning (Dmitry Kiselev – Aleksandr Voitinsky, Russia, 2009), but also build on the context of other non-American superhero movies, Russian genre films and Hungarian art films.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121957022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study Jan Švankmajer作品中的中间密度:媒介人类学案例研究
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0005
Mareike Sera
{"title":"Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study","authors":"Mareike Sera","doi":"10.3366/edinburgh/9781474435499.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0005","url":null,"abstract":"This chapter suggests that intermediality offers itself as a reinforced sense of intimacy. Dialogue requires to get in ‘touch’ with each other, to share each other's worlds. Based on the writings of Eduardo Viveiros De Castro, and on Giorgio Agamben's notes on gesture, the essay pursues this idea from a media-anthropological perspective in the work of Czech filmmaker Jan Švankmajer, focusing on three films: The Flat (Byt, 1968), The Ossuary (Kostnice, 1970) and Dimension of Dialogue (Moznosti dialogu, 1982).","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127210690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark 亚历山大·索科洛夫的《俄罗斯方舟》中媒介与时间的沉浸式戏剧之旅
Caught In-Between Pub Date : 2020-04-01 DOI: 10.3366/edinburgh/9781474435499.003.0009
Fátima Chinita
{"title":"An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark","authors":"Fátima Chinita","doi":"10.3366/edinburgh/9781474435499.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474435499.003.0009","url":null,"abstract":"This chapter argues that Russian Ark is a rare intermedial achievement because of the quantity of media involved and, more importantly, the theatrical nature of the enterprise, which contributes to an intense feeling of immersion on the viewers’ part. The film is structured as a walk through the recesses of the Hermitage, undertaken by the two protagonists, a nineteenth-century French Marquis and an anonymous present-day man. Their motion in space and their interactions (or lack thereof) with other figures − either historical or contemporary – emulate an act of space-based immersive theatre. Characters and spaces are gradually discovered in theatrical tableaux by the protagonists and film viewers alike, with the resulting feeling of being ‘there’, transported into other eras. Russian Ark is meant to be fully experienced, holistically perceived by the film viewers as a spatial and sensual journey of discovery. Ultimately, the viewers long for the eternity of the spectacle, performed as a rite against death.","PeriodicalId":236414,"journal":{"name":"Caught In-Between","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134497347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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