Ulteriori informazioni
This book proposes a groundbreaking exploration into affective intermediality, an emerging paradigm that centres on the interplay between media, embodied experiences and material reality. At a time when the scholarly discourse on intermediality is still dominated by researches on literature and mass media, this collection of essays focuses on cinematic intermediality. It delves into the unique position of cinematic images being able to incorporate and to connect to all the other media, as well as being able to generate intense emotions and ethically illuminating experiences. Through investigations into the sensuous inflections of moving images, the volume brings into the spotlight the often overlooked affective potential of intermediality connecting art and life. The chapters investigate a wide array of topics from the representability of feelings and traumatic experiences, from cultural and sensorial entanglements to the gendered gaze and to various affective modalities of getting in touch with the world, including an attunement to non-anthropocentric perspectives. Through in-depth case studies, the book examines how intermedial art practices involving moving images can convey and engender specific sensibilities regarding reality and art. With contributions from both emerging and established scholars, the book highlights films from diverse geo-cultural contexts, also drawing attention to works by and about women. Designed for scholars and students in film and media studies, this book is an essential resource for anyone interested in the affective dimensions of intermediality. It invites readers to engage with critical questions about the emotional and cultural impact of moving images and their intermedial network.
Sommario
Chapter 1: Affective Intermediality An Introduction.- Chapter 2: Feeling Like an Abstract Line with Vernon Lee and Clementina Anstruther Thomson.- Chapter 3: Ghostly Intermediality Zombie Media and Spectral Subjectivities in Penny Siopiss Films.- Chapter 4: Darkness as Affective Oscillation: Poetry in the Cinema of Abbas Kiarostami.- Chapter 5: The Affective Aura Reshaped Experiencing Several Performances at Once Tennessee Williams on the Screen.- Chapter 6: The Vicarious Affect Dying for Art in Chinese Cinema.- Chapter 7: Agnes Vardas Performative Media Transformations Strange Encounters with Material Things and the Body in The Gleaners and I 2000.- Chapter 8: Performances of the Self and Affective Intermediality in Anna Nemess and Kim Corbisiers Work.- Chapter 9: Performing Affections Isabelle Huppert in Claude Chabrols Madame Bovary 1991.- Chapter 10: Affective Encounters Approaching Changing Landscapes through Intermediality in Films by Eric Rohmer and Agnes Varda.- Chapter 11: The Invention of Landscape How to Rethink the Idea of Environment through Intermedial Forms of Vision from Michelangelo Antonionis Enchanted Mountains to Anthropocene 2019.- Chapter 12: Diasporic Encounters and Affective Cinematic Landscapes in Bas Devoss Film Here 2023.- Chapter 13: Framing Nature and Framed by Nature Ecocentric Vision in Thomas Ciuleis This Is It 2001.- Chapter 14: Uncanny Spaces of Intermediality in Grant Gees Patience After Sebald 2012.- Chapter 15: Between Now and Other Places Intermedia Installations as Spatio Temporal Facilitators of Affect.- Chapter 16: A Touch of Liminality The Phenomenology of the Threshold in Shirin Neshats Artworks.- Chapter 17: The Right to Opacity Liminality and Intermedial Cinematicity in Alia Syeds Film Installation Fatimas Letter 1992.- Chapter 18: Affective Intermediality in Experimental Animation Unraveling the Threads of Indigenous Craft and Storytelling in Nina Sabnanis The Stitches Speak 2010.
