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  • 1.
    Chinita, Fátima
    et al.
    Polytechnic Institute of Lisbon, Portugal.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Foreword2019In: Ekphrasis: Images, Cinema, Theory, Media, ISSN 1320-3606, E-ISSN 1083-589X, Vol. 22, no 2, p. 5-5Article in journal (Other academic)
    Abstract [en]

    From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.

  • 2.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Transmediation or Media Representation?: Media Transformation in Recent Eastern European Films2017In: Ekphrasis: Images, Cinema, Theory, Media, ISSN 1320-3606, E-ISSN 1083-589X, Vol. 18, no 2, p. 47-61Article in journal (Refereed)
    Abstract [en]

    As scholars have shown lately, the trope of the tableau vivant is surprisingly recurrent in recent Eastern European cinema. However, there is a classification uncertainty which leads to terminological confusion. I argue for instance that the tableau vivant should be seen as a subclass of intermediality, in other words, as one of the specific cases of possible intermedial relations. Such a classification can be useful as a common toolkit for intermedial scholars, helping them to keep track in adequate and fruitful ways of the plethora of concepts that are now being used. For instance, is it helpful to see the tableau vivant as a form of transmediation, which in its turn can be seen as a subclass of intermediality? Or is it rather a form of media quotation, or media paraphrase? And to go even further, when does a paraphrase become an adaptation?In this essay, I will have a closer look at the intermedial subclasses of transmediation and media representation, according to Lars Elleström’s typology. I will analyse a number of interesting manifestations of these phenomena inrecent Eastern European films, and hope to show the usefulness of the typology.

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CiteExportLink to result list
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  • modern-language-association-8th-edition
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  • Other style
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  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
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