This chapter explores transmediation between qualified media types. It discusses the adaptation of a literary canonical work, Joe Wright’s 2005 novel-to-film adaptation of Jane Austen’s novel Pride and Prejudice a novel that repeatedly has been adapted into new contexts and audiences. The qualified medium of opera implies certain conventions but also certain limitations of space, time and voice. The natural venue for experiencing an opera is the stage. An experienced opera or musical librettist will consider where to put such music highlights when writing the text. Both drama text and opera score are a set of directions fixed in a script but resulting in different kinds of performances. It has been our aim to demonstrate in specific analysis the very abstract idea that all media transformation is interplay or a negotiation between transmediality and medium specificity.
This chapter explores different relations of truthfulness and discusses the truth claims of the different qualified media types. Truthfulness is a transmedial notion and when we speak of truth in different contexts, we refer to different kinds of knowledge. Truth, facts and authenticity are often used in everyday discourse as part of apparently clear-cut binaries like truth–lie, authentic–fake, fact–fiction. The truth claims of media can be employed in communication to produce a perception of truthfulness. As media products can be truthful both in relation to external perception or inner experience, another way to look at truth claims is to divide them into objective and subjective truth claims. The chapter discusses how different forms of disinformation draw on the truth claims of news media and construct a perception of truthfulness that is based more on internal coherence than on events that actually have taken place.
This chapter provides examples of basic analyses of macro and micro levels of intermediality in social media: YouTube entertainment, an example of a multi-layered social media practice, and GIFs, which derive from other media and migrate across different platforms on the internet. Apart from media combination and integration, even the two aspects of media transformation, transmediation and representation, are also persistent intermedial processes in social media practice as content creation. Social media entertainment stages the body, voice and personality, or persona, of a content creator outside the traditional media and acknowledges, or even addresses, the social community directly. In the authenticity discourse of social media entertainment, YouTubers pose themselves as an alternative to traditional media. The chapter looks at the Let’s Play genre and how the YouTuber PewDiePie engages with the social media entertainment dimensions and with his audiences.
I följande artikel kommer jag att analysera bilderboken En stackars liten haj (2014) av Mårten Sandén och Per Gustavsson ur ett par olika perspektiv, för att undersöka hur den gestaltar ett litet barns bearbetning av rädsla med hjälp av fantasin, och hur den, både verbalt och med hjälp av bilderna, kan få sina unga läsare att identifiera sig med huvudpersonen, känna empati för honom och därmed själva gå stärkta ur läsupplevelsen. För att göra detta kommer jag bland annat att närmare studera hur ord och bild samverkar i boken samt de olika tolkningsnivåer och intertextuella relationer man kan finna i den.
I licentiatavhandlingen undersöks litterär piktorialism, ett litterärt grepp som innebär att verkets gestaltade objekt jämförs med, beskrivs som eller representeras i termer av visuella, ikoniska representationer, som till exempel tavlor, fotografier eller skulpturer. För att belysa piktorialismens funktion och effekt analyseras ett antal dikter av Ella Hillbäck och Tomas Tranströmer.
This article studies the transmedial process from the painting Nighthawks (1942) by Edward Hopper (the source medium) to the poem "Nighthawks" (2000) by Anne Carson and to two art GIFs created using the painting as a source (the target media). GIF is a file format that allows movement and an art GIF is a GIF which, in different ways, relates to an existing painting. The investigation is focused on repetition, which manifests in all three media products, and its effect on subjective time. Repetition can have different temporal effects in different media and can therefore be affected by transmediation. In literature, for example, repetition is often a way of slowing or stopping the temporal flow whereas, in painting, it can function both as a time stopper and as an index of movement and thereby temporal flow. Repetition in art GIFs is complex. Even though it represents the desire to add movement (and thus temporality) to a static image, it also halts time by not moving beyond the reiterated sequence it represents.
In this article I investigate how various representations of sound influence temporality and imagery in pictorial poetry. Literary pictorialism can be defined as a phenomenon that occurs when the fictional reality, psychological or physical, in a text is represented as image. A pictorial poem often revolves around one single image and the poem’s subject matter, a scene or a landscape for example, is described as silent and static; the poem is composed in a way that can lead the reader to create a stable mental image of its subject matter. The introduction of sound into such a poem can have various effects; one being that the static mood of the poem is interrupted. It can have other results as well, depending on the kind of sound. Sound can, for example, be represented as a concrete and tangible object, in which case it becomes part of the visual scene represented in the poem. A cognitive approach is used to illustrate and explain the relation between sound and sight in pictorial poetry.
In this thesis I investigate what kind of mental imagery ekphrastic and pictorial poetry can evoke, how time is represented in this kind of poetry, and how readers experience the temporality it represents. Ekphrasis (a verbal representation of a static, visual, iconic representation) and pictorialism (a phenomenon that occurs when the reality of the fictive world, either psychological or physical, in the text is represented as image) are intermedial concepts: in various ways and to various degrees, ekphrastic and pictorial texts refer to and represent static, visual, iconic media such as painting, photography and sculpture. In the first part of the thesis I discuss intermedial theory and earlier research on ekphrastic and pictorial poetry, and present my contribution to the field. Having investigated the concepts of ekphrasis and pictorialism, I apply cognitive research on mental imagery on ekphrastic and pictorial poetry to examine what kind of mental images the texts are able to generate, depending on their content and structure as well as on how the human brain functions. Mental images have a lot in common with real viewing: the brain treats mental and real images similarly. What are the implications of that for the study of verbally evoked images? Last, I investigate how ekphrastic and pictorial texts can represent time passing as well as time standing still. I present a model to map the relationships between ekphrasis and temporality; how does an ekphrastic poem represent a source image representing either stasis or temporal flux? In this section the relation between sound and temporality is discussed as well. Throughout the thesis, the theoretical notions are supported by literary examples and analyses. Among the examples are poems by Tomas Tranströmer, Wizłava Szymborska, William Carlos Williams, Ella Hillbäck and many more.