This volume brings together multiply overlapping investigations under the key terms adaptation, remediation and intermediality. The films analysed in this book include not only widely known works of – mostly European – arthouse cinema, but also lesser‐known films from the Eastern European region. The in‐depth analyses use a relevant theoretical framework. The interpretations and the possible connections among the analyses reveal nuanced perceptions of contemporary cinema and draw attention to varied forms of in‐betweenness: between the literary text and the moving image, the stage and the screen, reality and mediation, film and the other arts, cinema and non‐cinema.
Author(s): Judit Pieldner
Edition: 1
Publisher: Editura Presa Universitară Clujeană
Year: 2020
Language: English
Pages: 305
City: Cluj-Napoca
Table of Contents
Acknowledgements ...................................................................................... 7
Introduction
Shifting Forms of In‐Betweenness in Cinema .......................................... 9
Part I.
Strategies of Screen Adaptation ................................................................. 21
CHAPTER ONE
Medial Equivalences, Functional Analogies?
The Rhetoric of Adaptation
(Tom Jones, Orlando, The French Lieutenant’s Woman) ............................. 23
CHAPTER TWO
Space Construction in Screen Adaptations of Hamlet ........................... 45
CHAPTER THREE
In‐Between the Stage and the Screen.
Representation of Consciousness in Gábor Bódy’s Hamlet .................. 69
CHAPTER FOUR
Remediated Bodies, Corporeal Images
in Gábor Bódy’s Narcissus and Psyche ...................................................... 81
Part II.
Remediation: In‐Between the Immediacy
and Hypermediacy of Cinematic Experience ......................................... 101
CHAPTER FIVE
Remediating Past Images. The Temporality
of “Found Footage” in Gábor Bódy’s American Torso ......................... 103
Adaptation, Remediation and Intermediality: Forms of In‐Betweenness in Cinema
CHAPTER SIX
Along the Track of the Effaced Trace in Michael Haneke’s Caché ..... 127
CHAPTER SEVEN
History, Cultural Memory and Intermediality
in Radu Jude’s Aferim! ............................................................................. 149
CHAPTER EIGHT
The Camera in House Arrest.
Tactics of Non‐Cinema in Jafar Panahi’s Films .................................... 169
Part III.
Figurations of Intermediality in Contemporary Cinema .................... 195
CHAPTER NINE
Performing the Unspeakable.
Intermedial Events in András Jeles’s Parallel Lives .............................. 197
CHAPTER TEN
The Anamorphic Perspective In‐Between the Painterly
and the Cinematic in András Jeles’s Sinister Shadow ........................... 213
CHAPTER ELEVEN
Magic Realism, Minimalist Realism and the Figuration
of the Tableau in Contemporary Hungarian and Romanian Cinema .. 227
CHAPTER TWELVE
From Paragone to Symbiosis.
Sensations of In‐Betweenness in Sally Potter’s The Tango Lesson ...... 263
Bibliography .............................................................................................. 287
