Adaptation, Remediation and Intermediality: Forms of In-betweenness in Cinema

Description

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. 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