文章基本信息

标题：Cinema and Intermediality: The Passion for the In-Between (Second, Enlarged Edition), by Ágnes Pethő
本地全文：下载
作者：Jill Murphy
期刊名称：Alphaville : Journal of Film and Screen Media
印刷版ISSN：2009-4078
电子版ISSN：1286-4986
出版年度：2022
期号：22
DOI：10.33178/alpha.22.14
语种：English
出版社：University College Cork
摘要：Raymond Bellour observes that, in terms of the dispositif, it has been some time since cinema could be classified according to Serge Daney’s designation of “cinema, alone”, that is, when it was the only art that could provide moving image and sound; indeed, Bellour suggests that, although we came to believe that cinema was “the dispositif”, perhaps it was only ever just one of multiple dispositifs (2). In Cinematic Intermediality: The Passion for the In-Between, which has been reissued in a second, enlarged edition, Ágnes Pethő considers that, from an intermedial perspective, cinema has been inextricably linked to other media and arts since it was first presented in a theatrical environment, presenting narratives that provoked an emotive response by means of “a combination of images in movement, music and words” (14-15). In retracing the steps of early scholars of cinematic intermediality, she makes the case for cinema, in this respect, never having been truly “alone”. However, as she points out, in terms of the study of intermediality, cinema possesses a “unique paradoxical status” in that it has not been incorporated into general intermediality studies in the same way, as for example, literature or digital media have, while film theorists have been slow to incorporate intermediality, viewing it as “an unwelcome hybridization” (5).