Caught In-Between: Intermediality in Contemporary Eastern European and Russian Cinema

This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern bloc.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vi
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List of Figures
pp vii-ix
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The Contributors
pp x-xii
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Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema
pp 1-24
- By Ágnes Pethő
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Part 1 - Entangled Sens ations, Cinema in-between the Arts
pp 25-26
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1 - Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas
pp 27-44
- By Hajnal Király
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2 - Black-and-White Sensations of History and Female Identity in Contemporary Polish and Czech Cinema
pp 45-64
- By Judit Pieldner
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3 - Sculpture and Affect in Cinema’s Expanded Field. From Aleksey Gherman’s Hard to Be a God to Aleksey Gherman Jr’s Under Electric Clouds
pp 65-90
- By Ágnes Pethő
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4 - Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study
pp 91-106
- By Mareike Sera
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Part 2 - Immersions into Memory , Culture and Intermediality
pp 107-108
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5 - Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema
pp 109-126
- By Christina Stojanova
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6 - Photographic Passages to th e Past in Eastern European Non-Fiction Films
pp 127-146
- By Melinda Blos-Jáni
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7 - Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Th ose Who Can Tell No Tales
pp 147-162
- By Katalin Sándor
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8 - An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark
pp 163-182
- By Fátima Chinita
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Part 3 - Refl ections upon Reality, Representation and Power
pp 183-184
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9 - The Real and the Intermedial in Alexander Sokurov’s Family Trilogy
pp 185-202
- By Malgorzata Bugaj
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10 - Th is is Not Magritte: Corneliu Porumboiu’s Theory of Representation
pp 203-218
- By Zsolt Gyenge
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11 - Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema
pp 219-236
- By Gabriel Laverdière
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12 - Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema
pp 237-253
- By Bence Kránicz
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Index
pp 254-260
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Caught In-Between

Intermediality in Contemporary Eastern European and Russian Cinema

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of Figures
pp vii-ix

The Contributors
pp x-xii

Introduction: The Art of In-Betweenness in Contemporary Eastern European Cinema
pp 1-24

Part 1 - Entangled Sens ations, Cinema in-between the Arts
pp 25-26

1 - Intermedially Emotional: Musical Mood Cues, Disembodied Feelings in Contemporary Hungarian Melodramas
pp 27-44

2 - Black-and-White Sensations of History and Female Identity in Contemporary Polish and Czech Cinema
pp 45-64

3 - Sculpture and Affect in Cinema’s Expanded Field. From Aleksey Gherman’s Hard to Be a God to Aleksey Gherman Jr’s Under Electric Clouds
pp 65-90

4 - Intermedial Densities in the Work of Jan Švankmajer: A Media-Anthropological Case Study
pp 91-106

Part 2 - Immersions into Memory , Culture and Intermediality
pp 107-108

5 - Trickster Narratives and Carnivalesque Intermediality in Contemporary Romanian Cinema
pp 109-126

6 - Photographic Passages to th e Past in Eastern European Non-Fiction Films
pp 127-146

7 - Trauma, Memorialisation and Intermediality in Jasmila Žbanić’s For Th ose Who Can Tell No Tales
pp 147-162

8 - An Immersive Theatrical Journey through Media and Time in Alexander Sokurov’s Russian Ark
pp 163-182

Part 3 - Refl ections upon Reality, Representation and Power
pp 183-184

9 - The Real and the Intermedial in Alexander Sokurov’s Family Trilogy
pp 185-202

10 - Th is is Not Magritte: Corneliu Porumboiu’s Theory of Representation
pp 203-218

11 - Intermedial Détrompe l’Oeil and Contemporary Polish Narrative Cinema
pp 219-236

12 - Superhero Genre and Graphic Storytelling in Contemporary Hungarian and Russian Cinema
pp 237-253

Index
pp 254-260

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Caught In-Between

Intermediality in Contemporary Eastern European and Russian Cinema

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