<abstract xmlns="http://www.w3.org/1999/xhtml"><p> As a possible cross section of cinematic narratology and the theory of intermediality the following essay assesses some of the effects of foregrounding the single, intermedial image within film. Specific figurations of intermediality that are experienced via the consciousness of single images, or some kind of “imageness” (i.e. as “intermedial references”) are presented as well as the modes in which they can interact with the narrative structure of a film. This interaction ranges from a momentary interference with the narrative structure of a film to disrupting it altogether; it may consist in constituting the gravity centre of a plot, or even in becoming the “canvas” for a palimpsest of narrative modes and narratives</p></abstract>

As a possible cross section of cinematic narratology and the theory of intermediality the following essay assesses some of the effects of foregrounding the single, intermedial image within film. Specific figurations of intermediality that are experienced via the consciousness of single images, or some kind of “imageness” (i.e. as “intermedial references”) are presented as well as the modes in which they can interact with the narrative structure of a film. This interaction ranges from a momentary interference with the narrative structure of a film to disrupting it altogether; it may consist in constituting the gravity centre of a plot, or even in becoming the “canvas” for a palimpsest of narrative modes and narratives

The Vertigo of the Single Image: From the Classic Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings

Sapientia Hungarian University of Transylvania (Cluj-Napoca, Romania)

Acta Universitatis Sapientiae, Film and Media Studies

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

As a possible cross section of cinematic narratology and the theory of intermediality the following essay assesses some of the effects of foregrounding the...

The Vertigo of the Single Image: From the Classic Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings

Data publikacji: 04 cze 2014

Zakres stron: 65 - 90

DOI: https://doi.org/10.2478/ausfm-2014-0005

Słowa kluczowe
narrativity, intermediality, painting and tableau vivant in film, post-cinema, Lech Majewski

© 2014

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

The Vertigo of the Single Image: From the Classic Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings

Data publikacji: 04 cze 2014

Zakres stron: 65 - 90

DOI: https://doi.org/10.2478/ausfm-2014-0005

Słowa kluczowenarrativity, intermediality, painting and tableau vivant in film, post-cinema, Lech Majewski

© 2014

This article is distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Słowa kluczowe
narrativity, intermediality, painting and tableau vivant in film, post-cinema, Lech Majewski