Spike Jonze's film stages our contemporary relation to the digital through a love story between Theodore Twombly, the film's main character, and an AI named Samantha, appearing as an operating system on a digital interface but devoid of any physical incarnation. This story explores how the digital realm, because it eludes filmic representation, comes to question the very ontology of cinema as rooted in outer reality. As such it opens the possibility of post-cinema, and calls for a renewal of conceptions of spectatorship in relation to this possibility, but without defining this new relation to the filmic medium that digital revolution makes necessary.
{"title":"Her (Spike Jonze, 2013): Digital Romance and Post-cinema","authors":"C. Gelly","doi":"10.24193/ekphrasis.22.3","DOIUrl":"https://doi.org/10.24193/ekphrasis.22.3","url":null,"abstract":"Spike Jonze's film stages our contemporary relation to the digital through a love story between Theodore Twombly, the film's main character, and an AI named Samantha, appearing as an operating system on a digital interface but devoid of any physical incarnation. This story explores how the digital realm, because it eludes filmic representation, comes to question the very ontology of cinema as rooted in outer reality. As such it opens the possibility of post-cinema, and calls for a renewal of conceptions of spectatorship in relation to this possibility, but without defining this new relation to the filmic medium that digital revolution makes necessary.","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79553526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article compares the narrative representation, and more specifically the identity (de-) construction, of the main character in the novel The Handmaid's Tale and in the first season of the eponymous series. To do so, I draw on the concepts of transmedial narratology as elaborated by Thon (2015, 2016) and Ryan (2014), that stresses that some narratological concepts originally applied to literary texts (as for example storyworlds, characters, the distinction story/discourse) are useful to analyze narrative representations in other media as well. One of the principal means in literature to represent the inner world of a character is the interior monologue. How is the interior monologue used in both the novel and the series? How does this use influence the plot in both media? And does the medium in any way determine the use of the interior monologue? Furthermore, I connect the narrative representation of the main character to the principle of remediation and demonstrate that her portrayal is inextricably linked to the medium in both series and novel.
{"title":"“I tell, therefore you are”: Identity in The Handmaid’s Tale. A comparison between the novel and the series","authors":"Saartje Gobyn","doi":"10.24193/ekphrasis.22.5","DOIUrl":"https://doi.org/10.24193/ekphrasis.22.5","url":null,"abstract":"This article compares the narrative representation, and more specifically the identity (de-) construction, of the main character in the novel The Handmaid's Tale and in the first season of the eponymous series. To do so, I draw on the concepts of transmedial narratology as elaborated by Thon (2015, 2016) and Ryan (2014), that stresses that some narratological concepts originally applied to literary texts (as for example storyworlds, characters, the distinction story/discourse) are useful to analyze narrative representations in other media as well. One of the principal means in literature to represent the inner world of a character is the interior monologue. How is the interior monologue used in both the novel and the series? How does this use influence the plot in both media? And does the medium in any way determine the use of the interior monologue? Furthermore, I connect the narrative representation of the main character to the principle of remediation and demonstrate that her portrayal is inextricably linked to the medium in both series and novel.","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75473515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the beginning of her 2007 article, "Adapting Children's Literature", Deborah Cartmell encouraged us to remember the complementarity and mutual admiration that should exist between cinema and literature as two narrative arts. At this time, adaptation theorists such as Brian McFarlane and Linda Hutcheon had done much to temper an oppositional point of view when comparing film and literature. Seeking to find other ways of studying adaptations than merely by the question of fidelity, they had argued strongly for intertextual analysis. Cartmell thus supported this approach to adaptation studies at the beginning of the article, but she quickly recognized that there still was a degree of tension between cinema and literature, especially from the point of view of the audience. Framing her own case studies in the metaphorical context of a 'battle' between the arts, she stated that the winner was the one which appeared dominant on screen. Cartmell seemed to argue that children's literature was a particular field in this respect since fidelity remained especially important to this audience. Among her examples she quoted the case of Harry Potter and the Philosopher's Stone (2001), deciding that, here, literature had won. This may not be so sure. This contribution aims to reconsider Cartmell's evaluation of this film, as well as to examine how the discussion of fidelity discourse has developed in recent years. We will ask if the Harry Potter (2001-11) series invites us to think about adaptation differently. We will also question the validity of the 'battle' notion in this case and consider what developments Henry Jenkins' 2006 concept of 'transmedia storytelling' has brought to the debate since.
黛博拉·卡特梅尔在她2007年的文章《改编儿童文学》的开头，鼓励我们记住电影和文学作为两种叙事艺术之间应该存在的互补和相互欣赏。此时，像布莱恩·麦克法兰(Brian McFarlane)和琳达·哈钦(Linda Hutcheon)这样的改编理论家在比较电影和文学时做了很多工作来缓和对立的观点。为了寻找其他研究适应的方法，而不仅仅是通过保真度的问题，他们强烈主张互文分析。因此，卡特梅尔在文章开头就支持这种改编研究方法，但她很快意识到，电影和文学之间仍然存在一定程度的紧张关系，尤其是从观众的角度来看。她把自己的案例研究比喻为艺术之间的“战斗”，她说赢家是在屏幕上占据主导地位的人。卡特梅尔似乎认为，在这方面，儿童文学是一个特殊的领域，因为忠实对这些读者来说尤为重要。她以2001年出版的《哈利波特与魔法石》(Harry Potter and the Philosopher’s Stone)为例，认为在这里，文学取得了胜利。这可能并不那么确定。这篇文章旨在重新审视卡特梅尔对这部电影的评价，并研究近年来关于忠诚话语的讨论是如何发展的。我们会问，《哈利·波特》(2001-11)系列是否会让我们以不同的方式思考改编。在这种情况下，我们也会质疑“战斗”概念的有效性，并思考Henry Jenkins在2006年提出的“跨媒体叙事”概念带来了什么发展。
{"title":"Harry Potter and the Battle of Adaptation","authors":"David Goldie","doi":"10.24193/ekphrasis.22.7","DOIUrl":"https://doi.org/10.24193/ekphrasis.22.7","url":null,"abstract":"At the beginning of her 2007 article, \"Adapting Children's Literature\", Deborah Cartmell encouraged us to remember the complementarity and mutual admiration that should exist between cinema and literature as two narrative arts. At this time, adaptation theorists such as Brian McFarlane and Linda Hutcheon had done much to temper an oppositional point of view when comparing film and literature. Seeking to find other ways of studying adaptations than merely by the question of fidelity, they had argued strongly for intertextual analysis. Cartmell thus supported this approach to adaptation studies at the beginning of the article, but she quickly recognized that there still was a degree of tension between cinema and literature, especially from the point of view of the audience. Framing her own case studies in the metaphorical context of a 'battle' between the arts, she stated that the winner was the one which appeared dominant on screen. Cartmell seemed to argue that children's literature was a particular field in this respect since fidelity remained especially important to this audience. Among her examples she quoted the case of Harry Potter and the Philosopher's Stone (2001), deciding that, here, literature had won. This may not be so sure. This contribution aims to reconsider Cartmell's evaluation of this film, as well as to examine how the discussion of fidelity discourse has developed in recent years. We will ask if the Harry Potter (2001-11) series invites us to think about adaptation differently. We will also question the validity of the 'battle' notion in this case and consider what developments Henry Jenkins' 2006 concept of 'transmedia storytelling' has brought to the debate since.","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87512871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.24193/ekphrasis.21.16
Lubomír Ptáček
{"title":"The Late Films of Jiří Menzel: The Broken Spell of Nostalgia and Melancholy Heroes in I Served the English King (Obsluhoval jsem anglického krále, 2006) and Skirt Chasers (Donšajni, 2013)","authors":"Lubomír Ptáček","doi":"10.24193/ekphrasis.21.16","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.16","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75928123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.24193/ekphrasis.21.20
D. Sebin
{"title":"The Melancholy of Desire in Buñuel’s ‘That Obscure Object of Desire’ and Fassbinder’s ‘I Only Want You to Love Me’","authors":"D. Sebin","doi":"10.24193/ekphrasis.21.20","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.20","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76854175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Melancholy, between Medical Science and Cinematography","authors":"Lucia Lupea","doi":"10.24193/ekphrasis.21.8","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.8","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84772679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Melancholy of Residual Anti-stories","authors":"Călina Părău","doi":"10.24193/ekphrasis.21.6","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.6","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90255249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Depression and Desynchronization of Temporal Relation in Lars von Trier’s Antichrist and Melancholia","authors":"Justin Kao","doi":"10.24193/ekphrasis.21.9","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.9","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73005772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Melancholia as Destinerrance. On Resolution in Discontinuity and an Art That Could Come After Evil","authors":"Aura Poenar","doi":"10.24193/ekphrasis.21.4","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.4","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91147635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.24193/ekphrasis.21.11
Ana-Sânziana Ghelase
{"title":"Melancholic Memory and Mourning Images: Death’s Resistance to Representation in Abbas Kiarostami’s Films","authors":"Ana-Sânziana Ghelase","doi":"10.24193/ekphrasis.21.11","DOIUrl":"https://doi.org/10.24193/ekphrasis.21.11","url":null,"abstract":"","PeriodicalId":40444,"journal":{"name":"Ekphrasis-Images Cinema Theory Media","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91294838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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