{"title":"“Moving media, that’s what we recommend”: Intermedial Reception in The Square (Ruben Östlund, 2017)","authors":"Sébastien Lefait","doi":"10.4000/interfaces.5655","DOIUrl":"https://doi.org/10.4000/interfaces.5655","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49264200","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":"Clélia Nau. Feuillages. L’Art et les puissances du végétal","authors":"Laura Ouillon","doi":"10.4000/interfaces.5919","DOIUrl":"https://doi.org/10.4000/interfaces.5919","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44555475","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":"Beyond the Divide in the History of Film Theory: An Intermedial Approach in the Digital Age","authors":"A. Suppia","doi":"10.4000/interfaces.6053","DOIUrl":"https://doi.org/10.4000/interfaces.6053","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46396350","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":"What remains of cinema in TV series?","authors":"F. Jost","doi":"10.4000/interfaces.5605","DOIUrl":"https://doi.org/10.4000/interfaces.5605","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41529371","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}
the kinds of invisible migration that involve texts and utterances crossing borders which current theories of adaptation fail to take into account. Cet essai explore les implications de l’utilisation de la migration comme métaphore de l’adaptation. Ces implications deviennent légalement et moralement lourdes lorsque l’adaptation est considérée non seulement comme une migration mais comme une émigration ou une immigration, deux activités définies plus étroitement par des gardiens particulièrement investis dans leur régulation et le maintien de l’ordre. S’appuyant sur des exemples des ouvrages Oz de L. Frank Baum, cet essai propose une grammaire préliminaire de l’adaptation en tant que migration qui met l’accent sur quatre domaines: (1) des termes fondamentaux comme les cultures, cadres ou scripts hôtes et cibles, et les parties impliquées dans la migration; (2) la définition et la régulation de la migration (motifs de migration, encouragement de la migration et inhibition de la migration); (3) les produits de la migration; et (4) la moralité et l’éthique de la migration. Cet essai se conclut en soulevant des questions sur les types de migration invisible qui impliquent des textes et des énoncés traversant les frontières que les théories actuelles de l’adaptation ne prennent pas en compte.
{"title":"Adaptation as Migration","authors":"Thomas M. Leitch","doi":"10.4000/interfaces.5304","DOIUrl":"https://doi.org/10.4000/interfaces.5304","url":null,"abstract":"the kinds of invisible migration that involve texts and utterances crossing borders which current theories of adaptation fail to take into account. Cet essai explore les implications de l’utilisation de la migration comme métaphore de l’adaptation. Ces implications deviennent légalement et moralement lourdes lorsque l’adaptation est considérée non seulement comme une migration mais comme une émigration ou une immigration, deux activités définies plus étroitement par des gardiens particulièrement investis dans leur régulation et le maintien de l’ordre. S’appuyant sur des exemples des ouvrages Oz de L. Frank Baum, cet essai propose une grammaire préliminaire de l’adaptation en tant que migration qui met l’accent sur quatre domaines: (1) des termes fondamentaux comme les cultures, cadres ou scripts hôtes et cibles, et les parties impliquées dans la migration; (2) la définition et la régulation de la migration (motifs de migration, encouragement de la migration et inhibition de la migration); (3) les produits de la migration; et (4) la moralité et l’éthique de la migration. Cet essai se conclut en soulevant des questions sur les types de migration invisible qui impliquent des textes et des énoncés traversant les frontières que les théories actuelles de l’adaptation ne prennent pas en compte.","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42109401","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}
S Despite being two of the most popular medial phenomena in contemporary culture, few studies have been devoted to understanding what happens when adaptations meet transmedial franchises. In this study, I propose an examination of two cases in which one or more original texts have been adapted into the form of a transmedial franchise, resulting in a transmedial adaptation. The aim is to understand how transmedial adaptations transcend traditional binary models of adaptation, with one or several texts being adapted into a convergent project composed of several media. Using the examples provided, I also seek to examine how this multi-media phenomenon activates different textual and medial dynamics. In order to do so, I will use an approach that considers both intermedial and transmedial aspects of the phenomenon. Bien qu’il s’agisse de deux des phénomènes médiatiques les plus populaires dans la culture contemporaine, peu d’études ont tenté de comprendre ce qui se passe lorsque des adaptations rencontrent des franchises transmédiales. Dans cet article, je propose deux études de cas dans lesquelles un ou plusieurs textes originaux ont été adaptés sous la forme d’une franchise transmédiale, résultant en une adaptation transmédiale. L’objectif est de comprendre comment les adaptations transmédiales transcendent les modèles binaires traditionnels des adaptations, avec un texte ou plusieurs textes adaptés en un projet convergent composé de plusieurs médias. À l’aide des exemples fournis, je cherche également à examiner comment ce phénomène plurimédia fait fonctionner différentes dynamiques de production et de consommation de produits culturels. Pour ce faire, une approche qui considère à la fois les aspects intermédiatiques et transmédiatiques du phénomène sera utilisée.
{"title":"Adapted into multiple media: what happens when adaptations meet transmedial franchises","authors":"Camila Augusta Pires de Figueiredo","doi":"10.4000/interfaces.5199","DOIUrl":"https://doi.org/10.4000/interfaces.5199","url":null,"abstract":"S Despite being two of the most popular medial phenomena in contemporary culture, few studies have been devoted to understanding what happens when adaptations meet transmedial franchises. In this study, I propose an examination of two cases in which one or more original texts have been adapted into the form of a transmedial franchise, resulting in a transmedial adaptation. The aim is to understand how transmedial adaptations transcend traditional binary models of adaptation, with one or several texts being adapted into a convergent project composed of several media. Using the examples provided, I also seek to examine how this multi-media phenomenon activates different textual and medial dynamics. In order to do so, I will use an approach that considers both intermedial and transmedial aspects of the phenomenon. Bien qu’il s’agisse de deux des phénomènes médiatiques les plus populaires dans la culture contemporaine, peu d’études ont tenté de comprendre ce qui se passe lorsque des adaptations rencontrent des franchises transmédiales. Dans cet article, je propose deux études de cas dans lesquelles un ou plusieurs textes originaux ont été adaptés sous la forme d’une franchise transmédiale, résultant en une adaptation transmédiale. L’objectif est de comprendre comment les adaptations transmédiales transcendent les modèles binaires traditionnels des adaptations, avec un texte ou plusieurs textes adaptés en un projet convergent composé de plusieurs médias. À l’aide des exemples fournis, je cherche également à examiner comment ce phénomène plurimédia fait fonctionner différentes dynamiques de production et de consommation de produits culturels. Pour ce faire, une approche qui considère à la fois les aspects intermédiatiques et transmédiatiques du phénomène sera utilisée.","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46939616","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":"Renaud Epstein, On est bien arrivés. Un tour de France des grands ensembles","authors":"É. D. Larminat","doi":"10.4000/interfaces.5274","DOIUrl":"https://doi.org/10.4000/interfaces.5274","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42917505","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}
N. Serebryakov, et celle d’ Hamlet par Orlova se réapproprient de nombreux thèmes, inspirés par les adaptations soviétiques (réalisées par I. Frid, S. Yutkevitch, G. Kosintsev respectivement). Les motifs principaux de chaque épisode représentent également une approche imaginaire par les artistes russes qui travaillent dans l’animation et qui ont réécrit les classiques britanniques avec leur poétique visuelle. Le travail dans l’animation par les réalisateurs qui ont précédé n’a pas seulement influencé les choix stylistiques mais aussi les choix de production (méthodes de travail dans l’animation, équipes de chefs décorateurs, animateurs, compositeurs). Par conséquent, une partie de cet article se concentre sur les aspects de production qui ont été transformés suite à l’influence britannique et qui sont toujours bien ancrés dans le style traditionnel du travail à Soyuzmultfilm (par exemple dans les longues productions filmiques). Pour explorer cette particularité de production et son influence dans la poétique, j’ai interrogé plusieurs professionnels qui ont été impliqués dans ce projet (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova).
{"title":"Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales)","authors":"P. Rybina","doi":"10.4000/interfaces.4729","DOIUrl":"https://doi.org/10.4000/interfaces.4729","url":null,"abstract":"N. Serebryakov, et celle d’ Hamlet par Orlova se réapproprient de nombreux thèmes, inspirés par les adaptations soviétiques (réalisées par I. Frid, S. Yutkevitch, G. Kosintsev respectivement). Les motifs principaux de chaque épisode représentent également une approche imaginaire par les artistes russes qui travaillent dans l’animation et qui ont réécrit les classiques britanniques avec leur poétique visuelle. Le travail dans l’animation par les réalisateurs qui ont précédé n’a pas seulement influencé les choix stylistiques mais aussi les choix de production (méthodes de travail dans l’animation, équipes de chefs décorateurs, animateurs, compositeurs). Par conséquent, une partie de cet article se concentre sur les aspects de production qui ont été transformés suite à l’influence britannique et qui sont toujours bien ancrés dans le style traditionnel du travail à Soyuzmultfilm (par exemple dans les longues productions filmiques). Pour explorer cette particularité de production et son influence dans la poétique, j’ai interrogé plusieurs professionnels qui ont été impliqués dans ce projet (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova).","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48787830","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}
1 Humans are evolutionary adaptations of other biological organisms. However, socio-cultural adaptations associated with the Neolithic Agricultural Revolution, the rise of monotheism, and the Scientific Revolution, have contributed to a radical ontological separation of the human from the nonhuman. This false binary opposition facilitates humanity’s destructive behaviour towards nonhuman components of the biosphere, threatening the existence of our species. This article analyses how artistic texts culturally erect and enforce borders between the human and the nonhuman by representing the transgression of such borders as being undesirable in various ways. These texts use repeated narrative and thematic topoi that are adapted through time to reflect changing historical attitudes towards human/nonhuman borders. 2 This article takes an extremely long view of the historical adaptation of ideas about these borders. Such a vast timescale means that my argument here is inevitably heuristic, selecting only a very few examples of broad phenomena. However, even this brief analysis demonstrates how adaptation studies can be used to explore the ways in which important ideas are adapted through various fictional texts to reflect changing cultural attitudes. In this example, ideas about the relationships between humans and nonhumans take different forms in different historical periods, and the ways in which various narratives about those relationships are adapted in those different historical periods provides evidence for the underlying adaptation of these underlying ideas. ABSTRACTS Humans are evolutionary adaptations of other biological organisms. However, socio-cultural adaptations associated with the Neolithic Agricultural Revolution, the rise of monotheism, and the Scientific Revolution, have contributed to a radical ontological separation of the human from the nonhuman. This false binary opposition facilitates humanity’s destructive behaviour towards nonhuman components of our biosphere, threatening the existence of our species. This article explores the historical development of artistic texts that demonstrate anxieties about transgressing borders between the human and the nonhuman. These texts use repeated narrative and thematic topoi that are adapted to reflect historical attitudes towards human/ non-humains tels que Terminator et Toy Story , en passant par le récit monothéiste/scientifique de Frankenstein , .
{"title":"Enforcing Ecological Borders between the Human and the Nonhuman: Adapting Pygmalion’s Benevolent Galatea into Frankenstein’s and Contemporary Monsters","authors":"Robert Geal","doi":"10.4000/interfaces.4943","DOIUrl":"https://doi.org/10.4000/interfaces.4943","url":null,"abstract":"1 Humans are evolutionary adaptations of other biological organisms. However, socio-cultural adaptations associated with the Neolithic Agricultural Revolution, the rise of monotheism, and the Scientific Revolution, have contributed to a radical ontological separation of the human from the nonhuman. This false binary opposition facilitates humanity’s destructive behaviour towards nonhuman components of the biosphere, threatening the existence of our species. This article analyses how artistic texts culturally erect and enforce borders between the human and the nonhuman by representing the transgression of such borders as being undesirable in various ways. These texts use repeated narrative and thematic topoi that are adapted through time to reflect changing historical attitudes towards human/nonhuman borders. 2 This article takes an extremely long view of the historical adaptation of ideas about these borders. Such a vast timescale means that my argument here is inevitably heuristic, selecting only a very few examples of broad phenomena. However, even this brief analysis demonstrates how adaptation studies can be used to explore the ways in which important ideas are adapted through various fictional texts to reflect changing cultural attitudes. In this example, ideas about the relationships between humans and nonhumans take different forms in different historical periods, and the ways in which various narratives about those relationships are adapted in those different historical periods provides evidence for the underlying adaptation of these underlying ideas. ABSTRACTS Humans are evolutionary adaptations of other biological organisms. However, socio-cultural adaptations associated with the Neolithic Agricultural Revolution, the rise of monotheism, and the Scientific Revolution, have contributed to a radical ontological separation of the human from the nonhuman. This false binary opposition facilitates humanity’s destructive behaviour towards nonhuman components of our biosphere, threatening the existence of our species. This article explores the historical development of artistic texts that demonstrate anxieties about transgressing borders between the human and the nonhuman. These texts use repeated narrative and thematic topoi that are adapted to reflect historical attitudes towards human/ non-humains tels que Terminator et Toy Story , en passant par le récit monothéiste/scientifique de Frankenstein , .","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41983180","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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