Judit Pieldner is Associate Professor at Sapientia Hungarian University of Transylvania, Department of Humanities, Miercurea Ciuc, Romania. Her research interests are related to Intermediality, Experimental Cinema, the Relationship between the Verbal and the Visual, Literary Theory and Criticism, Contemporary Literature. She has defended her PhD thesis on Relations among Text, Image and Motion Picture in Gábor Bódy's and András Jeles's Cinematic Art in 2013. She has published several articles on film and literature in journals and volumes of studies.
Ever since it was published, Margaret Atwood’s Hag-Seed (2016) has been scrutinized for its pecul... more Ever since it was published, Margaret Atwood’s Hag-Seed (2016) has been scrutinized for its peculiar engagements with the Shakespearean pre-text at the cross-section of various discourses, from literary and media studies, through drama pedagogy, even to prison studies. Drawing on the prison metaphor from the original and recontextualizing it as a contemporary prison performance is just one of the multitudinous forms and ways in which The Tempest is incorporated into Atwood’s novel. Thus, though it is quite difficult to designate a sole term for what she (un)does with the classic, one striking issue anyone may encounter is its intertwining metatextuality which encapsulates many of its core interpretations as a rewriting and/or adaptation. The present paper aims at unravelling the many layers, means and functions of this particular type of metatextuality and/or metatheatricality found in the novel. We look at the polyphonic nexus of texts and contexts that defines Atwood’s novel as an experiment that reconsiders, with a gesture of metatextual homage, the prospects of rewriting – a practice Shakespeare himself was highly familiar with – in the contemporary age. Nested in the Genettean structuralist framework (Genette 1997 [1982]), our approach is meant to expand its applicability taking into consideration Deleuze and Guattari’s concept of rhizome to investigate Atwood’s rewriting as an instance of “rhizomatic metatextuality” as well as the strategies of interpretation, appropriation, and reconstruction in fan fiction rewriting (see Jenkins 1992). Placing metatextuality as the central interpretive key of the novel, we shall discuss the roles of theatre (and art, in general) represented in Hag-Seed as an aesthetic and art history account, as well as the status of the interpreter or the intended audience of both the novel and the play within.
Acta Universitatis Sapientiae, Film and Media Studies, 2023
In a world experiencing an ongoing crisis in healthcare, the value of caregiving has become margi... more In a world experiencing an ongoing crisis in healthcare, the value of caregiving has become marginalized, the work of carers undervalued and pushed into invisibility. Sally Potter's film, The Roads Not Taken (2020) brings into the domain of the visible the toil of in-home care of the mentally ill, an instance of a "quiet crisis buried in individual lives" (Bunting 2020, 5). The Roads Not Taken as an illness narrative of a former writer, now suffering from dementia, being taken care of by his daughter, conveys a liminal case of despaired effort to reach for the Other, in an emotionally immersive manner. The paper explores the film's uncanny sensations of in-betweenness, with special focus on the unhomeliness and heterotopia of the vulnerable male body, trapped between disconnection from the present and mental journeys into the past, traversing sites across geographic and spiritual borders, captured in intimate close-ups that invite "cinempathy." The female figure of the caregiver emerges as a site of negotiating between self-sacrifice and self-care, between the deep-felt compassion of private caregiving and the objectifying impersonality of public care services, while just missing a work opportunity, thus experiencing the contradictions of capital and care (Fraser 2016). The film foregrounds unspeakable pains, entangled emotions and unbridgeable gaps, and subtly points at profound anxieties around the care crisis of our times (Dowling 2021).
Acta Universitatis Sapientiae, Film and Media Studies, 2022
Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in ... more Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in this film through photo-filmic images and painterly compositions, perceptions of stillness and motion, and cultural remnants of the past, giving way to affective sensations of intermediality.
Acta Universitatis Sapientiae, Film and Media Studies
Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in ... more Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in...
In the theoretical discourse of archival footage a shift can be detected from the paradigm of rec... more In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization to that of rhetorical strategy. In terms of this shift, archival footage is no longer regarded as a mode of transparent representation of “reality”, but rather as figuration that creates productive tension in the course of interaction of moving images. Archival footage acquires a prominent role in Hungarian experimental filmmaking. The present paper focuses on films by two Hungarian experimental filmmakers, Gábor Bódy and András Jeles, in which the archival material stages the confrontation between private memory and historical consciousness. The article especially focuses on the role of fake found footage and archival footage in Gábor Bódy’s American Torso (Amerikai anzix, 1975) and András Jeles’s Parallel Lives (Senkiföldje, 1993
This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with speci... more This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in between the analogue and the digital, the natural and the artificial, the cinematic and the photographic. Through examples taken from contemporary Polish and Czech cinema, including Hi, Tereska! (Cześć, Tereska, Robert Gliński, 2001), The Reverse (Rewers, Borys Lankosz, 2009), Ida (Paweł Pawlikowski, 2013), Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013), Cold War (Zimna wojna, Paweł Pawlikowski, 2018) and I, Olga Hepnarová (Já, Olga Hepnarová, Tomáš Weinreb and Petr Kazda, 2016), it discusses the uses and functions of the black-and-white image rendering female identity caught in the grip of Eastern European history. The black-and-white image is often associated with high artistry and the photographic quality of film; accordingly, the emphasis is laid on photographic compositions, sta...
The present paper aims at a parallel analysis of the narrative specificities of Dezső Kosztolányi... more The present paper aims at a parallel analysis of the narrative specificities of Dezső Kosztolányi's Kornél Esti and its film adaptation directed by József Pacskovszky, The Wonderful Journey of Kornél Esti [Esti Kornél csodálatos utazása, 1994]. The short story cycle Kornél Esti drifts apart from the classical narrative tradition, and through its metapoetical figures and the complexity of its genre combining narration with treatise and essay it can be related to late modern literary discourses. Its adaptation under discussion can be regarded as a representative example of (self-)reflexivity in film, which initiates a medial-intermedial dialogue both with literary and film tradition.
Acta Universitatis Sapientiae, Film and Media Studies, 2016
The paper surveys two modes of representation present in contemporary Hungarian and Romanian cine... more The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions andtableaux vivantsin representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’sBibliothèque Pascal(2010) and Cristian Mungiu’sBeyond...
Acta Universitatis Sapientiae, Film and Media Studies, 2019
Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between aut... more Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1
Acta Universitatis Sapientiae, Film and Media Studies, 2016
A historical drama that can be interpreted at the juncture of theoretical discourses (heritage fi... more A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’sAferim!(2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) historical past. Its unmatched character even within New Romanian Cinema can be attributed to the fact that it does not focus on tensions of the post-communist condition or their antecedents in the recent communist past; instead, it goes back in history to a much earlier period, to the Romanianancien régime, after the Ottoman occupation and before the abolition of Gypsy slavery, only to point at the historical roots of current social problems. Through its ingenuous (inter)medial solutions (black-and-white film, with an implied media-archaeological ...
Ever since it was published, Margaret Atwood’s Hag-Seed (2016) has been scrutinized for its pecul... more Ever since it was published, Margaret Atwood’s Hag-Seed (2016) has been scrutinized for its peculiar engagements with the Shakespearean pre-text at the cross-section of various discourses, from literary and media studies, through drama pedagogy, even to prison studies. Drawing on the prison metaphor from the original and recontextualizing it as a contemporary prison performance is just one of the multitudinous forms and ways in which The Tempest is incorporated into Atwood’s novel. Thus, though it is quite difficult to designate a sole term for what she (un)does with the classic, one striking issue anyone may encounter is its intertwining metatextuality which encapsulates many of its core interpretations as a rewriting and/or adaptation. The present paper aims at unravelling the many layers, means and functions of this particular type of metatextuality and/or metatheatricality found in the novel. We look at the polyphonic nexus of texts and contexts that defines Atwood’s novel as an experiment that reconsiders, with a gesture of metatextual homage, the prospects of rewriting – a practice Shakespeare himself was highly familiar with – in the contemporary age. Nested in the Genettean structuralist framework (Genette 1997 [1982]), our approach is meant to expand its applicability taking into consideration Deleuze and Guattari’s concept of rhizome to investigate Atwood’s rewriting as an instance of “rhizomatic metatextuality” as well as the strategies of interpretation, appropriation, and reconstruction in fan fiction rewriting (see Jenkins 1992). Placing metatextuality as the central interpretive key of the novel, we shall discuss the roles of theatre (and art, in general) represented in Hag-Seed as an aesthetic and art history account, as well as the status of the interpreter or the intended audience of both the novel and the play within.
Acta Universitatis Sapientiae, Film and Media Studies, 2023
In a world experiencing an ongoing crisis in healthcare, the value of caregiving has become margi... more In a world experiencing an ongoing crisis in healthcare, the value of caregiving has become marginalized, the work of carers undervalued and pushed into invisibility. Sally Potter's film, The Roads Not Taken (2020) brings into the domain of the visible the toil of in-home care of the mentally ill, an instance of a "quiet crisis buried in individual lives" (Bunting 2020, 5). The Roads Not Taken as an illness narrative of a former writer, now suffering from dementia, being taken care of by his daughter, conveys a liminal case of despaired effort to reach for the Other, in an emotionally immersive manner. The paper explores the film's uncanny sensations of in-betweenness, with special focus on the unhomeliness and heterotopia of the vulnerable male body, trapped between disconnection from the present and mental journeys into the past, traversing sites across geographic and spiritual borders, captured in intimate close-ups that invite "cinempathy." The female figure of the caregiver emerges as a site of negotiating between self-sacrifice and self-care, between the deep-felt compassion of private caregiving and the objectifying impersonality of public care services, while just missing a work opportunity, thus experiencing the contradictions of capital and care (Fraser 2016). The film foregrounds unspeakable pains, entangled emotions and unbridgeable gaps, and subtly points at profound anxieties around the care crisis of our times (Dowling 2021).
Acta Universitatis Sapientiae, Film and Media Studies, 2022
Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in ... more Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in this film through photo-filmic images and painterly compositions, perceptions of stillness and motion, and cultural remnants of the past, giving way to affective sensations of intermediality.
Acta Universitatis Sapientiae, Film and Media Studies
Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in ... more Michael Haneke’s Time of the Wolf (Le temps du loup, 2003) depicts a grim vision of the world in the aftermath of an unnamed catastrophe. Haneke turns the genre of dystopia into an experimental terrain where he can test the limits of the cinematic medium in the sense of “negating cinema in order to let reality speak for itself” (Nagib 2016, 147). An existential parable, Time of the Wolf envisions a sombre post-millenium age. It is a sharp analysis of what remains of man and society when the frame of civilization collapses. It scrutinizes the functioning mechanisms of the individual, the family and the social community in times of civilization undone. A harsh experiment towards a negative dialectics of the image, the film’s exceptionally austere cinematic language confronts the spectator with the aesthetics of the “unwatchable” (Baer et al., 2019) and “cinematic unpleasure” (Aston 2010). The paper explores the ways in which Haneke’s “intermedial realism” (Rowe 2017) also manifests in...
In the theoretical discourse of archival footage a shift can be detected from the paradigm of rec... more In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization to that of rhetorical strategy. In terms of this shift, archival footage is no longer regarded as a mode of transparent representation of “reality”, but rather as figuration that creates productive tension in the course of interaction of moving images. Archival footage acquires a prominent role in Hungarian experimental filmmaking. The present paper focuses on films by two Hungarian experimental filmmakers, Gábor Bódy and András Jeles, in which the archival material stages the confrontation between private memory and historical consciousness. The article especially focuses on the role of fake found footage and archival footage in Gábor Bódy’s American Torso (Amerikai anzix, 1975) and András Jeles’s Parallel Lives (Senkiföldje, 1993
This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with speci... more This chapter addresses the aesthetic of black-and-white filmmaking in the digital age, with special attention to the ways in which the black-and-white image manifests its perceptual otherness in between the analogue and the digital, the natural and the artificial, the cinematic and the photographic. Through examples taken from contemporary Polish and Czech cinema, including Hi, Tereska! (Cześć, Tereska, Robert Gliński, 2001), The Reverse (Rewers, Borys Lankosz, 2009), Ida (Paweł Pawlikowski, 2013), Papusza (Joanna Kos-Krauze and Krzysztof Krauze, 2013), Cold War (Zimna wojna, Paweł Pawlikowski, 2018) and I, Olga Hepnarová (Já, Olga Hepnarová, Tomáš Weinreb and Petr Kazda, 2016), it discusses the uses and functions of the black-and-white image rendering female identity caught in the grip of Eastern European history. The black-and-white image is often associated with high artistry and the photographic quality of film; accordingly, the emphasis is laid on photographic compositions, sta...
The present paper aims at a parallel analysis of the narrative specificities of Dezső Kosztolányi... more The present paper aims at a parallel analysis of the narrative specificities of Dezső Kosztolányi's Kornél Esti and its film adaptation directed by József Pacskovszky, The Wonderful Journey of Kornél Esti [Esti Kornél csodálatos utazása, 1994]. The short story cycle Kornél Esti drifts apart from the classical narrative tradition, and through its metapoetical figures and the complexity of its genre combining narration with treatise and essay it can be related to late modern literary discourses. Its adaptation under discussion can be regarded as a representative example of (self-)reflexivity in film, which initiates a medial-intermedial dialogue both with literary and film tradition.
Acta Universitatis Sapientiae, Film and Media Studies, 2016
The paper surveys two modes of representation present in contemporary Hungarian and Romanian cine... more The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions andtableaux vivantsin representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’sBibliothèque Pascal(2010) and Cristian Mungiu’sBeyond...
Acta Universitatis Sapientiae, Film and Media Studies, 2019
Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between aut... more Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1
Acta Universitatis Sapientiae, Film and Media Studies, 2016
A historical drama that can be interpreted at the juncture of theoretical discourses (heritage fi... more A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’sAferim!(2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) historical past. Its unmatched character even within New Romanian Cinema can be attributed to the fact that it does not focus on tensions of the post-communist condition or their antecedents in the recent communist past; instead, it goes back in history to a much earlier period, to the Romanianancien régime, after the Ottoman occupation and before the abolition of Gypsy slavery, only to point at the historical roots of current social problems. Through its ingenuous (inter)medial solutions (black-and-white film, with an implied media-archaeological ...
It is a collective volume written and created by 48 authors honouring Ágnes Pethő's comprehensive... more It is a collective volume written and created by 48 authors honouring Ágnes Pethő's comprehensive and in-depth work on intermediality. And also an overview of different approaches to/uses of intermediality.
It is a collective volume written and created by 48 authors honouring Ágnes Pethő's comprehensive... more It is a collective volume written and created by 48 authors honouring Ágnes Pethő's comprehensive and in-depth work on intermediality.
This collection of essays explores intermediality as a new perspective in the interpretation of t... more 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. As an aesthetic based on a productive interaction of media and highlighting cinema’s relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. The diverse theoretical approaches that unravel this in-betweenness contribute to the understanding of intermedial phenomena in contemporary cinema as a whole. Introduction here: https://edinburghuniversitypress.com/media/resources/9781474435505_Introduction.pdf
Ever since the emergence of the spatial turn in several scientific discourses, special attention ... more Ever since the emergence of the spatial turn in several scientific discourses, special attention has been paid to the surrounding space conceived as a construct created by the dynamics of human activity. The notion of space assists us in describing the most varied spheres of human existence. We can speak of various physical, metaphysical, social and cultural, and communicative spaces, as structuring components providing access to various literary, linguistic, social and cultural phenomena, thus promoting the initiation of a cross-disciplinary dialogue. The essays selected in this volume cover a wide range of topics related to space: intercultural and interethnic spaces; linguistic, textual space formation; the narratology of space, spatial-temporal relationships, space construction in literature and film; space in contemporary art; inter-art relations and intermediality; spaces of cultural memory; nature and culture; cultural geography; cross-cultural connections between the East and the West; Central and Eastern European geocultural paradigms; the relationship between geographical space and cyberspace; and relational spaces. The approaches used in this volume range across various discursive practices related to space, outlining the shifts and displacements concerning existence and identity in the continuously changing, restructuring, always transitory, in-between spaces.
Kereszt/eződések – Válaszutak és metszéspontok a kultúrában és a történelemben. Interdiszciplináris tanulmányok II. Edited by Magda Ajtay-Horváth and Tamás Tukacs, 2023
Kivonat. Sally Potter multimediális gyakorlataiban gyökerező művészetében a film a társművészetek... more Kivonat. Sally Potter multimediális gyakorlataiban gyökerező művészetében a film a társművészetek kereszteződéseiben helyezkedik el, a film határain túli művészeti impulzusokból táplálkozik. A társművészetek túláradó jelenléte a filmjeiben nyíltan intermediális és reflexív alkotásokat eredményez, amelyek a művészetek szimbiotikus közösségét tanúsítják. Egy korábbi, A tangó lecke (The Tango Lesson, 1997) című film művészetköziségére összpontosító tanulmány (Pieldner 2019) következtetéseit újragondolva, jelen írás az elemzés keretét két további filmmel – Igen (Yes, 2004) és A nem járt utak (The Roads Not Taken, 2020) című filmekkel – egészíti ki, amelyben az intermedialitás performatív térként jelenik meg, a társművészetek diszkurzív és figurális jelenléte lényegesen összefügg a másság témakörével. Sally Potter filmjeinek központi témája az interszubjektivitás. A tanulmány azt vizsgálja, hogyan valósul meg a Másik kérdésének megközelítése a film és az irodalom, a festészet, a tánc, a színház és a szobrászat közötti intermediális kereszteződéseken keresztül.
Abstract. Rooted in Sally Potter’s multimedia practices, film emerges throughout her artistic oeuvre at the crossroads of arts, and is nourished by artistic impulses beyond its boundaries. The overflowing presence of the other arts has resulted in overtly intermedial and reflexive works which attest to the symbiotic communion of arts. Rethinking the conclusions of an earlier article focused on the intermediality of the The Tango Lesson (1997) (Pieldner 2019), this paper aims to enlarge the frame of analysis by looking at a selection of films also including Yes (2004) and The Roads Not Taken (2020), in which intermediality appears as a performative space whereby the discursive and figural presence of the other arts is substantially linked to the theme of otherness. Intersubjectivity is among the central themes of Sally Potter’s films. This paper looks at how the issue of the Other is approached through intermedial crossroads among film and literature, painting, dance, theatre, sculpture.
Kereszt/eződések – Válaszutak és metszéspontok a kultúrában és a történelemben. Interdiszciplináris tanulmányok II. Edited by Magda Ajtay-Horváth and Tamás Tukacs, 2023
Kivonat. Sally Potter multimediális gyakorlataiban gyökerező művészetében a film a társművészetek... more Kivonat. Sally Potter multimediális gyakorlataiban gyökerező művészetében a film a társművészetek kereszteződéseiben helyezkedik el, a film határain túli művészeti impulzusokból táplálkozik. A társművészetek túláradó jelenléte a filmjeiben nyíltan intermediális és reflexív alkotásokat eredményez, amelyek a művészetek szimbiotikus közösségét tanúsítják. Egy korábbi, A tangó lecke (The Tango Lesson, 1997) című film művészetköziségére összpontosító tanulmány (Pieldner 2019) következtetéseit újragondolva, jelen írás az elemzés keretét két további filmmel – Igen (Yes, 2004) és A nem járt utak (The Roads Not Taken, 2020) című filmekkel – egészíti ki, amelyben az intermedialitás performatív térként jelenik meg, a társművészetek diszkurzív és figurális jelenléte lényegesen összefügg a másság témakörével. Sally Potter filmjeinek központi témája az interszubjektivitás. A tanulmány azt vizsgálja, hogyan valósul meg a Másik kérdésének megközelítése a film és az irodalom, a festészet, a tánc, a színház és a szobrászat közötti intermediális kereszteződéseken keresztül.
Abstract. Rooted in Sally Potter’s multimedia practices, film emerges throughout her artistic oeuvre at the crossroads of arts, and is nourished by artistic impulses beyond its boundaries. The overflowing presence of the other arts has resulted in overtly intermedial and reflexive works which attest to the symbiotic communion of arts. Rethinking the conclusions of an earlier article focused on the intermediality of the The Tango Lesson (1997) (Pieldner 2019), this paper aims to enlarge the frame of analysis by looking at a selection of films also including Yes (2004) and The Roads Not Taken (2020), in which intermediality appears as a performative space whereby the discursive and figural presence of the other arts is substantially linked to the theme of otherness. Intersubjectivity is among the central themes of Sally Potter’s films. This paper looks at how the issue of the Other is approached through intermedial crossroads among film and literature, painting, dance, theatre, sculpture.
The Intercultural Confluences Research Centre of the Department of Human Sciences, Faculty of Eco... more The Intercultural Confluences Research Centre of the Department of Human Sciences, Faculty of Economics, Socio-Human Sciences and Engineering, Miercurea Ciuc, Sapientia Hungarian University of Transylvania, organizes the online conference in three languages Válság, változás, perspektívák / Crize, schimbări și perspective / Crisis, Change and Perspectives, on 16-17 April, 2021. Registration and abstract submission deadline: 31 January, 2021.
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Papers by Judit Pieldner
Introduction here: https://edinburghuniversitypress.com/media/resources/9781474435505_Introduction.pdf
Abstract. Rooted in Sally Potter’s multimedia practices, film emerges throughout her artistic oeuvre at the crossroads of arts, and is nourished by artistic impulses beyond its boundaries. The overflowing presence of the other arts has resulted in overtly intermedial and reflexive works which attest to the symbiotic communion of arts. Rethinking the conclusions of an earlier article focused on the intermediality of the The Tango Lesson (1997) (Pieldner 2019), this paper aims to enlarge the frame of analysis by looking at a selection of films also including Yes (2004) and The Roads Not Taken (2020), in which intermediality appears as a performative space whereby the discursive and figural presence of the other arts is substantially linked to the theme of otherness. Intersubjectivity is among the central themes of Sally Potter’s films. This paper looks at how the issue of the Other is approached through intermedial crossroads among film and literature, painting, dance, theatre, sculpture.
Abstract. Rooted in Sally Potter’s multimedia practices, film emerges throughout her artistic oeuvre at the crossroads of arts, and is nourished by artistic impulses beyond its boundaries. The overflowing presence of the other arts has resulted in overtly intermedial and reflexive works which attest to the symbiotic communion of arts. Rethinking the conclusions of an earlier article focused on the intermediality of the The Tango Lesson (1997) (Pieldner 2019), this paper aims to enlarge the frame of analysis by looking at a selection of films also including Yes (2004) and The Roads Not Taken (2020), in which intermediality appears as a performative space whereby the discursive and figural presence of the other arts is substantially linked to the theme of otherness. Intersubjectivity is among the central themes of Sally Potter’s films. This paper looks at how the issue of the Other is approached through intermedial crossroads among film and literature, painting, dance, theatre, sculpture.
Registration and abstract submission deadline: 31 January, 2021.