"Abstract: After a short survey of the key questions regarding intermediality in cinema and placing them into the context of current debates in media studies and film theory, the paper addresses the key issues of the methodology of studying intermediality in film. In assessing the import of intermedial studies on film, the paper focuses on certain characteristic methodologies that have emerged in treating intermedial occurrences within films throughout the history of theorizing about the movies in general. Some of the major historical paradigms to be briefly described are: the normative aesthetic viewpoints in the spirit of cinematic New Laocoöns, the trans–medial theorizing of the moving image, inter–art theories, and parallax historiographies. Finally methodologies aiming at modelling intermediality and mapping the rhetoric of intermedial cinema are presented in somewhat more detail."
(Ágnes Pethő, 2010)
Ágnes Pethő (2010). "Intermediality in Film: A Historiography of Methodologies", Acta Universitatis Sapientiae, Film and Media Studies, 2 (2010) 39−72.
Exhibition: "Bruno Munari: My Futurist Past", Estorick Collection of Modern Italian Art, 39A Canonbury Square, London, N1 2AN, From 19 September 2012 to 23 December 2012.
Bruno Munari was a "founding member of the Movimento Arte Concreta (M.A.C.) in Milan, which was established towards the end of the 1940s. This acted as a catalyst for new developments in Italian abstraction, and aspired to bring about a 'synthesis of arts' in which traditional painting would be complemented by new tools of communication, demonstrating the possibility of a convergence of art and technology, creativity and functionality. Reflecting his belief that technological advances expanded the artist's expressive vocabulary, by 1950 Munari had begun to experiment with creating works by means of projecting light through compositions made from a wide range of materials such as coloured and transparent plastic, organic elements and Polaroid filters, producing beautiful and intriguing images of vast dimensions."
(Estorick Collection of Modern Italian Art, 2012)
Fig.1 Bruno Munari, Aeroplanes and Archers, 1932, mixed media, 34.8 x 24.8cms Courtesy Massimo & Sonia Cirulli Archive
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