"In the past decades 'intermediality' has proved to be one of the most productive terms in the domain of humanities. Although the ideas regarding media connections may be traced back to the poetics of the Romantics or even further back in time, it was the accelerated multiplication of media themselves becoming our daily experience in the second half of the twentieth century that propelled the term to a wide attention in a great number of fields (communication and cultural studies, philosophy, theories of literature and music, art history, cinema studies, etc.) where it generated an impressive number of analyses and theoretical discussions. 'Intermediality is in' („Intermedialität ist in'), declared one of its pioneering theorists, Joachim Paech, at the end of the 1990s. However, we may also note, that since then other theoretical approaches introduced even newer perspectives that have not only revitalized the study of media phenomena in general but have specifically targeted the emerging new problematics raised by the new electronic media. Facing the challenge of the daily experiences of the digital age, discussions of media differences or ‘dialogues' highlighting the ‘inter,' the ‘gap,' the ‘in-between,' the ‘incommensurability' between media are currently being replaced by discourses of the ‘enter' or ‘immersion,' and the ‘network logic' of a ‘convergence culture' in which we have a 'free flow of content over different media platforms' (Henry Jenkins). At the same time the turn towards the corporeality of perception in all aspects of communication has also shifted the attention from the ‘interaction of media' towards the ‘interaction with media,' from the idea of ‘media borders' towards the analysis of the blurring of perception between media and reality, of humans and machines - media being perceived more and more not as a form of representation but as an environment and as a means to ‘augment' reality."
The inaugural conference of ISIS (International Society for Intermedial Studies / former NorSIS) Cluj-Napoca, October 24-26, 2013. Conference venue: Sapientia University, Calea Turzii nr. 4.
"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.
"Uncertainty may be an important component of the motivation provided by learning games, especially when associated with gaming rather than learning. Three studies are reported that explore the influence of gaming uncertainty on engagement with computer- based learning games. In the first study, children (10–11 years) played a simple maths quiz. Participants chose their preferred reward for a correct answer prior to seeing each question. They could either receive a single point or toss an animated coin to receive 2 points for heads or none for tails. A preference for the uncertain option was revealed and this increased during the quiz. The second study explored the discourse around learning when pairs of participants (13–14 years) competed against the computer in a science quiz. Progress depended on the acquisition of facts but also on the outcomes of throwing dice. Discourse was characterised by a close intermingling of learning and gaming talk without salient problematic constructions regarding fairness when losing points due to gaming uncertainty. A final experiment explored whether, in this type of game, the uncertainty provided by the gaming component could influence players’ affective response to the learning component. Electrodermal activity (EDA) of 16 adults was measured while they played the quiz with and without the element of chance provided by the dice. Results showed EDA when answering questions was increased by inclusion of gaming uncertainty. Findings are discussed in terms of the potential benefits of combining gaming uncertainty with learning and directions for further research in this area are outlined."
(Howard-Jones, P. A. and S. Demetriou, 2009)
1). Howard-Jones, P. A. and S. Demetriou (2009). "Uncertainty and Engagement with Learning Games." Instructional Science: An International Journal of the Learning Sciences 37(6): 519-536.
2). Paul Howard-Jones, 2014, radio programme, BBC Radio 4 - The Educators, episode 5 of 8, first broadcast: 10 September 2014.
"The films of Jean-Luc Godard have been written about perhaps more than any other cinematic works, often through the lens of cultural theory, but not nearly enough attention has been paid to the role of designed objects in his films. Collages of art, literature, language, objects, and words, Godard's films have an instant, impactful, graphic quality, but are far from simple pop artifacts. The thesis this presentation derives from, 'Objects to be Read, Words to be Seen: Design and Visual Language in the Films of Jean-Luc Godard 1959–1967,' explores and interprets the role of visual language within the films—title sequences, intertitles, handwritten utterances, and printed matter in the form of newspapers, magazines, and posters.
By examining le graphisme within the cultural context of Paris during the 1960s, this thesis seeks to amplify the significance of graphic design in Godard's first fifteen films, beginning with 1960's À Bout de Souffle (Breathless) and ending with 1967's Weekend. While Godard was not a practicing graphic designer in the traditional sense, he was an amateur de design, an autodidact whose obsession with designed objects, graphic language and print media resulted in the most iconic body of work in 1960s France."
(Laura Forde, 30 April 2010)