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Cinematic Intermediality
Theory and Practice
Edited by Kim Knowles and Marion Schmid
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Book Presentation:
Outlines an innovative agenda for understanding film’s interaction with other art forms
• Opens up new critical perspectives for understanding the role of intermediality in moving image creation
• Broadens the traditional horizon of film studies, challenging mono-medial conceptions of film
• Offers a broad and inclusive view of cinematic intermediality, with a special emphasis on understudied avant-garde and experimental practice
As a fundamentally hybrid medium, cinema has always been defined by its interactions with other art forms such as painting, sculpture, photography, performance and dance. Taking the in-between nature of the cinematic medium as its starting point, this collection of essays maps out new directions for understanding the richly diverse ways in which artists and filmmakers draw on and reconfigure the other arts in their creative practice. From pre-cinema to the digital era, from avant-garde to world cinema and from the projection room to the gallery space, the contributors critically explore what happens when ideas, forms and feelings migrate from one art form to another. Giving voice to both theorists and moving image practitioners, Cinematic Intermediality: Theory and Practice stimulates fresh thinking about how intermediality, as both a creative method and an interpretative paradigm, can be explored alongside probing questions of what cinema is, has been and can be.
About the authors:
Kim Knowles is Lecturer in Alternative and Experimental Film at Aberystwyth University and Experimental Film Programmer at the Edinburgh International Film Festival. She is the author of Experimental Film and Photochemical Practices (2020) and A Cinematic Artist: The Films of Man Ray (2009/12).
Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications on film include Intermedial Dialogues: The French New Wave and the Other Arts (2019), Chantal Akerman (2010), and Proust at the Movies (2005, with Martine Beugnet).
Press Reviews:
This book adds significantly to our understanding of the histories, theories, and practices of cinematic intermediality. It includes exquisite explorations of filmic works, and offers a space for filmmakers to describe their intermedial engagements and fascinations. At a moment where the definition of film is in transformation, this volume of essays reminds us that the ontology of film has always been in mutually productive conversation with other art forms, enriching and being enriched by that which both solidifies and sets into movement its medium specificity.– Lucia Ruprecht, University of Cambridge
See the publisher website: Edinburgh University Press
> From the same authors:
Chantal Akerman (2021)
Afterlives
Dir. Emma Wilson and Marion Schmid
Subject: Director > Chantal Akerman
Intermedial Dialogues (2021)
The French New Wave and the Other Arts
Chantal Akerman (2010)
Dir. Diana Holmes, Marion Schmid and Robert Ingram
Subject: Director > Chantal Akerman
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