Expresiones audiovisuales

Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.

This introductory volume offers an elegant analysis of the enduring appeal of the cinematic vampire. From Georges Méliès' early cinematic experiments to Twilight and Let the Right One In, the history of vampires in cinema can be organized by a handful of governing principles that help make sense of this movie monster's remarkable fecundity. Among these principles are that the cinematic vampire is invariably about sex and the vexed human relationship with technology, and that the vampire is always an overdetermined body condensing what a culture considers other. This volume includes in-depth studies of films including Powell's A Fool There Was, Franco's Vampyros Lesbos, Cronenberg's Rabid, Kümel's Daughters of Darkness, and Merhige's Shadow of the Vampire.

Del prólogo de Manuel González de Ávila

Desde hace ya algunas décadas, el cine es uno de los sectores
más vivos de los estudios sobre comunicación y cultura. Nada
tiene ello de extraño, pues el fenómeno cinematográfico reúne todas
las características necesarias para convertirse en el interlocutor
privilegiado de nuestras preocupaciones contemporáneas, un
interlocutor al que el sujeto transmoderno no se cansa de dirigir sus
angustiadas preguntas rituales acerca de sí mismo y del mundo en el
que vive. Y si del cine, a pesar de que muestre ciertos signos de
desgaste, aún esperamos respuestas, eso quizá se deba a que
seguimos viendo en él un lugar de encuentro perfecto para nuestras
teorías y para nuestras prácticas culturales, para el arte y para la
industria, para el espíritu y para la economía.

In books such as The Aesthetics of Disappearance, War and Cinema, The Lost Dimension, and The Vision Machine, Paul Virilio has fundamentally changed how we think about contemporary media culture. Virilio’s examinations of the connections between perception, logistics, the city, and new media technologies comprise some of the most powerful texts within his hypermodern philosophy.

Virilio and the Media presents an introduction to Virilio’s important media related ideas, from polar inertia and the accident to the landscape of events, cities of panic, and the instrumental image loop of television. John Armitage positions Virilio’s essential media texts in their theoretical contexts whilst outlining their substantial influence on recent cultural thinking. Consequently, Armitage renders Virilio’s media texts accessible, priming his readers to create individual critical evaluations of Virilio’s writings. The book closes with an annotated and user-friendly Guide to Further Reading and a non-technical Glossary of Virilio’s significant concepts.

Virilio’s texts on the media are vital for everyone concerned with contemporary media culture, and Virilio and the Media offers a comprehensive and up to date introduction to the ever expanding range of his critical media and cultural works.

Teoría y práctica de la adaptación fílmica recorre diferentes estudios teóricos –desde los clásicos de André Bazin y George Bluestone, hasta los recientes trabajos de Linda Hutcheon y Robert Stam–, centrándose en ejemplos prácticos de la cinematografía española. El denominador común de los artículos incluidos en este volumen es la aproximación a la adaptación como multiplicación, es decir, como articulación no jerarquizada de una obra. Los ensayos están ordenados cronológicamente (desde la adaptación de clásicos del Siglo de Oro hasta la transposición a la pantalla de obras actuales) y temáticamente (la memoria, la política, las cuestiones de género…).

El libro no se limita al análisis de la adaptación fílmica de obras literarias, sino que aborda también el estudio de la versión al celuloide o al medio digital de otros textos, como los cómics y los videojuegos. Más allá de la fidelidad como criterio esencial para valorar los contenidos artísticos, cada ensayo analiza las diferencias fundamentales entre la palabra escrita y la imagen visual, y reflexiona sobre las implicaciones ideológicas de dichas adaptaciones.

El trabajo ha sido coordinado y editado por Barbara Zecchi, profesora titular de Filmología y Estudios de Género de la Universidad de Massachusetts Amherst. En él colaboran destacados especialistas de distintas universidades norteamericanas y españolas.

Description

In recent years adaptation studies has established itself as a discipline in its own right, separate from translation studies. The bulk of its activity to date has been restricted to literature and film departments, focussing on questions of textual transfer and adaptation of text to film. It is however, much more interdisciplinary, and is not simply a case of transferring content from one medium to another. This collection furthers the research into exactly what the act of adaptation involves and whether it differs from other acts of textual rewriting.

In addition, the ‘cultural turn’ in translation studies has prompted many scholars to consider adaptation as a form of inter-semiotic translation. But what does this mean, and how can we best theorize it? What are the semiotic systems that underlie translation and adaptation? Containing theoretical chapters and personal accounts of actual adaptions and translations, this is an original contribution to translation and adaptation studies which will appeal to researchers and graduate students.
Table of Contents

Contributors Preface Piotr Kuhiwczak Acknowledgments Introduction: Identifying Common Ground Laurence Raw 1. Adaptation and Appropriation: Is there a Limit? Hugo Vandal-Sirois and Georges L. Bastin 2. Translation and Adaptation – Two Sides of an Ideological Coin Katja Krebs 3. The Authenticity in “Adaptation”: A Theoretical Perspective from Translation Studies Cynthia Tsui 4. Translation and Rewriting: Don’t Translators ‘Adapt’, When They ‘Translate’? Joao Azenha and Marcelo Moreira 5. Adapting, Translating, and Transforming: Cultural Mediation in Ping Chong’s Deshima and Pojagi Tanfer Emin Tunç 6.Shakespeare’s Christian Dimension in China’s Theatre – to Translate, or Not to Translate?Jenny Wong 7.“Tradaptation” Dans le Sens Québécois: A Word for the Future Susan Knutson 8. rWaltz with Bashir as a Case of Multidimensional Translation Ayelet Kohn and Rachel Weissbrod 9. The Paradoxes of Textual Fidelity: Translation and Intertitles in Victor Sjöström’s Silent Film Adaptation of Henrik Ibsen’s Terje Vigen Eirik Frisvold Hanssen and Anna Sofia Rossholm 11. Les Liaisons Dangeureuses à l’anglais: examining traces of 'European-ness' in Cruel Intentions, Dangerous Liaisons, and Valmont Sarah Artt 11. Turnips or Sweet Potatoes Kate Eaton 12. The Mind’s Ear: Imagination, Emotions and Ideas in the Intersemiotic Transposition of Housman’s Poetry to Song Mike Ingham 13. Cultural Adaptation and Translation: Some Thoughts about Chinese students Studying in a British University Ruth Cherrington Bibliography Index

Whenever they see a Merchant-Ivory name, they [the audience] go with the expectation that this will be something interesting, exciting, entertaining, and they are satisfied with that." –Ismail Merchant

Merchant-Ivory: Interviews gathers together for the first time interviews made over the past five decades with director James Ivory (b. 1928), producer Ismail Merchant (1936-2105), and screenwriter Ruth Prawer Jhabvala (b. 1927). Beginning with their earliest work in India and ending with James Ivory's last film, The City of Your Final Destination (2009), the book traces their careers together, while offering valuable insights into their creative filmmaking process. The volume serves as a corrective to the prevailing critical orthodoxy attached to Merchant-Ivory's work, which tends to regard them as being solely concerned with historically accurate costumes and settings. As independent filmmakers, they have developed an idiosyncratic approach that resists facile classification.

This book shows how Merchant-Ivory have always taken considerable care in casting their films, as well as treating actors with respect. This is a deliberate policy, designed to bring out one of the triumvirate's principal thematic concerns–the impact of the "clash of cultures" on individuals. Partly this has been inspired by their collective experiences of living and working in different cultures. They do not offer any answers to this issue; rather they believe that their task is simply to raise awareness, to make filmgoers conscious of the importance of cultural sensitivities that assume paramount significance in any exchange, whether verbal or nonverbal.

Laurence Raw, Ankara, Turkey, is professor of English at Başkent University. He is author of several books, including Adapting Henry James: Gender, Fiction, and Film; The Ridley Scott Encyclopedia; and Impressions of the Turkish Stage.

About the Book
This biographical dictionary presents a stellar lineup of talented, versatile character actors who regularly appeared in horror and science fiction films during Hollywood’s golden age. Many are well known by genre buffs and casual fans–they include Lionel Atwill, John Carradine, Dwight Frye, Rondo Hatton, Dick Miller, J. Carroll Naish, Maria Ouspenskaya, Glenn Strange, Edward Van Sloan, and George Zucco. Some are perhaps not so well known but equally at home in the horror and science fiction films–such as Anthony Carbone, Harry Cording, Rosemary La Planche, Dick Purcell, Elizabeth Russell and Mel Welles.

The 96 entries are complete with a biography and in-depth analyses of the actor’s best performances–demonstrating how important these personalities were to the success of their genre films.

About the Author
Laurence Raw has published extensively in the field of film adaptations and performance. He teaches in the Department of English at Baskent University, Ankara, Turkey.

Este livro oferece uma introdução completa ao emocionante mundo da fotografia criativa aplicada.
A estrutura do livro conduz o leitor através das bases teóricas da fotografia até a realização de um brief profissional, sempre fornecendo uma explicação sobre o modo de utilização dos aspectos mais técnicos. O objetivo deste livro é a criação de imagens, não somente como método de expressão pessoal mas como prática orientada ao mundo profissional.

Fundamentos da fotografia criativa é uma visão única das práticas profissionais no âmbito da indústria da imagem. É uma introdução perfeita para quem busca um trabalho nessa área, estuda ou ensina
em módulos práticos em escolas de artes visuais com base na fotografia, assim como para todos aqueles que chegaram até essa área através de outros meios e buscam uma fonte de informação como apoio.

David Präkel nació y estudió en el norte del Reino Unido. Tras cursar Psicología en la University of Manchester, desarrolló una carrera variada y llena de éxitos en el ámbito de la fotografía periodística y la enseñanza. Ha impartido clases de fotografía a distintos grados educativos: en el medio universitario, el escolar o en el prestigioso Kodak Imaging Training Centre de Harrow, Londres. En la actualidad, dirige sus propios talleres de aprendizaje fotográfico en Northumberland (el Centre of Britain PhotoWorkshops Partnership). Sus prestigiosos libros sobre composición fotográfica, iluminación y fotografía en blanco y negro son idóneos para quienes desean iniciarse en la materia.

Cuando “leemos” imágenes, nuestra mente pone en marcha un proceso completamente distinto al de la lectura de un texto. Para extraer el significado de un mensaje escrito, el cerebro se apoya en el examen secuencial, avanza linealmente y construye el sentido del texto a partir de una suma progresiva de los elementos que lo integran: letras, palabras, frases y párrafos. Para entender una imagen, sin embargo, el cerebro trabaja de un modo muy distinto. Mediante una aproximación simultánea, sintética y global, todas las partes del conjunto se perciben y se procesan a la vez, y se destila de golpe el sentido del mensaje gráfico.

Entender, pues, cómo hay que articular una imagen para que el receptor, en su visión de conjunto, interprete aquello que queremos expresar es fundamental para cualquier creador de imágenes. Pensar con imágenes explica cómo funciona el proceso de comprensión de las imágenes y desvela al lector algunas de las estrategias compositivas y estilísticas que pueden emplear los diseñadores gráficos. Enric Jardí nos habla de recursos técnicos como el uso del color, la estructura, la forma o los signos, pero también del empleo de juegos de retórica visual como la metáfora, la ironía o el eufemismo, y de la importancia del estilo para la comunicación visual.

A través del análisis de 61 imágenes, que muestran el elevado nivel de ingenio que desprende el conjunto de su trabajo, el autor nos regala no solo parte de sus conocimientos, sino también el placer de disfrutar con algunos ejemplos magistrales de comunicación visual.

Enric Jardí nació en Barcelona en 1964. Cursó estudios de Diseño Gráfico en la escuela Elisava, centro en el que ha ejercido como docente desde 1988. En 1992 fundó el estudio Propaganda, en el que permaneció hasta 1998, año en que se establece en solitario. En 1991 fundó, con otros diseñadores, el grupo tipográfico Type-Ø-Tones. Actualmente dirige el Máster de Tipografía Avanzada de la escuela Eina, en asociación con la Universitat Autònoma de Barcelona, y es profesor del Máster en Dirección de Arte en Publicidad de la Universitat Ramon Llull. También ha colaborado como profesor invitado en diversas universidades europeas. Aparte de la tipografía, su trabajo se centra principalmente en el diseño de revistas, cubiertas de libros e imagen corporativa.