Venue: Long Room Hub, Trinity College, Dublin, Ireland.
Organiser(s): Clodagh Brook, Emanuela Patti, Maria Del Buono
Tutors: Emanuela Patti (Royal Holloway), Clodagh Brook (Trinity), Pierpaolo Antonello (Cambridge)
General Information
Description
The summer school aims to train doctoral researchers in intermedial/interartistic theories and methodologies in order to strengthen the foundations of your research; to provide a networking opportunity for PhD students researching across artistic disciplines; to attempt to overcome some of the common obstacles of working between artistic disciplines; to support the development of serious academic work in Italian Studies on intermediality. The summer school, which includes a keynote lecture, a series of seminars and workshops, and a roundtable, is open to PhD students at any level of their degree.
Learning Outcomes
By the end of the summer school you should be able to:
- Show familiarity with the definitions of “intermediality” in the arts and its main phenomena;
- Demonstrate an understanding of interart/intermedia research methodologies and show an ability to develop and/or apply the most suitable research method to your project.
- Critically evaluate an intermedia text and its multimodality.
- Better understand the advantages and limitations of interdisciplinarity
Teaching Format
Workshops and creative sessions will take place on Friday 29th and Saturday 30th June, from 10am (Friday) or 9.30am (Saturday) to 6.00 pm each day.
Outcomes
All students are expected to help prepare a collective blog post (which will be published on the Interdisciplinary Italy site after the summer school). This will be based on answering a key student-centred question and will be published after feedback from the summer school and the website editors
In addition, after the summer school, students may prepare, if they so wish, a blog post about their research projects, in which they illustrate how questions of intermediality and interdisciplinarity are involved and what methodologies best suit their research. This will be published after they have received feedback both during the summer school and from the website editors.
Contacts
Maria Del Buono: mxd588@bham.ac.uk
Clodagh Brook: brookc@tcd.ie
The summer school costs 70 euros. For those with a bursary, the reduced cost is 20 euros. Please arrange your own accommodation. We are grateful to the SIS and to the AHRC for the funding to support the event.
Programme
| FRIDAY 29 JUNE | |
| 10:00 | Registration |
| 10:20 | Welcome (Clodagh Brook) |
| 10.30Â | Keynote: Pierpaolo Antonello “Visible Books, Unreadable Books: Bruno Munari’s Peritextual Playground” |
| 11.30 | Coffee |
| 12:00 | Workshop 1: Led by Emanuela Patti, “Introduction to intermediality” |
| 13.30 | Lunch & networking |
| 14.30 | Workshop 2: Led by Emanuela Patti, “Analysing intramedia texts: approaches and methodologies” |
| 16.00 | Coffee |
| 16.30 | Workshop 3: Led by Pierpaolo Antonello, “Intermediality in Film” (Sorrentino’s La grande bellezza) |
| 18.00 | Close |
| SATURDAY 30 JUNE | |
| 9.30 | Workshop 4: Led by Emanuela Patti, “Analysing forms of transposition across the arts in Pasolini’s oeuvre” |
| 11.10 | Coffee |
| 11.40 |
Creative workshop 1: Tackling methodologies. Led by Clodagh Brook The Phd viva roleplay: your current intermedial methodological approaches. Group work: Facing key intermedial methodological challenges |
| 13.30 | Lunch |
| 14.30 | Creative workshop 2: Doing interdisciplinarity well. Led by Clodagh Brook Group work followed by Q&A |
| 16.30 | Coffee |
| 17.00 | Creative workshop: Concluding panel. Led by Clodagh Brook and Emanuela Patti |
| 18.00 | Close |
KEYNOTE ABSTRACT
Pierpaolo Antonello (Associate Professor, University of Cambridge): “Visible Books, Unreadable Books: Bruno Munari’s Peritextual Playground”
Bruno Munari (1907-1998) was one of the most important 20th century Italian artists, pioneering what will later be called Kinetic Art, and playing a key role in the constitution and definition of the aesthetic programmes of groups such as Movimento Arte Concreta and Programmed Art. He was a prominent figure in Italian graphic design, working for magazines like Tempo and Domus, as well as prestigious publishing companies like Einaudi and Bompiani. Throughout his career Munari authored or contributed to, either as a writer or as an illustrator and graphic designer, almost 180 books, ranging from essays on art to experimental books, creative writing, didactic books and children’s literature (for which he received the Andersen award as best child author in 1974, and the Lego award for his exceptional contributions to the development of creativity for children in 1986). Constantly interested in exploring the limits of “readability” of texts, and of the book as a “visible” and material object, this talk would investigate the intersection between Munari’s work in the fine arts with his work as a writer and graphic designer, exploring the “borders” between text and image, and the range of peritextual inventions that he employed in the books that he wrote, illustrated, and designed.
Reading List
________________________________________________________________________
Key Reading
Werner Wolf, “Intermediality” from Routledge Encyclopedia of Narrative Theory
Herman, David, 1962-; Jahn, Manfred, 1943-; Ryan, Marie-Laure, 1946- (eds). London: Routledge, 2010, 2005 Routledge Ltd
Rajewsky, Irina O., “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality”, in Intermédialités. Histoire et théorie des arts, des lettres et des techniques/ Intermediality: History and Theory of the Arts, Literature and Technologies, 6, 2005, pp. 43-64.
Rippl, Gabriele, “Introduction”, Handbook of Intermediality (Berlin: De Gruyter, 2015).
Schlumpf, Erin, “Intermediality, Translation, Comparative Literature, and World Literature”, CLCWeb: Comparative Literature and Culture 13.3 (2011), https://doi.org10.7771/1481-4374.1814
Schröter, Jens, “The Politics of Intermediality”, Film and Media Studies, 2 (2010), pp. 107-124.
Pethö, Ágnes, “Intermediality in Film: A Historiography of Methodologies”, Film and Media Studies, 2 (2010), 39-72.
Note: These texts are all available in the shared dropbox. Please read these before the summer school, if at all possible, as they will be the subject of discussion
Further Reading
Bolter, Jay and Richard Grusin, Remediation. Understanding New Media (Cambridge-London: MIT Press, 1999).
Grishakova, Marina and Marie-Laure Ryan, Intermediality and storytelling (Berlin: De Gruyter, 2010).
Herzogenrath, Bernd (ed), Travels in intermedia[lity] [electronic resource]: reblurring the boundaries (Darthmouth: Dartmouth College Press, 2012).
Rippl, Gabriele, “Introduction”, Handbook of Intermediality (Berlin: De Gruyter, 2015).
Wagner, Peter (ed.), Icons, texts, iconotexts : essays on ekphrasis and intermediality (Berlin: De Gruyter, 1996).
Wolf, Werner, “Intermediality” from Routledge Encyclopedia of Narrative Theory, edited by Herman, David, 1962-; Jahn, Manfred, 1943-; Ryan, Marie-Laure, 1946- (eds). London: Routledge, 2010, 2005 Routledge Ltd
Literature and intermediality
Rajewsky, Irina O., “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality”, in Intermédialités. Histoire et théorie des arts, des lettres et des techniques/ Intermediality: History and Theory of the Arts, Literature and Technologies, 6, 2005, pp. 43-64.
Schlumpf, Erin. “Intermediality, Translation, Comparative Literature, and World Literature”, CLCWeb: Comparative Literature and Culture 13.3 (2011), https://doi.org10.7771/1481-4374.1814.
Cinema and intermediality
Bellour, Raymond, Fra le immagini. Fotografia, cinema, video (Milan: Mondadori, 2010)
Bruno, Giuliana, Atlante delle emozioni in viaggio tra arte, architettura e cinema (Milan: Johan & Levi, 2015)
De Giusti, Luciano, ed., Immagini migranti. Forme intermediali del cinema nell’era digitale (Venice: Marsilio, 2008)
Dusi, Nicola, Cinema come traduzione. Da un medium all’altro: letteratura, cinema, pittura (Rome: UTET, 2006)
Fusillo, Massimo, Feticci. Letteratura, cinema, arti visive (Bologna: Il Mulino, 2012)
Gazzano, Marco Maria, Kinema: Il cinema sulle tracce del cinema: Dal Film alle arti elettroniche, andata e ritorno, (Exorma, 2013)
Ingham, Michael, Stage-play and screen-play: the intermediality of theatre and cinema (Abingdon: Routledge, 2017)
Jakobs, Stephen, Framing Pictures. Films and the Visual Arts, (Edinburgh: Edinburgh University Press, 2012)
Marineo, Franco, Il cinema del terzo millennio, Immaginari, nuove tecnologie, narrazioni (Turin: Einaudi, 2014)
Micheli, Sergio, Cinema, pittura, musica. Per uno sguardo armonico, (Rome: Bulzoni, 2007)
Montani, Pietro, Tecnologie della sensibilità. Estetica e immaginazione interattiva, (Milan: Raffaello Cortina, 2014)
Nagib, Lúcia and Anne Jerslev (eds.), Impure cinema: Intermedial and Intercultural Approaches to Film (London: I.B. Tauris, 2014).
Pethö, Ágnes, Cinema and intermediality (Newcastle: Cambridge Scholars Publishing, 2011)
Saba, C.G., Cinema, video, Internet. Tecnologia e avanguardia in Italia dal futurismo alla net-art, (Milan: CLUEB, 2006)Â
Senaldi, Marco, Rapporto confidenziale. Percorsi tra cinema e arti visive, (Milan: Mimesis, 2013)
Taddeo, Gabriella, Ipercinema. L’immaginario cinematografico nell’era digitale, (Milan: Guarini e Associati, 2007).
Tosi, Gabriele and Umberto Tosi, Conoscere la video arte. Tra cinema sperimentale e videoarte, (Macchionne Editore, 2014)
Uva, and Barbara Maio, L’estetica dell’ibrido. Il cinema contemporaneo tra reale e digitale (2003)
Uva, Christian, Cinema digitale. Teorie e pratiche (Bologna: Le Lettere, 2012)
Zecca, Federico, Cinema e intermedialità. Modelli e traduzione (Rome: Forum Edizioni, 2013)
Zucconi, Francesco, La sopravvivenza delle immagini nel cinema. Archivio, montaggio, intermedialità (Milan: Mimesis, 2013)
Journals
Intermédialités. Histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies (online)
