Intermediality and intermedial Narratives in The German-Speaking World

Keynote Address by Henry Sussman (Yale)

Call for Papers (Deadline: 01-30-2014)

German Graduate Student Conference

April 18th, 2014

In the last decades “intermediality” has become a commonly used term in the humanities, generating various theoretical discussions and publications. Intermediality can be described as a process in which different media are fused or related to one another. It is a way of understanding the relations between two or more media and, in some cases, the transgression of their boundaries. As a result of the increased use and the accelerated multiplication of media, a great number of academic fields have drawn attention to the term, highlighting the “in-between” (“inter-“) between two or more media. The theory of intermediality comprises the study of literary adaptations, media borders, and the interrelationships between various art forms and media.

The planned conference seeks to discern the ways in which intermediality is applicable and fruitful in looking at newer works of art from the German-speaking world. Which German literary sources have been adapted to another medium such as graphic novels, movies, or even computer games (e.g. the work of Franz Kafka, which has been adapted to multiple media such as comic books, anime, movies etc.)? What are the main differences between those media and what influence do they have on the content of the main (literary) source? Is intermediality less useful, perhaps, than the more restricted term of “transmedia storytelling,” which seeks to categorize complex forms of storytelling by using diverse media to cover aspects of the same narrative? What forms of transmedia storytelling are currently present in Germany (such as the TV series Tatort, for instance)?

Topics could include, but are not limited to:

the heuristic value of the term “intermediality”
various forms of movement between media
intermedial relations between new and old media
intermedial differences in regard to the recipient
the increasing hybridity of media
interdependences and influences on communication
adaptations and remakes i.e. the transfer of a source from one semiotic system into another
historical and cultural differences in remakes (e.g. Nosferatu by F.W. Murnau and Werner Herzog respectively)
the “literary” adaptation of film narratives (e.g. Peter Handke’s use of John Ford)
the use of fine art as a “predecessor” text for film narratives (e.g. Wim Wender’s and Gustav Deutsch’s interest in Edward Hopper)
Please send your 250-300 word abstracts, a short bio blurb, and contact information including your institutional affiliation to Sascha Hosters and Damianos Grammatikopoulos at [log in to unmask] by January 30th, 2014. Include your abstract as an attachment and in the body of the e-mail. Please do not hesitate to contact us with any questions at the e-mail address mentioned above.

The German Studies Call for Papers List
Editor: Stefani Engelstein
Assistant Editor:  Olaf Schmidt
Sponsored by the University of Missouri
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