Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives

Among the various connotations of intermediality one is related to the performative aspect of the term. As Ágnes Pethő (2011, 42) formulates: “Intermediality is seen, more often than not, as something that actively ‘does,’ ‘performs’ something, and not merely ‘is.’” This notion of intermediality imp...

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Main Author: Pieldner Judit
Format: Article
Language:English
Published: Sciendo 2015-12-01
Series:Acta Universitatis Sapientiae: Film and Media Studies
Subjects:
Online Access:https://doi.org/10.1515/ausfm-2015-0019
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spelling doaj-a419c1625f964f18a2c433e3059b004e2021-09-06T19:40:19ZengSciendoActa Universitatis Sapientiae: Film and Media Studies2066-77792015-12-0111112714210.1515/ausfm-2015-0019ausfm-2015-0019Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel LivesPieldner Judit0Sapientia Hungarian University of Transylvania (Miercurea Ciuc, Romania)Among the various connotations of intermediality one is related to the performative aspect of the term. As Ágnes Pethő (2011, 42) formulates: “Intermediality is seen, more often than not, as something that actively ‘does,’ ‘performs’ something, and not merely ‘is.’” This notion of intermediality implies a dynamic category within which media constellations are in continuous motion, being reconfigured by one another, the cinematic medium becoming a playground of media interactions. András Jeles, Hungarian experimental filmmaker formulates the paradox that a particular medium can best express its own mediality through the “foreign” material of other arts and media. The medial consonances and dissonances transform the cinematic medium into a liminal space where meaning as event can take shape. Jeles’s film entitled Parallel Lives (Senkiföldje, 1993) is aimed at such event-like liminality in several respects: culturally, it turns towards a burdened site of the still unprocessed past of the Hungarian society; thematically, it addresses the topic of the Holocaust; and medially, it proposes to artistically render the unrepresentable. The film appeals to the other arts, incorporating a set of literary, painterly and musical allusions that contrast a culturally aestheticized view of the child in pain with the ultimate, inescapable and incommensurable reality.https://doi.org/10.1515/ausfm-2015-0019the real vs. the intermedialintermediality as eventtropes of the unrepresentablearchival footageandrás jeles
collection DOAJ
language English
format Article
sources DOAJ
author Pieldner Judit
spellingShingle Pieldner Judit
Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
Acta Universitatis Sapientiae: Film and Media Studies
the real vs. the intermedial
intermediality as event
tropes of the unrepresentable
archival footage
andrás jeles
author_facet Pieldner Judit
author_sort Pieldner Judit
title Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
title_short Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
title_full Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
title_fullStr Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
title_full_unstemmed Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives
title_sort performing the unspeakable. intermedial events in andrás jeles’s parallel lives
publisher Sciendo
series Acta Universitatis Sapientiae: Film and Media Studies
issn 2066-7779
publishDate 2015-12-01
description Among the various connotations of intermediality one is related to the performative aspect of the term. As Ágnes Pethő (2011, 42) formulates: “Intermediality is seen, more often than not, as something that actively ‘does,’ ‘performs’ something, and not merely ‘is.’” This notion of intermediality implies a dynamic category within which media constellations are in continuous motion, being reconfigured by one another, the cinematic medium becoming a playground of media interactions. András Jeles, Hungarian experimental filmmaker formulates the paradox that a particular medium can best express its own mediality through the “foreign” material of other arts and media. The medial consonances and dissonances transform the cinematic medium into a liminal space where meaning as event can take shape. Jeles’s film entitled Parallel Lives (Senkiföldje, 1993) is aimed at such event-like liminality in several respects: culturally, it turns towards a burdened site of the still unprocessed past of the Hungarian society; thematically, it addresses the topic of the Holocaust; and medially, it proposes to artistically render the unrepresentable. The film appeals to the other arts, incorporating a set of literary, painterly and musical allusions that contrast a culturally aestheticized view of the child in pain with the ultimate, inescapable and incommensurable reality.
topic the real vs. the intermedial
intermediality as event
tropes of the unrepresentable
archival footage
andrás jeles
url https://doi.org/10.1515/ausfm-2015-0019
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