Judit Pieldner • Adaptation, Remediation and Intermediality Forms of In‐Betweenness in Cinema The publication of this volume was supported by the Hungarian Academy of Sciences. Judit Pieldner Adaptation, Remediation and Intermediality Forms of In‐Betweenness in Cinema Presa Universitară Clujeană 2020 Scientific Reviewers: Prof. Ágnes Pethő Assoc. Prof. István Berszán Consultant Editor: Assist. Prof. Melinda Blos-Jáni Descrierea CIP a Bibliotecii Naţionale a României PIELDNER, JUDIT Adaptation, Remediation and Intermediality: Forms of In‐ betweenness in Cinema / Judit Pieldner. ‐ Cluj‐Napoca: Presa Universitară Clujeană, 2020 Conține bibliografie; ISBN 978‐606‐37‐0707‐0 791 © 2020, Judit Pieldner. Universitatea Babeş‐Bolyai Presa Universitară Clujeană Director: Codruţa Săcelean Str. Hasdeu nr. 51 400371 Cluj‐Napoca, România Tel./fax: (+40)‐264‐597.401 E‐mail: [email protected] http://www.editura.ubbcluj.ro/ Table of Contents Acknowledgements ...................................................................................... 7 Introduction Shifting Forms of In‐Betweenness in Cinema .......................................... 9 Part I. Strategies of Screen Adaptation ................................................................. 21 CHAPTER ONE Medial Equivalences, Functional Analogies? The Rhetoric of Adaptation (Tom Jones, Orlando, The French Lieutenant’s Woman) ............................. 23 CHAPTER TWO Space Construction in Screen Adaptations of Hamlet ........................... 45 CHAPTER THREE In‐Between the Stage and the Screen. Representation of Consciousness in Gábor Bódy’s Hamlet .................. 69 CHAPTER FOUR Remediated Bodies, Corporeal Images in Gábor Bódy’s Narcissus and Psyche ...................................................... 81 Part II. Remediation: In‐Between the Immediacy and Hypermediacy of Cinematic Experience ......................................... 101 CHAPTER FIVE Remediating Past Images. The Temporality of “Found Footage” in Gábor Bódy’s American Torso ......................... 103 5 Adaptation, Remediation and Intermediality: Forms of In‐Betweenness in Cinema CHAPTER SIX Along the Track of the Effaced Trace in Michael Haneke’s Caché ..... 127 CHAPTER SEVEN History, Cultural Memory and Intermediality in Radu Jude’s Aferim! ............................................................................. 149 CHAPTER EIGHT The Camera in House Arrest. Tactics of Non‐Cinema in Jafar Panahi’s Films .................................... 169 Part III. Figurations of Intermediality in Contemporary Cinema .................... 195 CHAPTER NINE Performing the Unspeakable. Intermedial Events in András Jeles’s Parallel Lives .............................. 197 CHAPTER TEN The Anamorphic Perspective In‐Between the Painterly and the Cinematic in András Jeles’s Sinister Shadow ........................... 213 CHAPTER ELEVEN Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema .. 227 CHAPTER TWELVE From Paragone to Symbiosis. Sensations of In‐Betweenness in Sally Potter’s The Tango Lesson ...... 263 Bibliography .............................................................................................. 287 6 Acknowledgements With a few exceptions, the essays included in the present volume are the outcome of research carried out within the framework of two grant‐funded group projects financed by the Romanian Ministry of National Education, CNCS – UEFISCDI, Re‐mediated Images as Figurations of Intermediality and Post‐mediality in Central and East European Cinema (2013‐2016), project number PN‐II‐ID‐PCE‐2012‐4‐0573, and Rethinking Intermediality in Contemporary Cinema: Changing Forms of In‐Betweenness (2017‐2019), project number PN‐III‐P4‐ID‐PCE‐2016‐0418, both led by Ágnes Pethő, Professor of Film Studies at the Sapientia Hungarian University of Transylvania, Cluj‐Napoca. The editing of this volume was finalized within the framework of the second project. I would like to express my deepest gratitude to Ágnes Pethő for her inspiring guidance and unconditional support over the years, and also for supervising and editing the essays. I also thank Melinda Blos‐Jáni for her assistance in editing the papers for Acta Universitatis Sapientiae, Film and Media Studies. Many thanks go to the project members, Ágnes‐ Karolina Bakk, Melinda Blos‐Jáni, Hajnal Király, Mihály Lakatos, Katalin Sándor and Andrea Virginás for the joint achievements resulting from long‐term cooperation within the projects. I also express my thanks to Cambridge Scholars Publishing and Scientia Publishing House, as well as Horea Avram and Claudiu Turcuș, editors of the scientific journal Ekphrasis, for granting permission to republish the articles in the present volume. I hereby express my gratitude to the Hungarian Academy of Sciences and its Regional Committee in Cluj for supporting the publication of this book. 7 Introduction Shifting Forms of In‐Betweenness in Cinema The essays included in this volume are the outcome of my researches carried out in the past decade in which I have approached phenomena of contemporary cinema from the perspective of intermedial relations. This collection brings together multiply overlapping investigations under the three key terms, adaptation, remediation and intermediality, which constitute focal points of film studies today. Therefore, it has been demanding but also stimulating to respond to the challenge posed by them, and to contribute with colourful mosaics to the theoretical approach and spectatorial perception of contemporary cinema. The range of films analysed in this book reflect an endeavour to approach not only widely known representatives of – mostly European – art‐house cinema, but also lesser‐known film products born in the Eastern European region. My interest in Hungarian experimental filmmaking connects back to the research carried out within the framework of my PhD studies. My research preoccupations have also taken me beyond the geocultural boundaries of European film and beyond the borders of cinema itself through the investigation of thought‐provoking films belonging to contemporary Iranian cinema. The major concern of these writings is in‐depth analysis placed in relevant theoretical framework. The present volume is intended to provide a new context for these film analyses, in which manifold connection points among both theoretical aspects and cinematic phenomena may come into view. The first part of the volume (Strategies of Screen Adaptation) is dedicated to the theory and practice of screen adaptation. The 9