In so doing, the count effectively serves as a stand-in for the filmmaker in the diegesis. Rather than tracing the adaptation of a known text from one medium literature to another film , the approach favored by adaptation studies with its privileging of narrative, the study of media convergence engages the entire constellation of audiovisual practices based on the assumption that all texts are in fact intertexts. And can we ignore the relevance of the various Wunderwaffen miracle weapons in the diegesis to the concurrent war effort? J enkins Henry , Convergence Culture: Nazi cinema took full advantage of the possibilities of media convergence by relying heavily on literary adaptations and the close relationships between film and the other arts. Das deutsche Bilderimperium, Nr. Designed to showcase the two sides of the Albers persona, the cocky adventurer and the brash seducer, these four episodes establish a close connection between sexual conquest and military warfare.
Even the film music proceeds not only through an elaborate leitmotif structure but also includes moments of Mickey Mousing in which sound effects are synchronized with movements e. R other Rainer dir. Without greater attention to current debates on intermediality, multimediality, and transmediality in film and media studies and the potential contribution of film historical research to these debates, we may become trapped in an increasingly marginal subfield of German film studies that produces ever more nuanced readings—but with less and less awareness of their relevance to the present conjuncture. This article is part of a current research project on German cinema in the age of media convergence. Whereas the problem of credibility associated with the unreliable narrator is ultimately irresolvable—he may, after all, be telling the truth—, the narrator as liar actually achieves the opposite effect. Both strategies served to demonstrate the power of film to appropriate, incorporate, and reconfigure existing art forms and artistic traditions. Werden und Schicksale einer deutsch-englischen Burleske , Berne: The underlying implications are spelled out in a revealing comment by reviewer Ilse Urbach on desirable audience responses:.
J enkins HenryConvergence Culture: Designed to showcase the dir sides of the Evermoer persona, the cocky adventurer and the brash seducer, these four episodes establish a close connection between sexual conquest diee military warfare. The generic conventions associated with fantasy in the broader sense established the conditions under which episodic storytelling, unreliable narration, and special effects could become synonymous with the making of a higher filmic reality.
The war years brought further revisions with a clear nationalist agenda. Deutsches Historisches Museum, n. Already in the framing story, the narrator is introduced as a figure of spectatorial desire: Significantly, this position is identified with the discourse of the omniscient narrator, also known as the cinema of narrative continuity, that controls any destabilizing effects introduced by the unreliable narrator and, in so doing, shifts attention to the nature of film as the quintessential mixed medium.
Even the film music proceeds not only through an elaborate leitmotif structure but also includes moments of Mickey Mousing in which sound effects are synchronized with movements e. Krabbe discussed the triangular relationship during the production of the University of Illinois Press.
Stardom and Womanhood in Nazi CinemaPhiladelphia: As defined by Henry Jenkins, media convergence engages technologies, industries, media, contents, and audiences on equal terms, and it includes the elements as well as processes of folm, economic, social, cultural, and global convergence Jenkins, During the last decade, scholars have mostly left behind the big words e.
Visually most compelling, the moon sequence cites the art nouveau style with fjlm organic shapes and ornamental flourishes, creating an atmosphere of morbid decadence difficult to eveermore with Nazi dreams of military conquest and final victory.
Deutsches Boom Beach Forum
Multiple exposures are enlisted to simulate invisibility or hypervisibility e. What gives some intertexts but not others the aura of texts? How often was there spontaneous applause. Under the conditions of intertextuality, how is the originality of, or fidelity to, a source text to be defined?
Yet they reveal very little about the mechanisms of media self-referentiality that, as I argue, make the film part of a long history of translations, revisions, and adaptations. As he continues to recall his adventures throughout the nineteenth century, his young listeners become increasingly unsettled by the possibility that their host might in fact be his famous ancestor.
A lost portrait by G. The creation of a unified state-owned media company inhenceforth known as the Ufi concern, provided ideal conditions for the wartime mobilization of all artistic, financial, and technical resources, including the new Agfacolor system. Meanwhile, the vast offerings of the archive do not necessarily lead to any changes in the way we practice film history and define media culture in relation to questions of periodization and canonization.
Theo Mackeben student Georg Haentzschel composed a lush score whose leitmotif structure conveys a distinctly elegiac, melancholy mood. Whereas the problem of credibility associated with the unreliable narrator is ultimately irresolvable—he may, after all, be telling the truth—, the narrator as liar actually achieves the opposite effect. University of Texas Press.
It is also precisely this extreme adaptability that enables feature films to serve two seemingly contradictory functions, to create a compelling fantasy and reveal its conditions of production, to become subject to the seductions of an unreliable narrator and to maintain the position of absolute authority claimed by classical narrative. With the problem of origins forever obscured, the frameworks of reference could henceforth be adjusted to changing interpretations.
Deutsches Boom Beach Forum
The transformation of the storyteller and main character into a visual spectacle takes place through the means of costume design, with the physical body and its erotic potential strangely missing from view.
Werden und Schicksale einer deutsch-englischen BurleskeBerne: Ensuring the attention of its fer, the film returns briefly to a group of listeners around the coffee table after the Russian episode and confirms imagination as a higher form of reality. But in the form of ethnic costumes e. In so doing, the count effectively serves as a stand-in for the filmmaker in the diegesis. Film im Zeitalter der Medienkonvergenz.
R entschler EricThe Ministry of Illusion: But even with an episodic structure, all stories—unlike adaptations—will eventually end. sie
But the more interesting effects were achieved through the discourse of dei that blurred the boundaries between fantasy and reality and made possible a sustained reflection on the technologies of image production. Meanwhile, there seems to be no end to hagiographical biographies and self-serving memoirs, including recent films about filmmaking during the Third Reich, that depict the s and s as the golden age of German cinema and offer up its main players as embodiments of film heritage.
The underlying implications are spelled out in a revealing comment by eveemore Ilse Urbach on desirable audience responses:. The Story of a Lie, Kai Christiansen with Ben Becker, seeks to reclaim the historical figure from the so-called web of lies—in short, the images and stories that have formed around him since the unstreblichen century.