DEADLINE EXTENDED: Cadernos de Literatura Comparada #41
The relationship between literature and cinema is multiple and complex, encompassing ambivalence, confrontation and association. Since its birth, cinema has aroused in authors as much fascination and enthusiasm as distrust and repudiation. If some writers radically rejected this new device, regarding it rather as a popular entertainment than as a new art form (Franz Kafka, GK Chesterton, Fernando Pessoa, Robert Musil), others intended to create new and innovative literary languages that would respond to the appearance of the cinematograph and its imaginary potentialities (Guillaume Apollinaire, Blaise Cendrars, Fernand Léger, Jean Cocteau). In its turn, cinema whether incorporated verbal segments and typical literary figures, trying to get closer to both narrative and poetry (SM Eisenstein, DW Griffith, Man Ray, Pier Paolo Pasolini), whether sought to become autonomous, claiming an expression of its own, specifically visual (Dziga Vertov, Jean Rouch). It seems to be true that none of these techniques remained unscathed and that each of them has integrated the other’s meanings or, being confronted by them, has tried to transfigure itself.
Works on adaptation are clearly predominant among the specialized bibliography about intermedial studies focusing on the relations between the two practices. It is understandable the insistence on this subject. Adaptation not only rends the relationship between the two practices immediately perceptible, but it also allows us to question hierarchies, canons, and hybridization processes. However, if adaptation is the most evident form of literature intrusion on cinema, it is not the only one. Moreover, the study of adaptation does not allow us to understand how literature itself suffered multiples metamorphoses after the advent of the cinematographic art.
Since the beginning of cinema, several thesis have been presented on the approaches between the two mediums, may them be thematic, formal or even practical – Jean Epstein being one of the pioneers in dealing with these subjects. From all the contributions, it remains clear that the relationship between literature and cinema is not confined to the use of plots or characters or their transposition from one medium to another. It occurs through many other mechanisms: verbal segments becoming images (intertitles) and images becoming verbal segments (ekphrasis); mutual quotation; mimicry of the formal arrangement of a work (montage and sequentiality); affinity between the visual character of the written word and the film frame, or, in other words, their hieroglyphic dimension (Tom Conley, M.-C. Ropars Wuilleumier, Fernando Guerreiro), among others.
Therefore, researchers from the fields of literary and film studies are invited to submit papers which relate to this perspective and that may seek to explain the various affinities and tensions between the two artistic practices. We will welcome proposals on the following topics/ frameworks:
+ Critical reflection on adaptation
+ Relationship between poetry and cinema
+ Cases and modes of quotation
+ Poetics of intertitles
+ Deconstruction and reinvention of genres
+ Cinema and narrative
Submissions should be sent until July 31,2019 to: firstname.lastname@example.org
For further information:
The organizers of no. 41 of the Cadernos de Literatura Comparada, periodical publication of the Institute of Comparative Literature Margarida Losa:
Elisabete Marques (ILCML – Universidade do Porto)
Rita Novas Miranda (ILCML – Universidade do Porto)
Sofia de Sousa Silva (ILCML – Universidade Federal do Rio de Janeiro)