A Recalibration of Theatre’s Hypermediality

Crossley, Mark

doi:10.1007/978-3-030-49679-1_2

Cited by 8 publications

(1 citation statement)

References 11 publications

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“…Likewise, the chapter authors used it in the service of a range of different research questions, aims and goals. Mark Crossley (2020) investigated the challenging relationships between theatre and other qualified media types. Andy Lavender (2020) scrutinised how the work of actors and performers can be comprehended in terms of multimodality.…”

Section: Discussionmentioning

confidence: 99%

Beyond Media Borders, Volume 2

2021

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Section: Discussionmentioning

confidence: 99%

Beyond Media Borders, Volume 2

2021

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Multimodal Acting and Performing

Lavender

2020

Beyond Media Borders, Volume 1

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This chapter considers how one might understand the work of actors and performers with reference to ideas of multimodality. The actor is not a ‘medium’ in the way of the media types in which she performs (theatre, film, radio drama, etc.). Yet, the actor does have a communicative function. It is argued that the modes of communicative media operate in a contemporary field of modal expansion, interrelation and transposition and that an account of acting and performing that considers such a field amends the longstanding focus on the actor’s ‘intention’ and ‘presence’. Instead, such an account delineates a technical infrastructure that suggests new insights into the actor’s work. Is the actor’s mode of performing expressed, shaped or constrained by the shifting media modalities in which her or his work is conveyed? The chapter examines instances of performances in theatre, in film, in ‘reality trend’ events and online.

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Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era

Virginás

2020

Beyond Media Borders, Volume 1

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The proliferation of television screens, video monitors and computer or mobile screens in film diegetic worlds is an apparently simple numeric increase of certain objects within the filmed space, conditioned by, and thus mirroring, contemporary technological changes. However, one should consider this intermediary screenic formation as a complex and versatile audiovisual and narrative method that could have emerged in this frequency only in our current post-digital era. This chapter argues that fine-tuning the model of media functioning presented in Elleström’s “The Modalities of Media” for this specific phenomenon enables a more precise description of the process along which the three presemiotic media modalities morph into the semiotic one. By presenting a systematic description of electronic screens in film diegetic worlds, and a general assessment of the intermedial processes at work, the chapter examines Euro-American films influenced by the video, respectively, the digital era and technology.

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A Recalibration of Theatre’s Hypermediality

Cited by 8 publications

References 11 publications

Beyond Media Borders, Volume 2

Beyond Media Borders, Volume 2

Multimodal Acting and Performing

Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era

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