Tarzan und der Tonfilm. Verhandlungen zwischen »science« und »fiction«

Denson, Shane

doi:10.1515/9783839408827-006

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“…The transition from silent to sound film is thus problematized in the very figure of the monster. The same goes for Johnny Weissmuller's portrayal of Tarzan, who in Tarzan the Ape Man (Van Dyke 1932) is deprived on film of his noble and eloquent alter-ego Lord Greystoke and is instead reduced to an athletic body and the iconic yell by which he communicates with the animals of the jungle (Denson 2008). 10 Thus, both of these figures use sound in ways that call into question its naturalization, in the talkies, as a transparent or unobtrusive carrier of verbal information.…”

Section: The Mediating Function Of Serial Figuresmentioning

confidence: 85%

Gaming and the ‘Parergodic’ Work of Seriality in Interactive Digital Environments

Denson¹

2021

EJCGC

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Twentieth-century serial figures enacted a “parergonal” logic by crossing boundaries between various media, slipping in and out of their frames, and showing them—in accordance with a Derridean logic of the parergon—to be reversible. With the rise of interactive, networked, and convergent digital media environments, these medial logics are transformed. A figure like Batman exemplifies the transition from a “parergonal” to a new “parergodic” logic; the latter term builds upon Espen Aarseth’s notion of the “ergodic” situation of gameplay—where ergodics combines the Greek ergon (work) and hodos (path), thus positing nontrivial labor as the aesthetic mode of players’ engagement with games. Ergodic media give rise to new forms of seriality that accompany, probe, and trace the developmental trajectories of the new media environment and the blurring of relations between work and play, between paid labor and the incidental work culled from our leisure and entertainment practices.

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Section: The Mediating Function Of Serial Figuresmentioning

confidence: 85%