Yesterday (or rather the day before the day before yesterday), I left off mentioning the “intertextuality debate,” and summarized it as a debate between text as medium and media as universal communication force. Irina Rajewsky points out that there is a third position one can take that mediates between these two, but that it inevitably continues to frame the subject as the defining force. It is a reception oriented force that “saves Kristeva’s concept” (50) (i.e. continues to allow for a broader, universal conception of media), but again means that there are as many different ways to interpret intermediality as there are people. So, based on this general frame, we return again and again to the fact that it is an umbrella term and very difficult to talk about intermediality without being specific… and when we get close to specificity, we are too subjective. This point Rajewsky drives home over and over, but then she brings up a classification system that I’ve mentioned in earlier posts. She finds example of the different categories of intermediality as models of how this syste, can be used.
Still, she does bring up Wolf and Mecke and Rollof who also find ways to categorize the broad concept and allow us to be be productively subjectless.
For example, Mecke and Roloff point out in their foreword that there are three ways to focus on intermediality: the aesthetics, the technical historical, and from a position of discourses analysis. All three are methods that have a distinct literary canon and mode of examination. Of course, I focus on the last one, and bring up discourse theoretics and concepts that can be traced back to rhetoric and discourse theory across several fields. This is what allows me t make the connection to Bakhtin, and while I recently gave credit to Mecke and Roloff for identifying Bakhtin as a basis for looking at intermediality, it seems the credit goes to Rolf Kloepfer and his essay “Intertextualität und Intermedialität oder die Rückkehr zum dialogischem Prinzip. Bachtins Theoreme als Grundlage für Literatur- und Filmtheorie.”
Also of note is how Jürgen Müller in “Je suits une légende”- argues that the author is an intermediality figure “par excellence” who is manifested in the discourse between texts and not necessarily in the text itself. This becomes interesting in light of Bakhtin’s concept of authoritative discourse.
Mecke and Roloff also divide their discussion into filmed literature, literary films, and filmy literatures (all three are translated from the German concepts, more clear in the last one). From these distinctions it should become clear that I focus on filmy literatures.
By the end of this though, I’m not sure if I’m not just bringing in my own subjectivity again, and if there can be such a thing as subjectless-productivity.
Works Cited: Kloepfer, Rolf. Intertextualität und Intermedialität oder die Rückkehr zum dialogischem Prinzip. Bachtins Theoreme als Grundlage für Literatur- d Filmtheorie.” In Kino-/(Ro)Mania. Jochen Mecke and Volker Roloff, eds. 1st ed. Tübingen: Stauffenburg Verlag, 1999. 23-46. Print.
Rajewsky, Irina O. Intermedialität. Tübingen: UTB, Stuttgart, 2002. Print.