The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age

Kazur, Bogna

dc.contributor.advisor	Tischleder, Babette B. Prof. Dr.
dc.contributor.author	Kazur, Bogna
dc.date.accessioned	2020-11-20T13:38:41Z
dc.date.available	2020-11-20T13:38:41Z
dc.date.issued	2020-11-20
dc.identifier.uri	http://hdl.handle.net/21.11130/00-1735-0000-0005-14F6-F
dc.identifier.uri	http://dx.doi.org/10.53846/goediss-8313
dc.identifier.uri	http://dx.doi.org/10.53846/goediss-8313
dc.language.iso	eng	de
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subject.ddc	400	de
dc.subject.ddc	800	de
dc.title	The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age	de
dc.type	doctoralThesis	de
dc.contributor.referee	Glaser, Brigitte Prof. Dr.
dc.date.examination	2019-03-04
dc.description.abstracteng	In order to identify new forms and practices of novel-based intermediality, the study proceeds from a necessarily broad understanding of film culture in the digital age. One essential point is that film arrives at a new form of abstraction and loses its already fragile physical reality in the course of digitization. At the same time its complex invisible code complicates the distinction between fictional live-action footage and special effects, thus relativizing the latter and introducing a so-called "elastic reality". Still, the concept of digital film definitely exceeds a mere, digitally recorded or digitally adapted motion picture. It is a highly dynamic process that equally manifests itself in transmedia storytelling and fan practices and the permeating logic of self-reflexivity on both the level of content and interface. Another characteristic of digital film culture is certainly the paradox of digital perfection producing a resurgence of humanism and "mistakism" in terms of grainy, fragmented, hand-held camera aesthetics, for instance. The three contemporary US novels in question, namely Marisha Pessl's Night Film (2013), Mark Z. Danieleweski's House of Leaves (2000) and Siri Hustvedt's The Sorrows of an American (2008) are informed by these ambiguous dynamics of the digital media culture that can be referred to as post-photographic and/or post-cinematic. The present study examines how the digital revolution affects literature-based intermedial references to (audio-)visual media. The leading question is, on the one hand, how literature contributes to a better understanding of the contacted media, that is film and photography, and their current embedment in a post-cinematic media landscape. On the other hand, my research interest pertains to the contacting medium, the print novel, and the way it renegotiates its own media-specific potential in response to the media culture in question.	de
dc.contributor.coReferee	Gross, Andrew S. Prof. Dr.
dc.subject.eng	digital	de
dc.subject.eng	intermediality	de
dc.subject.eng	materiality	de
dc.subject.eng	contemporary literature	de
dc.subject.eng	post-cinema	de
dc.subject.eng	post-photography	de
dc.subject.eng	Mark Z. Danielewski	de
dc.subject.eng	Siri Hustvedt	de
dc.subject.eng	Marisha Pessl	de
dc.subject.eng	cinema	de
dc.subject.eng	digitization	de
dc.subject.eng	House of Leaves	de
dc.subject.eng	experimental literature	de
dc.identifier.urn	urn:nbn:de:gbv:7-21.11130/00-1735-0000-0005-14F6-F-8
dc.affiliation.institute	Philosophische Fakultät	de
dc.subject.gokfull	Philologien (PPN621711713)	de
dc.identifier.ppn	1740280806

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