[Commlist] Call for Papers: The Intermediality of the Screen: Mediation, Performance, Immersion

Call for Papers: /The Intermediality of the Screen: Mediation, 
Performance, Immersion/

Editors:

Dr. Ian Robinson (Queen’s University)

Dr. Shana MacDonald (University of Waterloo)

Call for Papers:

This edited collection aims to catalog, critique, and offer new 
theoretical and methodological accounts of the intermediality of 
performance culture and its intersections with screen technologies in 
the 21^st century. Often bridging the spheres of popular culture and 
art, however defined, intermedial performance encompasses a range of 
aesthetic, technical and generic forms. The theatre of Robert Lepage 
makes extensive use of digital screen technologies as narrative devices 
and immersive technologies of the mise-en-scene. Theatre and live-film 
companies such as Punchdrunk and Secret Cinema construct intermedial 
immersive spectacles which demand further layers of participation from 
the audience. The live animated projection performances of Shary Boyle 
directly challenge tidy separations between performer, art objects, 
spectators, and environments. Films such as Rocky Horror Picture Show 
have a long cultural history of audience participation and the musical’s 
recent stage remediation in Stratford, Canada, raises questions 
regarding the ways that affect and collective memory are translated, or 
bridged, between media. It is the intention of this collection to 
reframe existing conversations on performance and screen-based practices 
so that they more directly attend to the on-going intermedial 
relationship between these forms. This issue hopes to further the 
dialogue that already exists within the fields of film and media and 
theatre and performance via examples of formal works which bridge the 
gaps between them.

The concept of intermediality has been subject to extensive debate in 
literary and media studies. Jensen’s broad definition of intermediality 
as “the interconnectedness of modern media of communication” has been 
influential in considering intermediality as a communicative space or 
exchange between media (Jensen 279). Rajevsky offers three distinct 
applications of intermedial phenomena in the arts: media transposition 
(including adaptation); media combinations (including multimedia, mixed 
media and intermedia); and media references (including a medium’s 
imitation of another) (Rajevski 51-52). Moreover, as Rajevski notes, 
these three categories frequently operate together in a single work. 
While privileging the theatre as a “hypermedium” Kattenblatt and Chapple 
locate intermediality at “the intersections and the spaces in-between 
the intersections” of various media technologies. In their approach, 
intermediality is found at the “meeting point in-between performers, the 
observers, and the confluence of media involved in a performance at a 
particular moment in time” (Chapple and Kattenblatt 24).

For this book, the editors seek contributions which will expand, 
critique and provide new directions to the ongoing discussion of 
intermediality and performance in the context of screen-based art. 
Contributions should consider how intermedial configurations are 
constitutive of communicative circuits between and among the audience 
and performance/screen. Questions of audience spectatorship, affect, 
immersion, and participation are paramount to both theoretical and case 
study approaches. We welcome contributions which develop and apply 
theoretical treatments of presence, immersion, play, and the 
spatio-temporality of performance. We are especially interested in 
contributions which provide new theoretical and methodological 
trajectories beyond the discourse of medium specificity. Contributions 
which explore the intersections of performance and intermediality with 
issues of gender, class, sexuality, and race will also be welcomed.

Papers may address topics including, but certainly not limited to, the 
following:

  * Theoretical approaches to intermediality and performance
  * Affect and immersion in intermedial productions
  * Liveness, mediation and the screen
  * Audience reception and spectatorship in intermedial environments
  * Uses of screen technologies in theatre
  * Intermedial adaptations
  * Narration and storytelling between media
  * Set design, mise-en-scene and the production of intermedial 
environments
  * The politics of intermediality and performance
  * Transnational intermedial environments
  * Intermediality and activism
  * Intermediality in/and indigenous aesthetics
  * Gender, race, sexuality and/or class and intermedial environments
  * Intermediality in/as expressions of the anthropocene
  * Intermediality from posthuman perspectives

We invite chapter proposals of approximately 400 words, with 3-5 
bibliographic references.

Please send proposals to the editors at (robinson.ian /at/ queensu.ca) 
<mailto:(robinson.ian /at/ queensu.ca)>and (shana.macdonald /at/ uwaterloo.ca) 
<mailto:(shana.macdonald /at/ uwaterloo.ca)>. The deadline for submitting 
proposals is Dec 15th, 2019 and authors of accepted proposals will be 
notified by Jan 7th, 2020. Full chapter drafts of 6000-8000 words will 
be due by June 30th, 2020.

References:

Chapple, Freda and Chiel Kattenbelt. /Intermediality in Theatre and 
Performance/. Rodopi: New York, 2006.

Jensen, Klaus Bruhn. “Intermediality” in Wolfgang Donsbach ed., /The 
Concise Encyclopedia of Communication/. Malden MA: Wiley Blackwell, 2003.


Rajevski, Irina. “Intermediality, Intertextuality, and Remediation: A 
Literary Perspective on Intermediality,” /Intermédialités,/ 6 (Fall 
2005): 43-64.

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