• Cartoon and Animation Studies
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• s.43
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• pp.103-122
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• 2016

Inside Out(2015) and The Spiriting Away of Sen And Chihiro(2001) have similar narrative structures and scenes. This paper aimed to compare and analyze the intermedial relationship between the two animations. The result of the study showed intermedial relationship between Inside Out and The Spiriting Away of Sen And Chihiro, which was produced and released about 14 years before. However, it was hard to say the former referred to the system of the latter and adopted it. When seen from the narrative structure of exposition, development, crisis, climax, resolution, in Inside Out, various motifs of The Spiriting Away of Sen And Chihiro were restructured, creating a new feeling. This study considered intermediality as something that a single medium overcomes limitations and is transformed through materials, or media, and an important way to provide consumers with contents of better quality, and using Rajewsky's frame of analyzing intermediality, compared and analyzed the relationship of the two animations.

• Journal of Digital Convergence
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• v.14 no.7
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• pp.419-424
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• 2016

Wreck-it Ralph is the new genre of animation combining with totally different media, games. Hence, how the game, Fix it Felix, Jr. was digested in the animation to interact each other was reviewed in this article. Upon the review, Wreck-it Ralph did not refer to the images and narration structure of Fix it Felix, Jr. but to the specific motives of the game, which is referring to Intermedial individuals in making Intermedial relations. Wreck-it Ralph is the first animation to refer to the motives of the game and have the Intermedial relation with animation. In addition, it has the meanings enough to be analyzed, so we reviewed its Intermedial relation with Rajewsky's analysis frame in this article.

• Journal of Digital Convergence
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• v.15 no.11
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• pp.441-446
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• 2017

As mentioned on the paper, this study does not tackle the issue of contention about different media mix. It rather analyzes the capability and intensity of new media created through the correlation of different media, and researches the intermediality relationship among media to create new type of fine quality media. Along with the development of digital technology, the intermediality relationship among painting, video media such as movie and animation has become active. Also, as the study examined, the mix of 'painting and movie', 'movie, animation, game' has blurred the boundary, and formed a mutual inevitable relationship. Thus, this study examined the transfer of media and correlation based on intermediality relationship insisted by Rajewski and Deleuze's theory. Deleuze's theory explains the relationship of being which analyzed the variation of media. As for the intermediality relationship of media, the study examined process of media combining and converting based on 3 types of category of Rajewski, "media combination, media conversion, intermedial relationship matching".

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.