The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladinou la lampemerveilleuse (1898)
Journal Title: Kultura Popularna - Year 2016, Vol 1, Issue 47
Abstract
This paper traces the story of Aladdin as a transmedial phenomenon in late nineteenth‑century culture. It starts off from an unidentified French series of scenes that were screened in the Netherlands in 1898, before outlining a set of ‘transmedial imaginations’ concerning modernity that these films shared with other Aladdin representations. Drawing on Irina Rajewsky’s definition of transmediality as a the “appearance of a certain motif, aesthetic, or discourse across a variety of different media,” this article proposes that in the case of Aladdin, transmediality functioned as a double mechanism: on the one hand, showing an familiar (transmedial) story on a newly introduced medium (the kinematograph) domesticated the newness of the device, while on the other hand, telling this ‘old’ story through a new and modern medium also singled out the specific qualities of the projected moving images.<br/><br/>
Authors and Affiliations
Gert Jan Harkema
Keywords
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- EP ID EP80290
- DOI 10.5604/16448340.1219675
- Views 83
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The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladinou la lampemerveilleuse (1898)
This paper traces the story of Aladdin as a transmedial phenomenon in late nineteenth‑century culture. It starts off from an unidentified French series of scenes that were screened in the Netherlands in 1898, before outl...