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  • 1.
    Galili, Doron
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Intermedial Thought in Classical Film Theory: Balazs, Arnheim, and Benjamin on Film and Radio2013In: The Germanic Review, ISSN 0016-8890, E-ISSN 1930-6962, Vol. 88, no 4, 391-399 p.Article in journal (Refereed)
    Abstract [en]

    This article presents an analysis of several instances of theorizing across distinct media in the writings of three of the most prominent thinkers in German film theory, Bela Balazs, Rudolf Arnheim, and Walter Benjamin. Against the common identification of the project of classical film theory with commitment to essentialist notions of medium specificity, the article demonstrates the theorists' concern with intermedial issues of exchanges between film and other media. Drawing on examples from the engagement with the newly emergent medium of radio in canonical texts by the three theorists, the article discusses the influence of radio on theorizing about the unique properties of film, its aesthetic possibilities, and course of development. The article finally argues that the vast dynamic changes in the mediascape of the 1920s and 1930s, which saw the coming of sound film, the emergence of radio, and the first demonstrations of television technology, necessitated classical film theorists to adopt intermedial perspectives similar to those that are commonplace in today's writings on digital cinema and new media.

  • 2.
    Galili, Doron
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Tom Swift’s Three Inventions of Television: technological Imaginary and Media History2015In: View : Journal of European Television History and Culture, E-ISSN 2213-0969, Vol. 4, no 7, 54-67 p.Article in journal (Refereed)
  • 3.
    Galili, Doron
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Tsivian, Yuri
    Skybooks: skywide projection and media mythology2015In: New Review of Film and Television Studies, ISSN 1740-0309, E-ISSN 1740-7923, Vol. 13, no 3, 247-260 p.Article in journal (Refereed)
    Abstract [en]

    Skybooks: Skywide Projection and Media Mythology’ traces the history of the media fantasy of projecting images and texts onto the sky up to the 1920s, and with respect to the variety of mass media forms that emerged in that decade. Thus, in 1918, less than a year after the October Revolution, Russian Futurist poet Velimir Khlebnikov wrote a piece of Utopian prose in which Walter Benjamin, had he known it, might have recognised another instance of social dreaming projected upon modern technology. The word ‘skybooks’ (neboknigi) used in the title of the essay is borrowed from there. Khlebnikov's global village of the future is populated by the race of inventors and creators in habit of using the sky as a giant pad to share with each other latest news, scientific formulae and lines of poetry. It was hardly by chance, Galili and Tsivian argue, that the tip of Vladimir Tatlin's famous Tower (also conceived in 1918) was to be equipped with a giant projector. Skypads need a skypen whose skyink is a projected beam of light.

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