According to an influential tradition of film theory, the mediality of cinema-that is, its technologically based copying of reality-is also the basis for film aesthetics. Film art's dependence on a ...rather technically complex apparatus has both stimulated and thwarted its development. At the very beginning of film history (and again in recent decades, e.g. Czesław Miłosz), traditionalists have denied cinema the status of art. On the other hand, members of historical and neo-avant-garde, as well as revolutionary forces have advocated for cinema's technological basis. In order to understand so-called realist traditions in film theory, we must abandon ontologically "naive realism" and accept a philosophy of ontological difference. Idiosyncratic theory based on personal experience of an aesthetic object may provide the missing common language between theory and practice, between the technical and aesthetic, between nomothetic and idiosyncratic approaches in humanities, social and natural sciences.
Prispevek raziskuje, na kakšen način lahko "multidisciplinarne" metodologije raziskujejo besedilnost v sodobnem mediatiziranem svetu in kako lahko preučujejo vezi med teksti in mediji, ki so (tako ...kot tiste v rizomu) heterogene, raznovrstne (Deleuze Guattari). Obravnava Butnskalo Marka Derganca in Emila Filipčiča, Slovensko narodno gledališče Janeza Janše, zgodbo o nekem slastnem truplu ter 5fantkov.si Simone Semenič.
Media studies have a reputation as a new and innovative field, but "mediality" has been a research topic since the 1970s. It appears that what has been uniquely German is the question of literary ...history as media history, which was first treated in the context of Germanic and Romance studies. In the Anglo-American world media have been treated in the context of film and television. In this article I will return to the epistemological bases of media studies via questions about the "mediality of literature". There are three different points of view.
