But it seems Lucy Davis's Hollywood dream has come to an end, after The Office star was spotted looking bedraggled on a day out with husband Owain Yeoman earlier this week. The year-old actress wore an unflattering white long-sleeved T-shirt and loose black trousers as she went on a supermarket shop just days after news that her ITV show Married, Single, Other has been cancelled after viewing figures dropped. Role reversal: Lucy Davis looked glum as she stepped out with ultra-successful husband Owain Yeoman in Los Angeles earlier this week. In somewhat of a role reversal, year-old Owain, from Wales, has found more success in Los Angeles, thanks to his role as Wayne Rigsby on hit U. TV show The Mentalist.
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Nazi cinema took full advantage of the possibilities of media convergence by relying heavily on literary adaptations and the close relationships between film and the other arts. The s saw a wave of research that effectively did away with the simplistic entertainment-versus propaganda-model and introduced important revisions to the film-as-ideology model prevalent during the s under the influence of the Frankfurt School.
Meanwhile, there seems to be no end to hagiographical biographies and self-serving memoirs, including recent films about filmmaking during the Third Reich, that depict the s and s as the golden age of German cinema and offer up its main players as embodiments of film heritage. Meanwhile, the vast offerings of the archive do not necessarily lead to any changes in the way we practice film history and define media culture in relation to questions of periodization and canonization. During the last decade, scholars have mostly left behind the big words e.
And can we ignore the relevance of the various Wunderwaffen miracle weapons in the diegesis to the concurrent war effort? Yet they reveal very little about the mechanisms of media self-referentiality that, as I argue, make the film part of a long history of translations, revisions, and adaptations. As defined by Henry Jenkins, media convergence engages technologies, industries, media, contents, and audiences on equal terms, and it includes the elements as well as processes of technological, economic, social, cultural, and global convergence Jenkins, Rather than tracing the adaptation of a known text from one medium literature to another film , the approach favored by adaptation studies with its privileging of narrative, the study of media convergence engages the entire constellation of audiovisual practices based on the assumption that all texts are in fact intertexts.
Yet in contrast to the emphasis on media specificity in what is sometimes called intermedia studies, media convergence assumes hybridization as the original condition of media culture. The creation of a unified state-owned media company in , henceforth known as the Ufi concern, provided ideal conditions for the wartime mobilization of all artistic, financial, and technical resources, including the new Agfacolor system. Theo Mackeben student Georg Haentzschel composed a lush score whose leitmotif structure conveys a distinctly elegiac, melancholy mood.
With the problem of origins forever obscured, the frameworks of reference could henceforth be adjusted to changing interpretations.
Turning lying into a veritable science, the two-volume edition of the Immermann novel even included a pseudoscientific index of names prepared by Oskar Weitzmann. The war years brought further revisions with a clear nationalist agenda. The spectacular interiors and animated crowd scenes frequently overwhelm the frame, an effect that simulates the exaggeration in the narrative on the visual level. Rather than facilitating psychological motivation or increasing narrative suspense, this overwhelming presence of the other arts in fact becomes the primary instrument in the making of filmic self-referentiality and its spectatorial effects.
Yet the Babelsberg blockbuster also found plenty of inspiration in the Hollywood dream factory, with its fairytale elements clearly influenced by The Wizard of Oz Victor Fleming, and its orientalist kitsch reminiscent of the British The Thief of Bagdad Michael Powell, The generic conventions associated with fantasy in the broader sense established the conditions under which episodic storytelling, unreliable narration, and special effects could become synonymous with the making of a higher filmic reality.
Visually most compelling, the moon sequence cites the art nouveau style with its organic shapes and ornamental flourishes, creating an atmosphere of morbid decadence difficult to reconcile with Nazi dreams of military conquest and final victory.
A lost portrait by G. As reviewers noted at the time, the filmmakers utilized the entire range of techniques and technologies, including the new Agfacolor system with its intense reds and greens and subtly nuanced pastels. But the more interesting effects were achieved through the discourse of self-reflexivity that blurred the boundaries between fantasy and reality and made possible a sustained reflection on the technologies of image production.
How often was there spontaneous applause. The underlying implications are spelled out in a revealing comment by reviewer Ilse Urbach on desirable audience responses:. Beyond the original promise of eternal youth made by Cagliostro in the diegesis, the film offers multiple perspectives on the spatio-temporal dynamic: through the different means of transportation e.
Time-lapse animates the battle scenes, whereas rear projection i. Several times, the introduction of models into the frame allows for elaborate travelling shots that radically redefine filmic space. Multiple exposures are enlisted to simulate invisibility or hypervisibility e. Even the film music proceeds not only through an elaborate leitmotif structure but also includes moments of Mickey Mousing in which sound effects are synchronized with movements e.
Both strategies served to demonstrate the power of film to appropriate, incorporate, and reconfigure existing art forms and artistic traditions. Designed to showcase the two sides of the Albers persona, the cocky adventurer and the brash seducer, these four episodes establish a close connection between sexual conquest and military warfare. The sexual pursuit of women and the fear of sexual women must be considered as the two corresponding manifestations of his refusal to fulfill the social contract of adulthood—that is, of marrying and starting a family.
Of course, the same principle of generativity, namely in the form of cultural tradition, is at work in the process of adaptation. But even with an episodic structure, all stories—unlike adaptations—will eventually end. In accordance with the doubling of narrative structure and psychosexual biography, the ending must acknowledge the desire for love and the acceptance of death as essential aspects of the human condition.
The transition from the reference during the costume ball to stories being told to the actual conditions of storytelling in the garden begins with a closeup of the baron dressed in a s double-breasted suit, followed via superimposition by a closeup of an illustrated book containing his most famous tales. Ensuring the attention of its audiences, the film returns briefly to a group of listeners around the coffee table after the Russian episode and confirms imagination as a higher form of reality.
As he continues to recall his adventures throughout the nineteenth century, his young listeners become increasingly unsettled by the possibility that their host might in fact be his famous ancestor.
Whereas the problem of credibility associated with the unreliable narrator is ultimately irresolvable—he may, after all, be telling the truth—, the narrator as liar actually achieves the opposite effect. For by making deception an integral part of his tall tales, he effectively does away with the need for truth; henceforth, the sole criterion for evaluating a narrative element or entire tale becomes their ability to inspire shock and awe in the audience.
Under these conditions, filmic representation can no longer be measured against any standards of realism and its presumed opposite, illusionism, but must be appreciated for the generative potential shared by both representational modalities. Significantly, this position is identified with the discourse of the omniscient narrator, also known as the cinema of narrative continuity, that controls any destabilizing effects introduced by the unreliable narrator and, in so doing, shifts attention to the nature of film as the quintessential mixed medium.
The transformation of the storyteller and main character into a visual spectacle takes place through the means of costume design, with the physical body and its erotic potential strangely missing from view. Made of silk, lace, brocade, velvet, fur, and adorned with feathers and jewelry, they conjure up an atmosphere of luxury and sensuality. But in the form of ethnic costumes e. This connection is openly explored in numerous scenes of dressing and undressing rarely associated with masculinity but justified here through the narrative conceit of external dangers and constraints.
In so doing, the count effectively serves as a stand-in for the filmmaker in the diegesis. For these reasons, a shift in methodology from the study of individual filmic texts to case studies in media convergence is bound to fundamentally expand our understanding of film as the quintessential mixed medium defined by its remarkable ability learned, of course, from other art forms and media technologies to remix and reboot existing stories, iconographies, traditions, conventions, and styles.
It is also precisely this extreme adaptability that enables feature films to serve two seemingly contradictory functions, to create a compelling fantasy and reveal its conditions of production, to become subject to the seductions of an unreliable narrator and to maintain the position of absolute authority claimed by classical narrative.
But these old and new genealogies can only be reconstructed through the detour of film history as the history of media convergence, including its institutional and technological aspects. Without greater attention to current debates on intermediality, multimediality, and transmediality in film and media studies and the potential contribution of film historical research to these debates, we may become trapped in an increasingly marginal subfield of German film studies that produces ever more nuanced readings—but with less and less awareness of their relevance to the present conjuncture.
R other Rainer dir. If adaptation, to summarize some of his points, means the movement from one medium to another, what do we make of the fact that film is both multimedial and a medium in its own right?
How are we to define the relationships among related literary texts and earlier filmic adaptations? Under the conditions of intertextuality, how is the originality of, or fidelity to, a source text to be defined? What gives some intertexts but not others the aura of texts? Wie oft gab es nicht Beifall mitten ins Bild hinein. This article is part of a current research project on German cinema in the age of media convergence. Krabbe discussed the triangular relationship during the production of the Haut de page.
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But it seems Lucy Davis's Hollywood dream has come to an end, after The Office star was spotted looking bedraggled on a day out with husband Owain Yeoman earlier this week.
The year-old actress wore an unflattering white long-sleeved T-shirt and loose black trousers as she went on a supermarket shop just days after news that her ITV show Married, Single, Other has been cancelled after viewing figures dropped.
Role reversal: Lucy Davis looked glum as she stepped out with ultra-successful husband Owain Yeoman in Los Angeles earlier this week. In somewhat of a role reversal, year-old Owain, from Wales, has found more success in Los Angeles, thanks to his role as Wayne Rigsby on hit U. TV show The Mentalist. While Lucy had a guest appearance on the crime drama in May, when she played Daphne, the widow of a victim of an apparent home invasion, she has had little success in Hollywood.
But shortly after moving, their marriage was rocked by claims that the couple were constantly arguing as Owain's career took off and he spent time away from home filming. Despite the reports, Lucy and Owain stayed together and now appear happier than ever in their relationship. Happy couple: Lucy and Owain had hoped that a move to Los Angeles would help both of their careers. Unfortunately, it seems Owain is the only one to benefit.
Last November, she looked amazing as she walked down the red carpet showing off her slim but womanly figure. She put her weight loss down to buying a second-hand hula hoop and a signed weight loss manual - Dr Phil McGraw's Weight Solution - on an auction website.
Since moving to LA, Lucy's weight has yo-yoed and she's often spoken of her battle to stay slim, admitting that she was offered more work after slimming down from a 14 to a size 8. She admitted her weight had dropped to less than seven-and-a-half stone, but insisted: 'I like being slimmer. I feel much more in control of myself. Bad day at the Office? She was tipped to be one of Britain's most successful exports.
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