Call for Papers Ekphrasis. Images, Cinema, Theory, Media


A Melancholic Exploration of Humanity (The Solitude of Man). Studies in Visual Representation and Melancholia

Volume 21, issue 1/2019




Is melancholia sweet? Is it an affect that lives especially in the openings enacted by cinema?

There is such a large archive to explore. In a way, cinema has always had its melancholic sweet tooth. Burials, flowers, planets (Saturn, of course, but not only), candles, dolls, empty churches, but also fireworks and bears and red pigs and quotations from poetry. The world has ended in films several times (and more), but no feeling of the end has acted as closure. There is always a question of the sublime and of the strange incident of melancholic persons behaving as rationally as possible in the midst of catastrophes. Melancholia has also often acted as a way of creating the identity of the solitary person: inside the story, but also in relation to an aesthetic object, as the spectator is in the cinema hall.

What are the visual forms of melancholia? We are interested not only in melancholia as a theme in cinema and visual arts but also - and perhaps mostly - in the creative ways in which melancholia is produced through images, montage and the plural

strategies of art.


Papers will thus refer to, but will not be limited to, the following areas of research:

- Melancholia as a gift that comes with depression. As depression is caused by an

identifiable particular event, melancholia has no strict origin. It can as such emerge as a

supplement of depression

- The nihilism of melancholia: it desires the destruction of all that exists. This temptation

to destroy everything could be investigated as well as one of the key features of

melancholia: its desire for shipwreck

- Melancholia felt through the body: how does a melancholic body function. An entire

phenomenology of melancholic perception can be opened for analysis;

- The sweet part of melancholia, the sweetness of suffering. The catharsis of self-



- The rationality of melancholia: during a catastrophe, the most rational behavior will often

be that of the melancholic ones. For them, catastrophe never arrives as a surprise, but as a


- Melancholia and total loss/ absence. The search for / faith into and absolute that cannot

be represented: behind the objects, beyon them, traversing them, often as a spark. The

taste for the aesthetic feeling comes from this: melancholia becomes a form of aesthetic

perception: its truth belongs to aesthetics;

- Melancholia as a knowledge. Its cutting lucidity: there is no meaning or truth. Any form

of self-knowledge can only be attained through melancholy;

- Melancholia and the question of time. Something always arrives too late. The

melancholic person is never contemporary with her world;

- Melancholia and desire. A desire caught between the aesthetic cult for appearance and the

search for an ungraspable authenticity;

- Melancholia as an old and continuous companion. Melancholy of the commons, the

search for a solidarity that the world always rejects.


Please submit an original proposal of up to 300 words that focus on the ways in which

melancholia is created, communicated and produced through aesthetic means, with a special

attention to cinematic strategies and the techniques of visual arts.



Deadline for abstracts (150-300 words, 5-7 keywords), and a 150-word bio: 15 March 2019

Acceptance notice: 30 March 2019

Deadline for accepted full papers (5,000-8,000 words for articles, 2,000-3,000 words for book

reviews): Mai 1st 2019



Both proposals and final texts should be in English or French and should follow the style

sheet available on our website ( ). The final

submission should include: a 5,000-7,000-word article, including a 150-word abstract, 5-7

keywords, a list of references (only the cited works), a 150-word author’s bio and the author’s

photo-portrait (jpg, separate file). Proposals and final submissions should be formatted as Word

documents and sent to







Call for papers Ekphrasis. Images, Cinema, Theory, Media

Vol. 22, Issue 2/2019


Crossing Narrative Boundaries between Cinema and other Arts and Media

Issue editors: Fátima Chinita and Liviu Lutas



From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built open this storytelling impetus. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations engaging an ever-growing dissemination. Technical and technological developments have helped in this enterprise, across a vast array of long-lasting and canonical art forms as well as more popular and recent ones.

Film is precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading.

But how does this dialogue between film and other media and/or art forms operate? How are stories conveyed form the former to the latter(s), and vice versa? To what purpose and through what means?

What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? How can film and other media be contained in or influence one another, not just in fictional-oriented works, but also, in keeping up with the times, in more factual and self-representative artistic outputs?


Volume 22, issue 2/2019 of Ekphrasis looks for novel and creative approaches on film and mediality at large, be it dual-, multi-, -inter or transmediality. We aim to contribute to the reflection on media collaboration from the perspective of the content, i.e. the subject of the films and other art works, i.e., its narrative aspects, whether fictional or not. This, of course, is highly influenced by the nature of the media/arts involved.

Therefore, we will prioritize submissions that are solidly grounded on theoretical work already published on this field and that combine the argument on content with the requirements made by the different media/arts involved.


Suggested Topics: (not limited to this sample)

Intertextuality, intermediality, intramediality.

Mediation, remediation, transmediation.

Art forms as qualified media.

Phenomena of hybridization.

Transfer among media.

Narrative adaptation, appropriation.

Cinematic ekphrasis.

Allusion, quotation, pastiche, parody, motifs.

Remakes, sequels, prequels, spin-offs, reboots.

Transmedia storytelling projects.

Cinematic worlds and other media.

Impossible worlds, characters, and narrative structures across media.

Medium specificity and collaboration among media/arts.

Palimpsest, embedding, layering.

Narrative genres in-between or across media.

Alternate realities, reworking facts and fiction.

Myths, legends, fairytales and post-celluloid adaptation.


Deadline for abstracts of between 700 and 1000 words: March 30th 2019.

Acceptance notice: April 15th 2019.

Final submission is due AUGUST 30th 2019.

Date of publication: DECEMBER 30th 2019.


Both proposals and final texts should be in English and should follow the style sheet available on our

website ( The final submission should include: a

5,000-8,000-word article, including a 150-word abstract, 5-7 keywords, a list of references (only the

cited works) and a 150-word author's bio. Proposals and final submissions should be formatted as

Word documents and sent to: and


The articles should be original material not published in any other media before. 


Selected bibliography:

BERNHARDT, Walter (ed.). Selected Essays on Intermediality by Werner Wolf 1992-2014: Theory

and Typology, Literature-music Relations, Transmedial Narratology, Miscellaneous

Transmedial Phenomena. Amsterdam: Brill / Rodopi, 2017.

BURKE, Liam. The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre.

Jackson: University Press of Mississippi, 2016.

DYER, Richard. Pastiche. London and New York: Routledge, 2007.

EDER, Jens, Fotis Jannidis, and Ralf Schneider (eds). Characters in Fictional Worlds:

Understanding Imaginary Beings in Literature, Film, and Other Media. Bilingual edition

English/German. Berlin and New York: Walter De Gruyter GmbH & Co, 2010.

ELLESTRÖM, Lars. Media Transformation: The Transfer of Media Characteristics Among Media.

New York: Palgrave Macmillan, 2014.

----------. Transmedial Narration: Narratives and Stories in Different Media. Basel: Springer

Nature Switzerland AG, 2019.

ENSSLIN, Astrid. Literary Gaming. Cambridge (Massachusetts) and London (UK): The MIT

Press, 2014.

GENETTE, Gérard. Palimpsests: Literature in the Second Degree. Lincoln and London: University of

Nebraska Press, 1997 [1982].

GRISHAKOVA, Marina and Marie-Laure Ryan (eds). Intermediality and Storytelling. Berlin and

New York: Walter de Gruyter GmbH & Co., 2010.

HUTCHEON, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms (2 nd

edition. Urbana and Chicago: University of Illinois Press, 2000 [1985].

----------. A Theory of Adaptation (2 nd edition). London and New York: Routledge, 2013 [2006].

JENKINS, Henry. Convergence Culture: Where Old and New Collide. New York and London: New

York University Press, 2006.

KUKKONEN, Karin and Sonja Klimek (eds.). Metalepsis in Popular Culture. Berlin and New York:

Walter De Gruyer GmbH & Co, 2017.

LOOCK, Katheen and Constatine Verevis (eds.). Film Remakes, Adaptations and Fan Productions:

Remake/Remodel. Basingstoke and New York: Palgrave Macmillan, 2012.

LOPEZ-VARELA AZCARATE, Assunción and Ananta Charan Sukla (eds.). The Ekphrastic Turn:

Inter-Art Dialogues. Champaign (Illinois, US): Common Ground Publishing, 2015.

PAVEL, Thomas G. Fictional Worlds. Cambridge (Massachusetts) and London (UK): Harvard

University Press, 1986.

PROPP, Vladimir. Morphology of the Folk Tale. Austin: University of Texas Press, 1984 [1928].

RYAN, Marie-Laure. (ed.). Narrative Across Media: The Languages of Storytelling. Lincoln and

London: University of Nebraska Press, 2004.

RYAN, Marie-Laure and Jan-Noël Thon (eds.). Storyworlds Across Media: Towards a Media-

Conscious Narratology. Lincoln and London: University of Nebraska Press, 2014.

SAGER EIDT, Laura M. Writing and Filming the Painting: Ekphrasis in Literature and Film.

Amsterdam and New York: Rodopi, 2008.

WOLF, Werner. “Narrative and Narrativity: A Narratological Reconceptualization and its Applicability

to the Visual Arts”, Word & Image: A Journal of Verbal/Visual Enquiry, Vol. 19, No. 3

(3003), pp. 180-197.

ZATLIN, Phyllis. Theatrical Translation and Film Adaptation: A Practitioner's View. Bristol:

Multilingual Matters, 2005.



Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania, indexed by Emerging Sources Citation Index (Clarivate Analytics), ERIH PLUS, EBSCO, NSD, and CEEOL.

For more information and submission guidelines, please visit: