Children's Media Research: Literature, Film, Comics, Theatre // Film Philosophy
Kinder- und Jugendliteratur Intermedial
In 2012, Tobias Kurwinkel, Annika Sevi and I co-founded the book series “Kinder- und Jugendliteratur Intermedial” (since 2018, Corinna Norrick-Rühl has replaced Annika as the third co-editor). The volumes, edited by various children’s literature and media researchers, explore aspects of the intermediality of children’s literature, with a special emphasis on the adaptation of children’s books for film, theatre, and audio books. All books are published with the publishing house Königshausen & Neumann. As of 2018, five volumes have been published, two more are in preparation. Below you can find the volumes co-edited by me. In-depth descriptions of these and the other volumes can be found on www.kinderundjugendliteraturintermedial.de.
Die Welt im Bild erfassen: Multidisziplinäre Perspektiven auf das Bilderbuch Edited by Tobias Kurwinkel, Corinna Norrick-Rühl and Philipp Schmerheim. Würzburg: Königshausen & Neumann. In preparation
Michael Ende Intermedial. Von Lokomotivführern, Glücksdrachen und dem (phantastischen) Spiel mit Mediengrenzen Edited by Tobias Kurwinkel, Philipp Schmerheim and Annika Sevi. Würzburg: Königshausen & Neumann.
Michael Ende and the media: That is an ambiguous story, but also a story of a successful relationship, of a playful exchange between literature and film, painting, audio books, picture books, and theatre. Not only have Ende’s stories been adapted for several media, his own work also reflects his intermedial approach, which takes into account the expressive potentiae of other art forms. In this, Ende’s work is a continuation of his life: He did not only write books but also worked as a theatre actor, dramatic advisor, film and theatre critic, poet as well as illustrator.
The contributions to this edited volume attempt to build intermedial bridges in two ways by exploring the internal as well as external intermedial aspects of Ende’s works. The band also contains a previously unpublished interview with Michael Ende in which he talks about the puppet theatre adaptation of his novel The Night of Wishes (Der satanarchäolügenialkohöllische Wunschpunsch).
Harry Potter Intermedial. Untersuchungen zu den (Film-)Welten von Joanne Rowling Edited by Tobias Kurwinkel, Philipp Schmerheim and Annika Kurwinkel. Würzburg: Königshausen & Neumann.
The unprecedent success of J.K. Rowling’s Harry Potter books has been amplified by the eight film adaptations and a faithful internet-based fan following that turned the adventures of the sorcerer’s apprentice into a veritable cultural phenomenon.
The contributions to the edited volume Harry Potter Intermedial examine the way in which the films adapt the themes and motifs of Rowling’s novels, such as fascism and racism, the magical connection between the antagonists Harry Potter and Voldemort, time travel in Harry Potter and the Prisoner of Azkaban, the aesthetical use of nature and landscapes in the films, the Potter franchise as a cultural phenomenon, and the pattern behind the German-language translations of Rowling’s books. The articles specifically focus on the use of music and sound design in the Harry Potter films.
Astrid Lindgrens Filme. Auralität und Filmerleben im Kinder- und Jugendfilm Edited by Tobias Kurwinkel, Philipp Schmerheim and Annika Kurwinkel. Würzburg: Königshausen & Neumann.
Astrid Lindgren’s stories owe their long-lasting popularity in part to the film adaptations of the 1960s to 1980s: For millions of children, Inger Nilsson, this freckled little girl in red pigtails, is the quintessential Pippi Longstockings, and Jan Ohlsson is the perfect embodiment of the little blond prankster Emil of Lönneberga.
But what really happens when children’s films adapt their literary sources? Are there fundamental differences between films adaptations for children and those for adults? The articles of this edited volume examine selected film adaptations of Lindgren’s stories and they analyze their motifs and aesthetics. In the course of doing so, they also explore the question whether films for children and young adultsrequire specific methods of film analysis.