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SUMMARY:“Translating Calligraphy,” Markus Nornes, University of Michigan: Talk a
t the Comparative Literature Luncheon
DESCRIPTION:\nCalligraphy and cinema have an intimate relationship in Ea
st Asia. Indeed\, the ubiquity of the brushed word in cinema is one elem
ent that actually ties works in Korean\, Japanese\, and Sinophone Asia t
ogether as a regional cinema. On first glance\, cinema and calligraphy w
ould appear as radically different art forms. On second glance\, they pr
esent themselves as sister arts. Both are art forms built from records o
f the human body moving in (an absent) time and space. How does one adeq
uately subtitle a calligraphic script\, attaching the dead letter of hel
vetica to a linguistic text whose visual materiality is so spectacularly
central to meaning making? How does investigating this very problem lea
d us to rethinking the nature of the cinematic subtitle\, which is very
much alive―a truly movable type?\n\nFor more details: https://events.la.
psu.edu/event/translating-calligraphy/
X-ALT-DESC;FMTTYPE=text/html:Calligraphy and
cinema have an intimate relationship in East Asia. Indeed, the ubiquity
of the brushed word in cinema is one element that actually ties works i
n Korean, Japanese, and Sinophone Asia together as a regional cinema. On
first glance, cinema and calligraphy would appear as radically differen
t art forms. On second glance, they present themselves as sister arts. B
oth are art forms built from records of the human body moving in (an abs
ent) time and space. How does one adequately subtitle a calligraphic scr
ipt, attaching the dead letter of helvetica to a linguistic text whose v
isual materiality is so spectacularly central to meaning making? How doe
s investigating this very problem lead us to rethinking the nature of th
e cinematic subtitle, which is very much alive―a truly movable type?
For more details: https://events.la.psu.edu/event/translating-calligraphy/
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