1216 KB34 KB58 KB1 KB201520252019McGowan, Tara M.številka:1letnik:7str. 48-63ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-JZ2Z5SA7enAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeAmfiteater (Ljubljana)convergencekamishibai performancekamišibajkonvergencalanterna magikamagic lanternsmultimedia historymultimedijska zgodovinanew literacynova pismenosttransmediacijatransmediationTime travels with kamishibai| the ongoing adventures of a magical moving medium|In the late 1920s, the inventors of kamishibai (Japanese "paper theatre") took simple materials and created the magical illusion of the "big screen" in miniature. When television first entered Japan, it was called "electric kamishibai" because of the outward similarity of a screen with moving images and audio enclosed within a frame. Twenty-first-century technologies, which still rely on moving images and screens, are often credited with enabling a "new" remixing of modes and media, but kamishibai's history illustrates that technological progress, like a möbius strip, often folds back upon itself, offering scholars and practitioners opportunities for time travel, as forgotten ideas are rediscovered and taken in new directions. Drawing upon examples of early kamishibai-related artefacts in the Cotsen Children's Library at Princeton University, this article traces how kamishibai developed in close relation to other audio-visual media, such as magic lantern and film, until the 1950s, after which kamishibai has been increasingly compared with picture books and other paper-based media. Placing kamishibai within a global audio-visual history that extends from the magic lantern to the internet provides us with fresh perspectives and opens up new possibilities, as artists, storytellers and educators from around the world engage with kamishibai in relation to media from their own traditions, as well as new developing technologies. The non-digital, audio-visual aspects of kamishibai free it from the constraints of technological development and provide the versatility and potential for play that continue to inspire multiple, hybrid adaptations of the formIzumitelji kamišibaja (japonskega "papirnatega gledališča") so v poznih dvajsetih letih prejšnjega stoletja s pomočjo preprostih materialov ustvarili čarobno iluzijo "velikega platna" v miniaturi. Ko se je na Japonskem prvič pojavila televizija, so jo zaradi zunanje podobnosti med zaslonom in kamišibajem poimenovali "električni kamišibaj", saj gre pri obeh za gibanje podob in zvoka znotraj zaključenega okvira. Pri tehnologijah 21. stoletja podoba v gibanju in zaslon še vedno igrata veliko vlogo; pogosto se jima pripisuje, da omogočata "nove" načine prepletanja medijskih formatov. Vendar pa nam zgodovina kamišibaja razkriva, da se tehnološki napredek podobno kot Möbiusov trak pogosto zguba sam nase ter tako strokovnjakom in izvajalcem ponuja možnosti za potovanje skozi čas, kjer znova odkrivajo pozabljene ideje in jih peljejo v nove smeri. Pričujoča razprava na podlagi zgodnjih, s kamišibajem povezanih artefaktov iz zbirke Cotsen Children's Library Univerze v Princetonu sledi razvoju kamišibaja v tesni povezavi z drugimi avdiovizualnimi mediji, kot sta recimo laterna magika in film, do petdesetih let prejšnjega stoletja, ko se je začelo kamišibaj vedno bolj povezovati s slikanicami in drugimi papirnatimi mediji. Umestitev kamišibaja v svetovno avdiovizualno zgodovino, ki se razteza od laterne magike do interneta, odpira nove poglede in ustvarjalne možnosti, saj kamišibaj umetnikom, pripovedovalcem zgodb in pedagogom po vsem svetu omogoča ustvarjanje tudi v povezavi z uveljavljenimi medijskimi formati in razvijajočimi se tehnologijami. Z nedigitalnimi, avdiovizualnimi značilnostmi se kamišibaj osvobaja spon tehnologije ter omogoča vsestranskost in potencial za igro, s čimer vedno znova sproža številne raznovrstne adaptacije svoje oblikeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)