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Within and Across the Media Borders ‘The section “Transmediality and Intermediality” consists of chapters discussing the creation of medial images used as a reflection of the local “third space” and the circulation of some particular motifs across the media. Image making and circulating practices emerged from and in relation to other media and performances. Sz. Kristof presents indidnosdi as an example of the highly complex web of multimediality. In her approach, she highlights a tendency of stereotypization of these images—a reliance on a couple of characteristic “visual clichés” in representing the figures. She discusses the difference between having knowledge from inside (in America) and in Hungary, rather as curiosity and sympathy for native American people. Certain images are a result of the conscious development of media. In this context, Oroz problematizes the historical figure of Matija Gubec. He uses the perspective of memory studies with special emphasis on popular culture and political discourse. New visions of Matija Gubec appeared in comics, movies, and theater shows, filling media space. Through these new media forms, people identified themselves with him as a figure representing the oppression. The authors questions revolve around why would a peasant leader become popular and in what way did the “socialist state of mind” make this figure an argument of plausibility of its ideology. What happens when we had an opportunity to use media across borders? Sorescu-Marinkovié offers insight into the way the Other, Yugoslavia’s neighbors, was perceived by Romanians watching Yugoslavian television in the 1980s in Timisoara. As the author states, the practice of watching foreign TV was a legitimate reaction to the reduction of TV broadcast time and the ubiquitous and subversive communist propaganda, which is why Romanians started to look for alternatives that would satisfy their need for information and entertainment. Lachowicz discusses how power and authority was accessed in the manipulation of a nature/culture dichotomy within the visual landscape of the popular film chronicle that became present in the memory of the TV and cinema watchers in Poland. Claiming that landscape lives in narration, Lachowicz analyzes the images presented by the chronicle from 1956 to present how collective memory and process of place making are constructed. Czarnecka discusses how the image of nontraditional woman emerged by analysing all-Poland beauty pageants held twice (only) in 1957 and 1958. As she claimed, these contests served to constitute a model of femininity different from the dominant one. It was associated with the multidimensional process of objectification; on the other hand, it points out the phase of a struggle for a woman's right to a public display of female body. This way the New Woman embodied the desire to see and to be seen. Thus, Czarnecka concluded that beauty queens made an attempt to be not only the passive objects of party-state. The next section, “The Functioning of Socialist Media: Shaping Society Against the Outside World” deals with caricatures. What were the functions of the 23
