ABSTRACT: The paper tries to set a theoretical and philosphical connection between the concept of hypertext and the one of hypercinema. The history of the former begins with the depiction of Memex system by Vannevar Bush in 1945 and continues with the extension of term from its informatical meaning to theoretical one, such as the notion of intertextuality. The relation between hypertext and intertextuality is reflected in the definition of the latter, as the connection among texts, and even as the explanation of the meaning of certain text, as does Mikhail Iampolski in his analysis on intertextuality in cinema. The notion of hypercinema, introduced by Gilles Lipovetsky and Jean Serroy, comes to enlarge the old notion of intertextuality to all possible dimensions. Through its three images, image-excess, image-multiplex and image-distance, hypercinema exrends beyond any limits, moving away all esthetical or ethical barriers and removing differences among genres or between art and industry. pp. 26–34

Keywords: Bush’s Memex, intertextuality, image-excess, image-multiplex, image-distance, hypermodernism.

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