Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to his plans. During the conversation a portrait is being painted of the Red Skull, but we cannot see his face, only that the artist uses a huge amount of red paint. In the background, excerpts of Wagner’s operas are being played, which is very unusual in a Marvel movie. The question is, should the viewer recognize the diegetic music and notice the possible reference to the painting Las Meninas by Velázquez? How the detection of these intermedial references and the awareness of the act of trespassing media borders would affect the semiotic processes of interpretation? And also, how would the more precise identification of the cited materials change the semiotic modality of intermediality here? The article tries to answer these questions by interpreting the scene and the role of the references in question within the entire film through the prism of intermedial semiotics.

中文翻译：

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委拉斯开兹、瓦格纳和红骷髅。《美国队长：第一复仇者》特定场景中的中介性和意义的起源

摘要 在 2011 年的超级英雄电影《美国队长：第一复仇者》（漫威影业出品，乔·约翰斯顿执导）中，主角的主要对手是纳粹军官约翰·施密特，他原来是一种超人实体，红骷髅。在整部电影中，观众可以看到他逐渐摆脱纳粹军官的身份，成为神秘高科技恐怖组织九头蛇头目的过程。在某个时刻，我们可以看到为他工作的一位科学家佐拉博士拜访了他，他明智地执行了他的计划。在谈话中，正在画红骷髅的肖像，但我们看不到他的脸，只能看到艺术家使用了大量的红色颜料。在后台播放的是瓦格纳的歌剧节选，这在漫威电影中是非常不寻常的。问题是，观众是否应该认出叙事音乐并注意到可能提到委拉斯开兹的画作 Las Meninas？对这些中介参考的检测和对越界行为的意识将如何影响解释的符号学过程？此外，对引用材料的更精确识别将如何改变这里的中介性符号形态？本文试图通过中介符号学的棱镜，解读整部电影中所讨论的场景和作用，来回答这些问题。观众是否应该认出叙事音乐并注意到可能提到委拉斯开兹的画作 Las Meninas？对这些中介参考的检测和对越界行为的意识将如何影响解释的符号学过程？此外，对引用材料的更精确识别将如何改变这里的中介性符号形态？本文试图通过中介符号学的棱镜，解读整部电影中所讨论的场景和作用，来回答这些问题。观众是否应该认出叙事音乐并注意到可能提到委拉斯开兹的画作 Las Meninas？对这些中介参考的检测和对越界行为的意识将如何影响解释的符号学过程？此外，对引用材料的更精确识别将如何改变这里的中介性符号形态？本文试图通过中介符号学的棱镜，解读整部电影中所讨论的场景和作用，来回答这些问题。引用材料的更精确识别将如何改变这里的中介性符号模式？本文试图通过中介符号学的棱镜，解读整部电影中所讨论的场景和作用，来回答这些问题。引用材料的更精确识别将如何改变这里的中介性符号模式？本文试图通过中介符号学的棱镜，解读整部电影中所讨论的场景和作用，来回答这些问题。