Multimodality and (Moving) Image
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Abstract
How moving image and multimodality could contribute to the image? How to get engaged into telling the kinds of mode of the narrative rather than standing back having a kind of a media studies approach to film? The aim of this paper is to raise the question of how meaning is made via the multimodal approach which implies that film is a form which is built on other cultural forms (Burn, 2003: 16). It looks into the process of documenting cinematic facts, thinking about the functions of the modes and by breaking the modes down and single them out. The film semiotic approach of how film makes meaning by Christian Metz (in: Burn, 2003: 3) is the starting point of looking into the digital era where all the modes are fed into the moving image. It is necessary to be sure not to miss an aspect that could be really important and to still keep the role of education clear.
Article Details
How to Cite
TUKSAR RADUMILO, Suncana.
Multimodality and (Moving) Image.
Investigating Culture, [S.l.], n. 1, sep. 2015.
ISSN 1857-9116.
Available at: <https://journals.cultcenter.net/index.php/investigating/article/view/201>. Date accessed: 29 may 2023.
Keywords
Multimodality, film, culture, modes, education
Section
English articles
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References
[1]. A. Burn, Andrew and D. Parker, Analysing Media Texts, London and New York: Continuum, 2003.
[2] A. Burn, The Kineikonic Mode: Towards a Multimodal Approach to Moving Image , Media, London: NCRM , 2003.
[3] M. Domingo and G. Kress (with C. Jewitt and E. Adami), Development of Methodologies for Researching Online Communication:Tthe Case of Food Blogs , (in press,), 2014. .
[4] R. Allen, Hitchcock's Romantic Irony, New York: Columbia University Press, 2007.
[5] G. Kress and T. van Leeuwen, Reading Images; The Grammar of Visual Design, London i New York: Routledge, 1996. .
[6] Ch. Metz, Film Language; Some Points in the Semiotics of the Cinema, Chicago IL: Chicago University Press, 1974.a.
[7] G. Kress, Design, the Rhetorical work of shaping the Semiotic World, pre-print to appear in A. Archer and D. Newfield (in press), London: Routledge, 2014.
[8] T. Fischer – Mirkin, Dress Code, 1995
[9] M. Bernard, Fashion as Communication, 2002.
[10] S. Eisenstein, The Film Sense, trans. J Layda, London: Faber and Faber, 1968.
[11] T. Fisher-Mirkin, Dress Code, Clarkson Potter, 1995.
[12] M. Bernard, Fashion as Communication, Psychology Press, 2002.
[2] A. Burn, The Kineikonic Mode: Towards a Multimodal Approach to Moving Image , Media, London: NCRM , 2003.
[3] M. Domingo and G. Kress (with C. Jewitt and E. Adami), Development of Methodologies for Researching Online Communication:Tthe Case of Food Blogs , (in press,), 2014. .
[4] R. Allen, Hitchcock's Romantic Irony, New York: Columbia University Press, 2007.
[5] G. Kress and T. van Leeuwen, Reading Images; The Grammar of Visual Design, London i New York: Routledge, 1996. .
[6] Ch. Metz, Film Language; Some Points in the Semiotics of the Cinema, Chicago IL: Chicago University Press, 1974.a.
[7] G. Kress, Design, the Rhetorical work of shaping the Semiotic World, pre-print to appear in A. Archer and D. Newfield (in press), London: Routledge, 2014.
[8] T. Fischer – Mirkin, Dress Code, 1995
[9] M. Bernard, Fashion as Communication, 2002.
[10] S. Eisenstein, The Film Sense, trans. J Layda, London: Faber and Faber, 1968.
[11] T. Fisher-Mirkin, Dress Code, Clarkson Potter, 1995.
[12] M. Bernard, Fashion as Communication, Psychology Press, 2002.