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Over centuries, scholars have explored how metaphor contributes to
thought, language, culture. This collection of essays reflects on
Muller, Kappelhoff, and colleagues' transdisciplinary (film studies
and linguistics) approach formulated in "Cinematic Metaphor:
Experience - Affectivity - Temporality". The key concept of
cinematic metaphor opens up reflections on metaphor as a form of
embodied meaning-making in human life across disciplines. The book
documents collaborative work, reflecting intense, sometimes
controversial, discussions across disciplinary boundaries. In this
edited volume, renowned authors explore how exposure to the
framework of Cinematic Metaphor inspires their views of metaphor in
film and of metaphor theory and analysis more generally.
Contributions include explorations from the point of view of
applied linguistics (Lynne Cameron), cognitive linguistics (Alan
Cienki), media studies (Kathrin Fahlenbrach), media history
(Michael Wedel), philosophy (Anne Eusterschulte), and psychology
(Raymond W. Gibbs, Jr.).
Metaphors in audiovisual media receive increasing attention from
film and communication studies as well as from linguistics and
multimodal metaphor research. The specific media character of film,
and thus of cinematic metaphor, remains, however, largely ignored.
Audiovisual images are all too frequently understood as iconic
representations and material carriers of information. Cinematic
Metaphor proposes an alternative: starting from film images as
affective experience of movement-images, it replaces the cognitive
idea of viewers as information-processing machines, and heals the
break with rhetoric established by conceptual metaphor theory.
Subscribing to a phenomenological concept of embodiment, a shared
vantage point for metaphorical meaning-making in film-viewing and
face-to-face interaction is developed. The book offers a critique
of cognitive film and metaphor theories and a theory of cinematic
metaphor as performative action of meaning-making, grounded in the
dynamics of viewers' embodied experiences with a film. Fine-grained
case studies ranging from Hollywood to German feature film and TV
news, from tango lesson to electoral campaign commercial,
illustrate the framework's application to media and multimodality
analysis.
Metaphors in audiovisual media receive increasing attention from
film and communication studies as well as from linguistics and
multimodal metaphor research. The specific media character of film,
and thus of cinematic metaphor, remains, however, largely ignored.
Audiovisual images are all too frequently understood as iconic
representations and material carriers of information. Cinematic
Metaphor proposes an alternative: starting from film images as
affective experience of movement-images, it replaces the cognitive
idea of viewers as information-processing machines, and heals the
break with rhetoric established by conceptual metaphor theory.
Subscribing to a phenomenological concept of embodiment, a shared
vantage point for metaphorical meaning-making in film-viewing and
face-to-face interaction is developed. The book offers a critique
of cognitive film and metaphor theories and a theory of cinematic
metaphor as performative action of meaning-making, grounded in the
dynamics of viewers' embodied experiences with a film. Fine-grained
case studies ranging from Hollywood to German feature film and TV
news, from tango lesson to electoral campaign commercial,
illustrate the framework's application to media and multimodality
analysis.
Over centuries, scholars have explored how metaphor contributes to
thought, language, culture. This collection of essays reflects on
Muller, Kappelhoff, and colleagues' transdisciplinary (film studies
and linguistics) approach formulated in "Cinematic Metaphor:
Experience - Affectivity - Temporality". The key concept of
cinematic metaphor opens up reflections on metaphor as a form of
embodied meaning-making in human life across disciplines. The book
documents collaborative work, reflecting intense, sometimes
controversial, discussions across disciplinary boundaries. In this
edited volume, renowned authors explore how exposure to the
framework of Cinematic Metaphor inspires their views of metaphor in
film and of metaphor theory and analysis more generally.
Contributions include explorations from the point of view of
applied linguistics (Lynne Cameron), cognitive linguistics (Alan
Cienki), media studies (Kathrin Fahlenbrach), media history
(Michael Wedel), philosophy (Anne Eusterschulte), and psychology
(Raymond W. Gibbs, Jr.).
Traditional thinking on metaphors has divided them into two camps:
dead and alive. Conventional expressions from everyday language are
classified as dead, while much rarer novel or poetic metaphors are
alive. In the 1980s, new theories on the cognitive processes
involved with the use of metaphor challenged these assumptions, but
with little empirical support. Drawing on the latest research in
linguistics, semiotics, philosophy, and psychology, Cornelia Muller
here unveils a new approach that refutes the rigid dead/alive
dichotomy, offering in its place a more dynamic model: sleeping and
waking.
To build this model, Muller presents an overview of notions of
metaphor from the classical period to the present; studies in
detail how metaphors function in speech, text, gesture, and images;
and examines the way mixed metaphors sometimes make sense and
sometimes do not. This analysis leads her to conclude that
metaphors may oscillate between various degrees of sleeping and
waking as their status changes depending on context and intention.
Bridging the gap between conceptual metaphor theory and more
traditional linguistic theories, this book is a major advance for
the field and will be vital to novices and initiates alike.
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