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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.
Although recent linguistic and media-studies' research has
increasingly dealt with forms of imagery beyond language, such as
in audiovisual formats, only little attention has been paid to the
specific media character of audiovisual images. This raises a
theoretical as well as methodological problem: How can processes of
figurative meaning making in audiovisual media be adequately
conceptualized and described? The book intends to bridge this
research gap with an analysis of campaign commercials, a hitherto
largely underexplored object of study in metaphor and metonymy
research. To achieve this goal, a transdisciplinary film-analytical
and cognitive-linguistic account of audiovisual figurativity is
developed and examined through a comparative analysis of figurative
meaning-making processes in German and Polish campaign commercials
from 2009 and 2011. By setting the inseparable intertwining of
language and cinematic staging, sensing and understanding center
stage, the book provides insight into the dynamic nature and
embodied affective grounds of audiovisual figurativity, and
challenges the long-known dichotomies of rational discourse and
affective manipulation, political message and media effect.
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.).
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.).
Although recent linguistic and media-studies' research has
increasingly dealt with forms of imagery beyond language, such as
in audiovisual formats, only little attention has been paid to the
specific media character of audiovisual images. This raises a
theoretical as well as methodological problem: How can processes of
figurative meaning making in audiovisual media be adequately
conceptualized and described? The book intends to bridge this
research gap with an analysis of campaign commercials, a hitherto
largely underexplored object of study in metaphor and metonymy
research. To achieve this goal, a transdisciplinary film-analytical
and cognitive-linguistic account of audiovisual figurativity is
developed and examined through a comparative analysis of figurative
meaning-making processes in German and Polish campaign commercials
from 2009 and 2011. By setting the inseparable intertwining of
language and cinematic staging, sensing and understanding center
stage, the book provides insight into the dynamic nature and
embodied affective grounds of audiovisual figurativity, and
challenges the long-known dichotomies of rational discourse and
affective manipulation, political message and media effect.
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.
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