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This volume advances the data-based study of multimodal artefacts
and performances by showcasing methods and results from the latest
endeavors in empirical multimodal research, representing a vibrant
international and interdisciplinary research community. The
collated chapters identify and seek to inspire novel, mixed-method
approaches to investigate meaning-making mechanisms in current
communicative artifacts, designs, and contexts; while attending to
their immersive, aesthetic, and ideological dimensions. Each
contribution details innovative aspects of empirical multimodality
research, offering insights into challenges evolving from
quantitative approaches, particular corpus work, results from
eye-tracking and psychological experiments, and analyses of dynamic
interactive experiences. The approaches and results presented
foreground the inherent multidisciplinary nature and implications
of multimodality, renegotiating concepts across linguistics, media
studies, (social) semiotics, game studies, and design. With this,
the volume will inform both current and future developments in
theory, methods, and transdisciplinary contexts and become a
landmark reference for anyone interested in the empirical study of
multimodality.
Multimodality's popularity as a semiotic approach has not resulted
in a common voice yet. Its conceptual anchoring as well as its
empirical applications often remain localized and disparate, and
ideas of a theory of multimodality are heterogeneous and
uncoordinated. For the field to move ahead, it must achieve a more
mature status of reflection, mutual support, and interaction with
regard to both past and future directions. The red thread across
the disciplines reflected in this book is a common goal of
capturing the mechanisms of synergetic knowledge construction and
transmission using diverse forms of expressions, i.e.,
multimodality. The collection of chapters brought together in the
book reflects both a diversity of disciplines and common interests
and challenges, thereby establishing an excellent roadmap for the
future. The contributions revisit and redefine theoretical concepts
or empirical analyses, which are crucial to the study of
multimodality from various perspectives, with a view towards
evolving issues of multimodal analysis. With this, the book aims at
repositioning the field as a well-grounded scientific discipline
with significant implications for future communication research in
many fields of study.
Multimodality is one of the most popular and influential semiotic
theories for analysing media. However, the application and
conceptual anchoring of multimodality often remains geographically
and disciplinarily grounded within local systems of thought. New
Studies in Multimodality combines the expertise of multimodalists
from around the globe, offering novel readings and applications of
central concepts in multimodality and inviting innovative synergies
between previously disparate schools. Combining perspectives from
the most actively developing traditions of theory and research,
this book progresses from classic concepts to more empirically and
practice-motivated contributions. Contributors engage in mutual
dialogue to present new theoretical perspectives and compelling
applications to a variety of old and new media. Expanding the basis
and scope of multimodality, this volume shows awareness and
experience of this field in many disciplines and illustrates how
versatile, pervasive and relevant it is for studying today's
communication phenomena.
This edited volume brings together work in the field of empirical
comics research. Drawing on computer and cognitive science,
psychology and art history, linguistics and literary studies, each
chapter presents innovative methods and establishes the practical
and theoretical motivations for the quantitative study of comics,
manga, and graphic novels. Individual chapters focus on corpus
studies, the potential of crowdsourcing for comics research,
annotation and narrative analysis, cognitive processing and
reception studies. This volume opens up new perspectives for the
study of visual narrative, making it a key reference for anyone
interested in the scientific study of art and literature as well as
the digital humanities.
This book examines film as a multimodal text and an audiovisual
synthesis, bringing together current work within the fields of
narratology, philosophy, multimodal analysis, sound as well as
cultural studies in order to cover a wide range of international
academic interest. The book provides new insights into current work
and turns the discussion towards recent research questions and
analyses, representing and constituting in each contribution new
work in the discipline of film text analysis. With the help of
various example analyses, all showing the methodological
applicability of the discussed issues, the collection provides
novel ways of considering film as one of the most complex and at
the same time broadly comprehensible texts.
This book is a first attempt to map the broad context of
performance studies from a multimodal perspective. It collects
original research on traditional performing arts (theatre, dance,
opera), live (durational performance) and mediated/recorded
performances (films, television shows), as well as performative
discursive practices on social media by adopting several theories
and methodologies all dealing with the notion of multimodality. As
a mostly dynamic and also interactive environment for various text
types and genres, the context of performance studies provides many
opportunities to produce meaning verbally and non-verbally. All
chapters in this book develop frameworks for the analysis of
performance-related events and activities and explore empirical
case studies in a range of different ages and cultures. A further
focus lies on the communicative strategies deployed by different
communities of practice, taking into account processes of
production, distribution, and consumption of such texts in diverse
spatial and temporal contexts.
This book contributes to the analysis of film from a multimodal and
textual perspective by extending formal semantics into the realm of
multimodal discourse analysis. It accounts for both the inferential
as well as intersemiotic meaning making processes in filmic
discourse and therefore addresses one of the main questions that
have been asked within film theory and multimodal analysis: How do
we understand film and multimodal texts? The book offers an
analytical answer to this question by providing a systematic tool
for the description of this comprehension process. It aims to
advance knowledge of the various resources in filmic texts, the
ways the resources work together in constructing meaning and the
ways people understand this meaning construction. This new approach
to film interpretation is thus able to remodel and improve the
classical paradigm of film text analysis.
This book contributes to the analysis of film from a multimodal and
textual perspective by extending formal semantics into the realm of
multimodal discourse analysis. It accounts for both the inferential
as well as intersemiotic meaning making processes in filmic
discourse and therefore addresses one of the main questions that
have been asked within film theory and multimodal analysis: How do
we understand film and multimodal texts? The book offers an
analytical answer to this question by providing a systematic tool
for the description of this comprehension process. It aims to
advance knowledge of the various resources in filmic texts, the
ways the resources work together in constructing meaning and the
ways people understand this meaning construction. This new approach
to film interpretation is thus able to remodel and improve the
classical paradigm of film text analysis.
This book is a first attempt to map the broad context of
performance studies from a multimodal perspective. It collects
original research on traditional performing arts (theatre, dance,
opera), live (durational performance) and mediated/recorded
performances (films, television shows), as well as performative
discursive practices on social media by adopting several theories
and methodologies all dealing with the notion of multimodality. As
a mostly dynamic and also interactive environment for various text
types and genres, the context of performance studies provides many
opportunities to produce meaning verbally and non-verbally. All
chapters in this book develop frameworks for the analysis of
performance-related events and activities and explore empirical
case studies in a range of different ages and cultures. A further
focus lies on the communicative strategies deployed by different
communities of practice, taking into account processes of
production, distribution, and consumption of such texts in diverse
spatial and temporal contexts.
This edited volume brings together work in the field of empirical
comics research. Drawing on computer and cognitive science,
psychology and art history, linguistics and literary studies, each
chapter presents innovative methods and establishes the practical
and theoretical motivations for the quantitative study of comics,
manga, and graphic novels. Individual chapters focus on corpus
studies, the potential of crowdsourcing for comics research,
annotation and narrative analysis, cognitive processing and
reception studies. This volume opens up new perspectives for the
study of visual narrative, making it a key reference for anyone
interested in the scientific study of art and literature as well as
the digital humanities.
This book examines film as a multimodal text and an audiovisual
synthesis, bringing together current work within the fields of
narratology, philosophy, multimodal analysis, sound as well as
cultural studies in order to cover a wide range of international
academic interest. The book provides new insights into current work
and turns the discussion towards recent research questions and
analyses, representing and constituting in each contribution new
work in the discipline of film text analysis. With the help of
various example analyses, all showing the methodological
applicability of the discussed issues, the collection provides
novel ways of considering film as one of the most complex and at
the same time broadly comprehensible texts.
This textbook provides the first foundational introduction to the
practice of analysing multimodality, covering the full breadth of
media and situations in which multimodality needs to be a concern.
Readers learn via use cases how to approach any multimodal
situation and to derive their own specifically tailored sets of
methods for conducting and evaluating analyses. Extensive
references and critical discussion of existing approaches from many
disciplines and in each of the multimodal domains addressed are
provided. The authors adopt a problem-oriented perspective
throughout, showing how an appropriate foundation for understanding
multimodality as a phenomenon can be used to derive strong
methodological guidance for analysis as well as supporting the
adoption and combination of appropriate theoretical tools.
Theoretical positions found in the literature are consequently
always related back to the purposes of analysis rather than being
promoted as valuable in their own right. By these means the book
establishes the necessary theoretical foundations to engage
productively with today's increasingly complex combinations of
multimodal artefacts and performances of all kinds.
While multimodality is one of the most influential semiotic
theories for analysing media artefacts, the concepts of this theory
are heterogeneous and widespread. The book takes the differences
between approaches in Germany and those in international contexts
as a starting point, offering new insights into the analysis of
multimodal documents. It features contributions by researchers from
more than 15 nations and various disciplines, including theoretical
reflections on multimodality, thoughts about methodological,
empirical, and experimental approaches as well as analyses of
various multimodal artefacts.
Multimodality is one of the most popular and influential semiotic
theories for analysing media. However, the application and
conceptual anchoring of multimodality often remains geographically
and disciplinarily grounded within local systems of thought. New
Studies in Multimodality combines the expertise of multimodalists
from around the globe, offering novel readings and applications of
central concepts in multimodality and inviting innovative synergies
between previously disparate schools. Combining perspectives from
the most actively developing traditions of theory and research,
this book progresses from classic concepts to more empirically and
practice-motivated contributions. Contributors engage in mutual
dialogue to present new theoretical perspectives and compelling
applications to a variety of old and new media. Expanding the basis
and scope of multimodality, this volume shows awareness and
experience of this field in many disciplines and illustrates how
versatile, pervasive and relevant it is for studying today's
communication phenomena.
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