By Janina Wildfeuer
This booklet contributes to the research of movie from a multimodal and textual point of view by means of extending formal semantics into the world of multimodal discourse research. It money owed for either the inferential in addition to intersemiotic which means making methods in filmic discourse and accordingly addresses one of many major questions which have been requested inside movie idea and multimodal research: How will we comprehend movie and multimodal texts? The booklet bargains an analytical solution to this question through offering a scientific instrument for the outline of this comprehension procedure. It goals to increase wisdom of some of the assets in filmic texts, the methods the assets interact in developing which means and the methods humans comprehend this which means development. This new method of movie interpretation is therefore in a position to rework and enhance the classical paradigm of movie textual content research.
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Extra info for Film Discourse Interpretation: Towards a New Paradigm for Multimodal Film Analysis
All narrative processes describe actions or states of affairs. Conceptual processes, in contrast, assign attributes to objects. They are classified into analytical, classificational and symbolic processes whose participants are Carriers and Attributes. These processes are not connected by a vector, but present their participants “in terms of their more generalized and more or less stable and timeless essence, in terms of class, or structure or meaning” (Kress and van Leeuwen 1996: 79). Details on the auditory level will be elucidated similarly.
In a second step, each sub-mode or feature which is relevant for the inference process in an actual context will be examined. For the analysis on the visual level, the work of Kress and van Leeuwen (1996) is employed. Their innovative research on the grammatical construal of images provides a framework for describing visual process types. Based on the categorisation of transitivity processes by Halliday, Kress and van Leeuwen assume that images “can ‘say’ (some of) the same things as language—in very different ways” (Kress and van Leeuwen 1996: 50).
As becomes visible throughout the graphical and formal representations, the analytical tool applied to the example of the short film WORDS offers an appropriate framework for outlining the process of making meaning in filmic discourse. The notation style, which is adapted from SDRT (cf. 2), and its combination with rhetorical relations enables a closer analysis of a dynamically unfolding discourse such as film. The examination of discursive qualities, mainly for verbal discourse, is considerably more detailed and particularly well developed.