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Author(s):  
Taofeek Olaiwola Dalamu

This study examined the interplay of pictorial and written modes that position advertising as a multimodal genre, explainable through a social semiotic perspective. Eight advertisements of the financial, telecommunications, and beverage products functioned as devices of analysis. Nevertheless, multimodal communicative acts served as the processing tool, elucidating the meaning potentials of the advertising configurations. Having deployed a system of multimodal interacts, tables and graphs assisted in accounting for the frequency of the semiotic resources of the written modes. The analysis indicated large and highlighted fonts (Celebrating the world’s no. 1 fixer), repetitions (Guinness, Maltina, real deal), and deviant constructs (EazyLoans, GTWorld) as elements of propagating intended messages. The deployment of codes (*966*11#, 737) and fragmented clauses (Over N100 million worth of airtime) played some roles in the meaning-making operations. Of significance is the Guinness’ conceptual “digits” of 17:59, contextualising the year, time, and channel of promotional benefits. Though questions (Have you called mum today?), offer (It can be), and minor clauses (Welcome to Guinness time) were parts of the communicative systems, statements (Terms and condition apply) and commands (Enjoy the complete richness of Maltina) dominated the entire dialogues. One might suggest that communicators should endeavour to deploy apt constructions and create eye-lines between participants as means of sensitising readers into consumption.


2021 ◽  
Vol 27 ◽  
pp. 203-212
Author(s):  
Miodrag Milovanović

Historian Jovana Babović claims that post-World War I Belgrade residents embraced different foreign cultural influences in an attempt to become citizens of western type metropolis. Various examples that support her claim were discovered through analysing a specific area of popular culture — science fiction — and enriched with interesting findings about surprisingly fast translations of certain stories, at the very beginning of the establishment of science fiction as an independent genre by Hugo Gernsback, publisher of the world’s first SF magazine Amazing Stories (1926). Several stories from its first issues appeared after only a few months in the Belgrade magazine Reč i slika [Words and Images], with faithful copies by domestic illustrators of original drawings by the leading US genre illustrator of that time, Frank R. Paul. Despite the relatively small number of translated stories, influence on domestic writers and illustrators of popular fiction was significant. The importance of these stories is reflected in the growing penetration of Serbian popular culture by US influences, which began to gain signifi cance in relation to the hitherto dominant French, German and Russian influences. Unfortunately, considering that most of the people involved in these activities died during World War II, and that there is no archived documentation, the pathways by which these stories reached readers in Serbia have yet to be uncovered.


2021 ◽  
Vol 41 (65) ◽  
pp. 241
Author(s):  
Erick Gontijo Costa

Resumo: Neste artigo, investigam-se o pensamento do gesto e a presença do traço como elementos comuns às obras visuais e aos poemas de Ana Hatherly. A reflexão se fundamenta em textos teóricos da autora, em um ensaio de Gonçalo Tavares a respeito da presença do traço nas palavras e nas imagens, no conceito de “escritura”, extraído de O império dos signos, de Roland Barthes, e no conceito de “anacrusa”, tal como formulado por Maurice Blanchot. Por fim, demonstra-se a indissociabilidade entre palavras e imagens nas anotações de sonhos presentes no livro Anacrusa, de Ana Hatherly, além de se delimitar os efeitos da reinvenção da leitura formulada pela autora ao longo de sua obra.Palavras-chave: Traço; Letra; Imagem; Leitura.Abstract: In this paper, the gesture thinking and the presence of the trace are investigated as common elements to Ana Hatherly’s visual works and poems. The reflection is based on the author’s theoretical texts, in an essay by Gonçalo Tavares about the presence of the trace in words and images, in the concept of “writing”, extracted from Roland Barthes The Empire of the Signs, and in the concept of “anacrusa”, as formulated by Maurice Blanchot. Finally, it demonstrates the inseparability between words and images in the dream notes present in the book Anacrusa, by Ana Hatherly, in addition to delimiting the effects of the reinvention of reading formulated by the author throughout her work.Keywords: Trace; Letter; Image; Reading.


2021 ◽  
Vol 16 (4) ◽  
pp. 1013-1042
Author(s):  
Slobodan Naumović

This paper is an attempt, based on many years of following the International Festival of Ethnological Film, organized by the Ethnographic Museum in Belgrade, to provide insight into the way in which it has so far fulfilled its purpose, while at the same time experiencing tumultuous, occasionally even tragic events and processes. The main question concerns the way in which “interesting times” have left their mark on and shaped the world of human experience of people who have lived through them, thus also film production and festival practice. The phrase “interesting times” is used in the sense in which it was used by the historian Eric Hobsbawm, who used it as a label for “the most extraordinary and terrible century in human history”. Two elements are of prime importance in the paper – the assumption that “interesting times” can exist simultaneously with, and can cause or heighten emotional and creative tension, and also the fact that the limited possibilities that the resulting states of mind and initiatives can be fulfilled through the usual channels, such as political ones, can lead to attempts to satisfy them through art or cultural forms. Film production and festival activities can, under certain circumstances, offer alternative channels for expressing moods and content that arise or are enhanced during “interesting times”. On the one hand, the framework for analysis will provide reflections on the nature and the possible social roles of film festivals, including festivals of documentary and ethnographic films. Essentially, it will be necessary to consider the questions of the types of experiences provided by the Festival to its participants and attendees, the cinematic experiences it offers, and the specific aims and ideologies advocated as part of it. On the other hand, relying on valuable testimony in the form of the Festival Catalogue, words and images which testify to the achievements of the Festival will be identified. At the very beginning, in the turbulent times when political orders were overthrown, along with legal and ethical frameworks, it seemed that the Festival had managed to be conceptually ahead of its time. It was a dream come true and a model for many, a place where “miracles” happened. After a number of years, its long history temporarily weakened the Festival's creative potential. The times became somewhat less interesting, slightly dull even, and the Festival followed suit. And yet through all the changes, the Festival has not ceased to be a place where people meet and learn; a place where images inspire thoughts, and thoughts seek visual means of expression; a place where, by meeting Others, we learn something about ourselves as well, but also a place where by seeking to find a way to represent ourselves, we enrich Others.


2021 ◽  
Vol 4 (2) ◽  
pp. 246-254
Author(s):  
Lindra Mayu Asis ◽  
La Aso ◽  
Neil Amstrong

This research is about analyzing the words and images in Maleficent: Mistress of Evil movie. To analyze the two modes of words and images contained in this research, the researcher uses the theory by Kress & Van Leeuwen (2006) to analyze verbal and visual elements in the framework of proposing a comprehensive and systemic interpretation of meaning. This research objective is to determine how words and images are used and related meaning among them. This research uses qualitative description to discuss the two meanings of verbal and visual modes in the Maleficent: Mistress of Evil movie. The types of data collection in this research are downloading the movie in the telegram application, watching the movie repeatedly, screenshotting the movie, and then transcribing the utterances in dialogue related to data analysis, selecting and coding data, and identifying data. The types of data analysis are presenting the data, describing the data, finding out the relationship between the meaning of words and the meaning of images, and concluding the data. The researcher found that the dominant used on Mental Processes in the words component. While images were analyzed using only three elements which are on the body of the actors in Maleficent movie such as facial expressions dominant in the feeling happy, gestures dominate when characters stand up straight has meaning confidence, and clothing color dominant the black colors have meaning sadness and 4 data were interrelated for relationships meaning among the modes. The researcher found that this research shows a movie that brings ideology for the community not to judge someone only from their outward appearance and for women to have the power so that they are not easily oppressed.


2021 ◽  
Vol 10 ◽  
pp. BB40-BB64
Author(s):  
Lena Hoffmann

In the last 15 to 20 years a lot of celebrities have published novels and or picture books for children and adolescents. This article will contextualise this international phenomenon within a theoretical framework of celebrity studies and research on life writing and intermediality. As will be shown, these literary texts for young people by celebrities represent an intermedial life writing that combines texts, illustrations, photographs and forms of online and offline self-curating as well. It is especially the picture book that seems to carry an archival function with respect to the authors’ lives. Here, the celebrities tell about themselves in words and images, they stage themselves as private and authentic persons. Understanding children’s and adolescents’ literature as part of intergenerational communication, these literary texts show different kinds of strategies to prolong the knowledge of a public person in societies’ collective memories.


Author(s):  
Lars Oberhaus ◽  
Mareile Oetken

Artikelbeginn:[English title and abstract below] Musik und Klang können auf unterschiedliche Weise Eingang in ein Bilderbuch finden. Aus methodischer Sicht lassen sich auf der einen Seite außermusikalische Inhalte (v. a. Texte und Bilder) musikalisch darstellen (Verklanglichung, Vertonung), und auf der anderen Seite besteht die Möglichkeit, Musik in andere Medien zu transformieren (Bild und Visualisierung, Bewegung und Verkörperung, Text und Versprachlichung). Diese Interdependenzen finden sich auch in Gattungen und Kompositionstechniken, wie z. B. Oper und Programmmusik, in denen sich Handlung, Text und Musik wechselseitig beeinflussen und überlagern.   The Picture Book as a Sound MediumAesthetic, Scientific and Artistic Perspectives This article is an overview of the relevance of sound and music in picturebooks. Various possible relationships between images, words and sounds are shown, and different formats and historical developments are discussed. A focus is placed on the dimensions of the narrative context and the relevance of different types of media. Traditionally, the relation between music, words and images included setting picturebooks to music. In the last few years, electronic book media such as e-books, enhanced books and picturebook apps, which offer a combined, multimedial listening, reading and viewing experience, present new perspectives for intermedial picturebook research. The article details strategies for analysing the picturebook as a sound medium, using methods and concepts from film analysis, aesthetic transformation and the concept of aurality to show how the medium of sound is an open, ambiguous aesthetic quality that enriches picturebooks with its contingent possibilities for symbolic representation.


2021 ◽  
Vol 46 (4) ◽  
Author(s):  
Tanner Mirrlees

Background: To contribute to research on the transnational far right, Islamophobia, and social media platforms, this article interrogates the far right’s practice of using Twitter to produce and circulate a #removekebab hashtag. Analysis: The accounts behind the words and images of 100 #removekebab tweets are analyzed to show how they communicate the transnational far right’s hateful Islamophobic discourse. Conclusion and implications: The far right’s #removekebab tweets dehumanize Muslims, tacitly call for genocide against Muslims, and rationalize this violence by stereotyping Muslims as a collective threat to the West. Contexte : Afin de contribuer à la recherche sur l’extrême droite transnationale, l’islamophobie et les plateformes de médias sociaux, l’auteur interroge la pratique de l’extrême droite consistant à utiliser Twitter pour produire et faire circuler le hashtag removekebab. Analyse : L’auteur analyse les comptes, les mots et les images de 100 tweets #removekebab et montre comment ils communiquent le discours islamophobe haineux de l’extrême droite transnationale. Conclusion et implications : L’auteur constate que les tweets #removekebab de l’extrême droite déshumanisent les musulmans, appellent tacitement au génocide des musulmans et rationalisent cette violence en stéréotypant les musulmans comme une menace collective pour l’Occident.


2021 ◽  
Vol 12 (2) ◽  
pp. 22
Author(s):  
K Khristianto ◽  
Fina Khanifa

This study aims to find out the interpersonal meaning and the intersemiotic complementary in public service advertisement of selected violence against children prevention campaign. Employing Royce’s intersemiotic complementary framework (2001), it analyzed how the visual and verbal signs work together to create common messages sent to the public as viewers/readers. Based on the analysis, it is found out that the five aspects of visual features --visual contact, social distance, involvement, power relation, and modality—have worked together to construct the interpersonal meaning. The close up shot showing the detail of the bruises on the nose emphasizing a high modality; it represents a high naturality. The boy in bruises looks directly at viewers’ eyes, demanding a help from them. The equal frame on the picture tells the readers that the boy can be part of every one’s life. It may happen in any place and the readers are asked to do take an action. In terms of verbal features, the declarative sentences are used to inform the facts. It is to highlite the clear message in the image, saying that such a violence may be taken by a mother who inherits the boy’s nose—the one who actually loves him very much, but the situation has changed her a lot. Through the way the producers organize the verbal text the readers may take their action to stop the child abuse. Both visual and verbal modes are contributes to convey interpersonal meaning. The intersemiotic complementary in the advertisement is realized interpersonally through the meanings projected in both modes through the reinforcement of address.


2021 ◽  
Vol 5 (4) ◽  
pp. 19-38
Author(s):  
Gry O. Ulrichsen ◽  
Helen Eriksen ◽  
Zahra Bayati

This article will investigate a general concern with the practical implementation of inclusion as recommended in policy documents in art education in general and the Nordic Community School of Music and Arts (NCSMA) specifically. We ask: What do policy documents mean by inclusion? In what way can or do art educators practice inclusionary strategies? We consider homogeneity in this field and the need for pluralism in this institutional framework. We will diffract discourses through words and images in threads from a post-colonial perspective, critical race and Whiteness studies. Struggling through our blind spots in knowledge production, we seek to understand how Other perspectives received in the NCSMA can emerge. The three research scholars from the field of education and art embody different educational and geographical starting points and differing but shifting power positions in various contexts. This triangle of embodied knowledge allows us to investigate these conflicting positions and perform intentional antiracist response-ability in research related to the NCSMA as an educational institution. Our analysis shows a discrepancy between general intentions of inclusion and practical outcomes.


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