This open access book promotes the idea that all media types are multimodal and that comparing media types, through an intermedial lens, necessarily involves analysing these multimodal traits. The collection includes a series of interconnected articles that illustrate and clarify how the concepts developed in Elleström’s influential article The Modalities of Media: A Model for Understanding Intermedial Relations (Palgrave Macmillan, 2010) can be used for methodical investigation and interpretation of media traits and media interrelations. The authors work with a wide range of old and new media types that are traditionally investigated through limited, media-specific concepts. The publication is a significant contribution to interdisciplinary research, advancing the frontiers of conceptual as well as practical understanding of media interrelations. This is the first of two volumes. It contains Elleström’s revised article and six other contributions focusing especially on media integration: how media products and media types are combined and merged in various ways.
Author(s): Lars Elleström
Publisher: Palgrave Macmillan
Year: 2020
Language: English
Pages: 246
City: Cham
Foreword: Mediations of Method
Preface
Acknowledgements
About the Book
Contents
Notes on Contributors
List of Figures
List of Tables
Part I: The Model
Chapter 1: The Modalities of Media II: An Expanded Model for Understanding Intermedial Relations
1.1 What Is the Problem?
1.2 What Are Media Products and Communicating Minds?
1.2.1 A Medium-Centred Model of Communication
1.2.2 Media Products
1.2.3 Elaborating the Communication Model
1.2.4 Communicating Minds
1.3 What Is a Technical Medium of Display?
1.3.1 Media Products and Technical Media of Display
1.3.2 Mediation and Representation
1.4 What Are Media Modalities, Modality Modes and Multimodality?
1.4.1 Multimodality and Intermediality
1.4.2 Media Modalities and Modes
1.5 What Are Media Types?
1.5.1 Basic and Qualified Media Types
1.5.2 The Contextual and Operational Qualifying Aspects
1.5.3 Technical Media of Display, Basic Media Types and Qualified Media Types
1.6 What Are Media Borders and Intermediality?
1.6.1 Identifying and Construing Media Borders
1.6.2 Crossing Media Borders
1.6.3 Intermediality in a Narrow and a Broad Sense
1.7 What Are Media Integration, Media Transformation and Media Translation?
1.7.1 Heteromediality and Transmediality
1.7.2 Media Integration
1.7.3 Media Transformation
1.7.4 Media Translation
1.8 What Is the Conclusion?
References
Part II: Media Integration
Chapter 2: A Recalibration of Theatre’s Hypermediality
2.1 Introduction
2.2 Recalibration
2.3 Hypermedium and Hypermediacy
2.4 Temporality and Sensoriality
2.5 Signification and Participation
2.6 Angles of Mediation and Exclusivity
2.7 Architecture of Commerce
2.8 Conclusion
References
Chapter 3: Multimodal Acting and Performing
3.1 Modes, Modalities and the Actor as a Medium
3.2 On Analysing Acts of Performance (in a Multimodal Situation)
3.3 Modes and Modalities of Performance
3.3.1 The Favourite (2018)
3.3.2 ear for eye (2018)
3.3.3 Black Mirror—‘Rachel, Jack and Ashley Too’ (2019)
3.3.4 Sanctuary (2017)
3.4 Towards a Multimodal Performance Analysis
References
Chapter 4: Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era
4.1 Screens and Frameworks
4.2 Diegetic Electronic Screens as “Basic Media Types”
4.2.1 Changes in the Material, the Sensorial and the Spatiotemporal Modality Modes of Diegetic Electronic Screens
4.2.2 Diegetic Electronic Screens on the Verge of the Presemiotic and the Semiotic Modalities
Decor Screens
Diegetic Screens
Metadiegetic Screens
4.3 The Qualifying Aspects of Electronic Screens
4.4 The Intermedial Processes at Work in the Examined Filmic Sequences
References
Chapter 5: Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling
5.1 Introduction
5.2 Perennial Paradox: Achieving Affective and Truthful Impacts
5.3 Tackling the Paradox via Semiotic Approach to Narrative Functions
5.3.1 Multi-leveled, Semiotic Approach to Narrative Functions
5.3.2 Media Frames, Human Memory, and Truthfulness
5.3.3 Distinguishing Embodied and Contemplative Affects
5.3.4 Forms of Digital Mediation in Film and Affective Engagement
5.4 Final Remarks
References
Chapter 6: Reading Audiobooks
6.1 Introduction
6.2 The Formats of the Audiobook
6.3 Do We Read an Audiobook?
6.4 Narrative and Themes in Ned til hundene by Helle Helle
6.5 Technological Framework
6.6 Reading Situations
6.7 The Voice
6.8 The Aspects of Experience in Reading an Audiobook: Time and Depth
6.9 Conclusion
References
Chapter 7: Language in Digital Motion: From ABCs to Intermediality and Why This Matters for Language Learning
7.1 Introduction
7.2 Language and Literacy
7.2.1 The Literate Bias of Education
7.2.2 Mobile Language Learning
7.3 The Expanding Borders of Language in Digital Communication
7.3.1 DIY Language Norms and Conventions
7.3.2 Language in Mobile Digital Context
7.4 Theorizing Multimodal Communication: Two Views
7.5 Modality, Mode, and Media in Digital Communication
7.5.1 Emoji
7.5.2 Conversational AI
Language from Whose [sic] Perspective: The Complex Materiality of AI Communication
7.6 Conclusion: From ABCs to Intermediality
References
Index
