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The chapters in the next cluster are specifically devoted to the musical and sonic contributions to multimodal metaphors.
Zbikowski is careful to point out, however, that for these musical elements to be experienced as metaphorical, they need to be consid- ered in conjunction with the theme of the piece. Moreover, not only map- pings from language to music are possible, but also vice versa.
Zbikowski concludes that to do full justice to the respective contributions of text and music to the various musical pieces scrutinized, in a number of cases a mul- timodal blending approach Fauconnier and Turner provides a better model than a multimodal metaphor construal. He ends the chapter with a series of preliminary claims, to be tested in further research in this field. The chapters in the final cluster have been written by scholars with a cognitivist film theory rather than a cognitivist linguistics background.
He examines a series of classic texts that discuss cinematic metaphor, and considers to what extent the various ap- proaches are consonant with the multimodal metaphor model adhered to in Introduction 11 this volume. Rohdin thus is the only contributor to present a diachronic per- spective on the issue of multimodal metaphor. Moreover, he draws attention to the fact that cinematic metaphors may acquire extra meanings because through visual styling they can create intertextual references to other films and phenomena familiar from everyday life.
Finally, Rohdin finds that, con- trary to expectation, the silent cinema was particularly rich in multimodal metaphors of the verbo-pictorial variety, due to the creative use of intertitles.
University Of Gloucestershire
Its key argument is that human vic- tims in extreme horror films are typically abused as if they were animals. Without elaborate discussion, we will briefly list some of these patterns, presenting them as something with a status that hovers between hypothesis and research program.
Some of the issues have been discussed in relation with verbal metaphors, but often their importance has been underestimated in that realm; others appear to reveal themselves precisely thanks to the multimodal nature of the metaphors that are the specific focus of attention here.
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A fourfold distinction into hybrid metaphor, contextual metaphor, simile, and integrated metaphor is proposed, and an example of each is discussed. But the construal of a pictorial metaphor is not only invited or forced by text-internal cues: authorial intentions and genres also play an important role.
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From pictorial to multimodal metaphor. In Lecture 2 examples of pictorial metaphors in static images were analysed.
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I argued that these pictorial metaphors can be of four types: i Contextual metaphor; ii Hybrid metaphor; iii Simile; iv Integrated metaphor. In this lecture, two issues will be discussed. First, I will reflect on how the formal differences between the types affect the range of their possible interpretations.
Second, I will look at how the analysis and examination of non-verbal metaphors needs to be adapted if they occur in moving instead of static images. In fact, that is, we leave the relatively simple realm of pictorial metaphor and move into the more complex area of multimodal metaphor. Pictorial and multimodal metaphors in commercials. When the representations studied are moving images rather than static ones, the opportunities for creating pictorial metaphor proliferate.
For one thing, the information channels of the written word and the printed visual are complemented by aural information, in the form of music, spoken words, and sound effects. Moreover, the visual channel now includes camera movements while the various ways to link one shot to the next that is, the "montage" similarly lead to possibilities for representing multimodal metaphors not available to pictures without temporal development.
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Pictorial and multimodal metaphor in fiction film. Advertising is characterized by straightforward intentions all variants of "buy me! But pictorial and multimodal metaphor can also occur in artistic texts. In this lecture, fragments from narrative films claimed to contain a pictorial or multimodal metaphor will be discussed and analyzed. This discussion leads to some cautious generalizations. Metaphor and blending theory. A fairly recent development in cognitive linguistics that is related in metaphor theory is "blending theory," an approach connected with the names of Gilles Fauconnier and Mark Turner e.
In this lecture, the connections between metaphor and blending theory will be examined, and an attempt will be made to show what uses blending theory has for the analysis of moving images. Structural pictorial and multimodal metaphor. Okay, shoot! These so-called structural metaphors are deeply embedded in the conceptual framework of communities in Western culture. Such structural, orientational and ontological metaphors contrast with the more "incidental" metaphors hitherto discussed by being already latently part of people's Idealized Cognitive Models ICMs.
This lecture will focus on the question whether, and if so in what manner, these more fundamental metaphors find their way into visual and multimodal discourses. Lecture 8. Concluding observations and further research. Powered by WordPress. Designed by.