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0 (hodnocen0 x )

EB

ONLINE

Cham : Springer International Publishing AG, 2020

1 online resource (267 pages)

ISBN 9783030496791 (electronic bk.)

ISBN 9783030496784

Print version: Ellestrom, Lars Beyond Media Borders, Volume 1 Cham : Springer International Publishing AG,c2020 ISBN 9783030496784

2.8 Conclusion -- References -- Chapter 3: Multimodal Acting and Performing.

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.

Beyond Media Borders, Volume 1 -- Foreword: Mediations of Method -- Preface -- Acknowledgements -- About the Book -- Contents -- List of Figures -- List of Tables -- Notes on Contributors -- 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 ---

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.

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 ---

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.

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 ---

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 ---

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.

001894849

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(Au-PeEL)EBL6381308

(MiAaPQ)EBC6381308

(OCoLC)1243534567