Beyond Media Borders, Volume 1 : : Intermedial Relations among Multimodal Media.
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Place / Publishing House: | Cham : : Springer International Publishing AG,, 2020. {copy}2021. |
Year of Publication: | 2020 |
Edition: | 1st ed. |
Language: | English |
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Physical Description: | 1 online resource (267 pages) |
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Elleström, Lars. Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. 1st ed. Cham : Springer International Publishing AG, 2020. {copy}2021. 1 online resource (267 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier 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 -- 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. Description based on publisher supplied metadata and other sources. Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. Electronic books. Print version: Elleström, Lars Beyond Media Borders, Volume 1 Cham : Springer International Publishing AG,c2020 9783030496784 ProQuest (Firm) https://ebookcentral.proquest.com/lib/oeawat/detail.action?docID=6381308 Click to View |
language |
English |
format |
eBook |
author |
Elleström, Lars. |
spellingShingle |
Elleström, Lars. Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. 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 -- 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. |
author_facet |
Elleström, Lars. |
author_variant |
l e le |
author_sort |
Elleström, Lars. |
title |
Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
title_sub |
Intermedial Relations among Multimodal Media. |
title_full |
Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
title_fullStr |
Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
title_full_unstemmed |
Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
title_auth |
Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
title_new |
Beyond Media Borders, Volume 1 : |
title_sort |
beyond media borders, volume 1 : intermedial relations among multimodal media. |
publisher |
Springer International Publishing AG, |
publishDate |
2020 |
physical |
1 online resource (267 pages) |
edition |
1st ed. |
contents |
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 -- 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. |
isbn |
9783030496791 9783030496784 |
callnumber-first |
P - Language and Literature |
callnumber-subject |
P - Philology and Linguistics |
callnumber-label |
P87-96 |
callnumber-sort |
P 287 296 |
genre |
Electronic books. |
genre_facet |
Electronic books. |
url |
https://ebookcentral.proquest.com/lib/oeawat/detail.action?docID=6381308 |
illustrated |
Not Illustrated |
dewey-hundreds |
300 - Social sciences |
dewey-tens |
300 - Social sciences, sociology & anthropology |
dewey-ones |
302 - Social interaction |
dewey-full |
302.23 |
dewey-sort |
3302.23 |
dewey-raw |
302.23 |
dewey-search |
302.23 |
oclc_num |
1243534567 |
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Beyond Media Borders, Volume 1 : Intermedial Relations among Multimodal Media. |
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-- 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.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">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? 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