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Semiosis in the Film Soundtrack: Aural Perspective and Social Distance in The Queen Film Trailer

机译:电影配乐中的符号学:《女王电影预告片》中的听觉视角和社交距离

摘要

The emergence of digital technologies has changed the design of texts and our literate practices so that we now interpret and construct texts which have written, visual, audio and spatial dimensions for making meaning, that is, multimodal texts. Contemporary digital texts such as television advertisements, film trailers, video and television programs increasingly privilege sound features (speech, music, sound effects) to 'design' meanings and to 'position' listeners towards the interests of the composers of multimodal texts. Indeed digital texts that persuade, such as television advertisements and film trailers, particularly feature sound to build a convincing message about a product, for consumers. Sound now takes a significant place alongside language and visual images in the digital texts of our multimodal landscape (Baldry & Thibault 2006, van Leeuwen 1999), and will be a crucial part of texts that students must learn to critically understand and use. This paper discusses the educational imperative for schools to begin developing students' knowledge about sound as an integral communicative mode in contemporary digital texts. In acknowledging the paucity of research that frames and supports teaching about sound, this paper also argues the need for research that builds a rigorous basis for theorising the modal resources of sound, and informs pedagogical practice. In this educational research context, one such research perspective in relation to sound is examined in this paper. van Leeuwen's theoretical modelling of sound as a social semiotic, as presented in his book Speech, Music, Sound (1999) is outlined, and it informs the exploratory research design reported in the final section of this paper. van Leeuwen's assertion that the conceptual and technical description of semiotic resources of sound facilitates the interpretation of meaning is investigated. Using The Queen film trailer as a model, van Leeuwen's methodology is applied to analyse the semiotic resource of loudness, and interpret the meaning of loudness. The educational implications of this investigation are discussed.
机译:数字技术的出现改变了文本的设计和我们的文学实践,因此我们现在解释和构建具有书面,视觉,音频和空间维度以实现含义的文本,即多模式文本。当代数字文本(例如电视广告,电影预告片,视频和电视节目)越来越多地将声音功能(语音,音乐,声音效果)赋予“设计”含义,并将听众“定位”为多模式文本撰写者的利益。的确,说服数字文本,例如电视广告和电影预告片,尤其具有声音,可以为消费者建立令人信服的产品信息。在多模态景观的数字文本中,声音在语言和视觉图像中占有重要地位(Baldry&Thibault 2006,van Leeuwen 1999),并且将成为学生必须学会批判性理解和使用的文本的重要组成部分。本文讨论了学校在当代数字文本中作为一种不可或缺的交流方式来开始发展学生的声音知识的教育迫切性。在认识到缺乏框架和支持声音教学的研究的同时,本文还认为需要进行研究以为声音的模态资源建立理论基础并为教学实践提供依据。在这种教育研究的背景下,本文研究了一种与声音有关的研究视角。范·列文(van Leeuwen)在其《语音,音乐,声音》(1999)一书中概述了声音作为一种社会符号学的理论模型,并为本文最后一节中所报道的探索性研究设计提供了信息。范·列文(van Leeuwen)关于声音符号学的概念和技术描述有助于意义解释的主张得到了研究。范·列文(van Leeuwen)以皇后区电影预告片为模型,运用其方法论来分析响度的符号资源,并解释响度的含义。讨论了这项调查的教育意义。

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    Noad Betty; Unsworth Len;

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  • 年度 2007
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