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For many of us the word narrative probably sounds much too formal and literary to capture the familiarity we feel for stories and storytelling. What child does not know the enchantment promised by “once upon a time”? And who can resist the invitation from an eager listener to “tell me, what happened”? We tell stories of pregnancies and births, we grapple with a death by finding the story that makes sense of a life. With each returning autumn, school children know well how to craft the stories of a summer’s vacation, and those of athletic challenge, worldly adventure, and teen romance. The list goes on; no mater what our age or where we are from, we live our lives telling and listening to stories. Some are rendered with words, others we experience in tales told through dance, pictures, or music. Some are made for television and film, others for the stage. But what is this disarmingly familiar thing we call a story? What is it that we recognize as similar in so many variations: the story told through mime and a children’s book, ballet and a novel, the short story and a symphony, television news and situation comedy, the newspaper and a movie, the comic strip and a photo documentary?

… there has been a ‘constant interaction between narrative intent’ and illusionist ‘pictorial realism’ … painting was predominantly narrative from the Renaissance to the nineteenth century. …

ABSTRACT Since visuality in the (self-)representation of politicians and other influential figures has become an important part of political storytelling, we propose to use visual narrative analysis (VNA) as a systematic approach for its better understanding. VNA is particularly suited for this performative strand of interpretive analysis, as it does not study images in isolation but in the broader context of political narratives. By analysing different layers of communication (images, narratives, competing narratives) VNA enables us to identify internal contradictions that undermine political efforts of self-representation in contexts of global governance (e.g. multilateral diplomacy) and render them unstable and contestable. By analysing competing (self-)representations at a G7 meeting in 2018, we show how VNA can be applied fruitfully to the study of international politics and, second, how VNA can explain some of the reasons why one image became iconic (Angela Merkel as female leader of the liberal world), i.e. appealed to a wider audience, and others (focusing on Emmanuel Macron or Donald Trump) did not. While our article is primarily a demonstration of the methodological benefits of VNA for various research contexts in world politics, it also contributes to conceptual debates on the combination of visuality, narratives and emotions in changing practices of political storytelling.

… Narrative have increasingly featured papersand sessions on the intersections between scholarship on narrative … work by analysts of graphic narrative, including Jeanne Ewert's and Erin …

… photographs implied in light of narrative theory. When the Oklahoma City bombing occurred, Americans had to readjust and reevaluate the narrative that they believed about domestic …

Studies of discourse have long placed focus on the inference generated by information that is not overtly expressed, and theories of visual narrative comprehension similarly focused on the inference generated between juxtaposed panels. Within the visual language of comics, star-shaped “flashes” commonly signify impacts, but can be enlarged to the size of a whole panel that can omit all other representational information. These “action star” panels depict a narrative culmination (a “Peak”), but have content which readers must infer, thereby posing a challenge to theories of inference generation in visual narratives that focus only on the semantic changes between juxtaposed images. This paper shows that action stars demand more inference than depicted events, and that they are more coherent in narrative sequences than scrambled sequences (Experiment 1). In addition, action stars play a felicitous narrative role in the sequence (Experiment 2). Together, these results suggest that visual narratives use conventionalized depictions that demand the generation of inferences while retaining narrative coherence of a visual sequence.

The new focus of brand communication in social media has driven firms to develop the effective visual content strategy. In light of narrative transportation theory, this study aims to investigate the impact of a photo’s narrative elements on self-brand connection through viewers’ transportation and emotional responses. Additionally, this study tests the role of telepresence on Instagram in this psychological mechanism.,Using between-subjects experimental design, two experimental studies test the effect of implied movement (Study 1) and diverse narrative elements such as a character, implied motion for chronology and the relevant background (Study 2).,Results demonstrate that a single narrative element, i.e. implied motion, does not induce a viewer’s transportation to the presented image. Rather, the viewer’s transportation occurs as a function of complex and diverse narrative elements, such as implied motion and the background as a context.,Findings suggest that the concept of photo narrative should be taken into consideration in a visually-oriented social media environment. To increase self-brand connection, social media communication should be designed with diverse elements to promote viewers’ active simulation and create meaning to the branded photo story.,This study expands the theory of narrative transportation by applying it to a visual form. Additionally, this research investigates the effect of social media communication on self-brand connection; the findings of this study demonstrate that a major goal of social media communication is not to sell products but to strengthen consumer-brand relationships through branded storytelling.

Abstract Narrative methodologies emphasise the temporal quality of both lived lives and told stories, and enable us to attend to the ways in which the grand narratives of history and socio-political life articulate with individual, personal lives or psychological realities. However, the narrative approach entails three key epistemological and/or political problems: 1) the imposition of a particular conception of a “good” narrative (and by implication, psyche or life) that entails logical flow, integration and coherence; 2) the production and re-inscription of a gap between life and story, particularly stories told in research interviews; and 3) individualising single narrators extracted from their contexts. I argue that combining narrative research methods with visual methodologies within an action research paradigm may assist us to work through and against these limitations. Visual methodologies are relatively commonplace as a means to collect data, particularly helpful when stories are difficult to articulate. I suggest extending the use of visual techniques to facilitate creative representation and productive analysis. Examples of innovative visual representations of data illustrate possibilities for challenging the limits above: 1) Repetitive stress injuries: Non-stories and visual techniques for sense-making; 2) Visual tracking of multiple temporal trajectories; and 3) Re-invoking the relational quality of narrated identity.

Abandoned mines, as emblematic heritage spaces in the process of deindustrialization, preserve collective production memory and serve as vital symbols of local identity. However, current redevelopment practices primarily emphasize physical restoration while overlooking the visual expression and interactive communication of regional culture. This study introduces an augmented reality (AR)–based visual narrative framework that integrates regional culture to bridge the gap between spatial renewal and cultural regeneration. Drawing on semiotics and spatial narrative theory, a multidimensional “space–symbol–memory” translation mechanism is constructed, and a coupling model linking tangible material elements with intangible cultural connotations is established. Supported by technologies such as simultaneous localization and mapping (SLAM), semantic segmentation, and level of detail (LOD) rendering, a multilayer “position–perception–presentation” module system is designed to achieve stable anchoring of virtual and physical spaces and enable multilevel narrative interaction. Through task-oriented mechanisms and user co-creation, the system effectively enhances immersion, cultural identity, and learning outcomes. Experimental validation in a representative mine site confirms the feasibility of the proposed framework. While the study focuses on a single case, the modular and mechanism-based design indicates that the framework can be adapted to cultural tourism, educational communication, and community engagement applications. The key innovation lies in introducing an iterative “evidence–experience–co-creation” model, providing a new methodological reference for the digital reuse of abandoned mines and the sustainable preservation of industrial heritage.

Tourist maps provide tourists with destination information that reflects their unique characteristics and cultural connotations and play an important role in attracting tourists and serving marketing purposes. However, existing designs of tourist maps often ignore the importance of cultural resource selection and the relationship between maps and structural linguistics, thereby affecting the narrative function and representativeness of tourist maps. This study utilizes the local chronicle as a data source and proposes a novel visual narrative framework (VNF) for tourist maps. The VNF combines Todorov’s narrative hierarchy and Roth’s visual storytelling tropes to establish a mapping between map elements and narrative elements. To demonstrate the effectiveness of the VNF, the Songshan Scenic Area was selected as a case study. By applying the VNF, highly characteristic and meaningful colors, figurative hand-painted symbols, and scene symbols are selected and integrated into the map design to enhance the artistic value and narrative of the map. This framework reveals the potential cultural value of local chronicles and can serve as a reference for other historical tourist cities, contributing to the preservation of local cultural heritage.

Abstract Drawn sequences of images are among our oldest records of human intelligence, appearing on cave paintings, wall carvings, and ancient pottery, and they pervade across cultures from instruction manuals to comics. They also appear prevalently as stimuli across Cognitive Science, for studies of temporal cognition, event structure, social cognition, discourse, and basic intelligence. Yet, despite this fundamental place in human expression and research on cognition, the study of visual narratives themselves has only recently gained traction in Cognitive Science. This work has suggested that visual narrative comprehension requires cultural exposure across a developmental trajectory and engages with domain‐general processing mechanisms shared by visual perception, attention, event cognition, and language, among others. Here, we review the relevance of such research for the broader Cognitive Science community, and make the case for why researchers should join the scholarship of this ubiquitous but understudied aspect of human expression.

… to the question of narrative mediation in visual storytelling, sp ly in regard to graphic … narratology, the essay emphasizes the import medium-specific features in graphic storytelling …

… the narratological project beyond the verbal realm; however, they differ in their focus. Transmedial narratology … Multimodal narratology, in contrast, assumes that the act of storytelling …

Summarising recent developments in postclassical narratology and imagology, the article traces affinities between the two disciplines in order to observe the challenges that await the researchers of image and narrative in what Baudrillard called the simulation culture. Two case studies presented in the article (one devoted to Instagram visual narratives, the other – to a YouTube advertising campaign) illustrate challenges for the study of eventfulness, narrativity, and fictionality, and suggest - in line with the postulates of Mark C. Taylor and Esa Saarinen – that a radical change of educational and communicative practices is needed in contemporary Western societies. A change of this sort, it is postulated, might be instigated by the collaboration of researchers in visual studies and narrative theory.

Abstract Unacknowledged by its practitioners, narratology has often been revisionary rather than descriptive when categorizing narratives. This is because definitions, expert judgment and personal intuition, traditionally the main tools for categorization, are vulnerable to media blindness and to being theory loaded. I argue that to avoid revisionary accounts of ordinary everyday practices such as narrative or gameplay of which non-experts have a firm understanding, expert categorizations have to be tested against folk intuitions as they become apparent in ordinary language. Pictorial narrative in single pictures is introduced as a specific case of categorization dispute and an experiment laid out in which non-experts assess if different pictures tell stories. As the chosen pictures correspond to different criteria of narrative to varying degrees, the experiment also serves as an implicit test of these criteria. Its results confirm monochrony compatibilism, the position that single monochronic pictures can autonomously convey stories. While the pictures rated high in narrativity correspond to traditional criteria of narrative, I argue that the way in which these criteria are usually interpreted by narratologists is problematic because they exclude these pictures from the realm of narratives. It is argued that the way marginal phenomena are categorized is essential for a sound understanding of even the most paradigmatic objects of a domain because categorizations influence definitions and definitions ultimately guide interpretations.

… storytelling can be met in non-verbal media, such a scenario seems more well-grounded. This example shows that in the case of storytelling narratology… , allowing to see storytelling as a …

… In the following, I will attempt to exemplify the limits of the visual narratological terminology (and framework) in a comparative examination of the above mentioned texts by Defoe and …

… currents of narratology, we find ourselves probing the inner thoughts, beliefs, feelings, and emotions of our own humanity in our current analytic approaches to medieval visual narrative. …

… Sequential images take many forms and are ubiquitous in society. Beyond the context of comics, the main subject of this study, we find sequential images … course of understanding visual …

Visual narratives of sequential images – as found in comics, picture stories, and storyboards – are often thought to provide a fairly universal and transparent message that requires minimal learning to decode. This perceived transparency has led to frequent use of sequential images as experimental stimuli in the cognitive and psychological sciences to explore a wide range of topics. In addition, it underlines efforts to use visual narratives in science and health communication and as educational materials in both classroom settings and across developmental, clinical, and non-literate populations. Yet, combined with recent studies from the linguistic and cognitive sciences, decades of research suggest that visual narratives involve greater complexity and decoding than widely assumed. This review synthesizes observations from cross-cultural and developmental research on the comprehension and creation of visual narrative sequences, as well as findings from clinical psychology (e.g., autism, developmental language disorder, aphasia). Altogether, this work suggests that understanding the visual languages found in comics and visual narratives requires a fluency that is contingent on exposure and practice with a graphic system.

… Below, we will discuss the components of the parallel architecture for visual narratives more fully, but first we will define the constructs of Visual Narrative Grammar and their mapping to …

Constituent structure has long been established as a central feature of human language. Analogous to how syntax organizes words in sentences, a narrative grammar organizes sequential images into hierarchic constituents. Here we show that the brain draws upon this constituent structure to comprehend wordless visual narratives. We recorded neural responses as participants viewed sequences of visual images (comics strips) in which blank images either disrupted individual narrative constituents or fell at natural constituent boundaries. A disruption of either the first or the second narrative constituent produced a left-lateralized anterior negativity effect between 500-700ms. Disruption of the second constituent also elicited a posteriorly-distributed positivity (P600) effect. These neural responses are similar to those associated with structural violations in language and music. These findings provide evidence that comprehenders use a narrative structure to comprehend visual sequences and that the brain engages similar neurocognitive mechanisms to build structure across multiple domains.

Visual narratives like comics and films often shift between showing full scenes and close, zoomed-in viewpoints. These zooms are similar to the "spotlight of attention" cast across a visual scene in perception. We here measured ERPs to visual narratives (comic strips) that used zoomed-in and full-scene panels either throughout the whole sequence context or at specific critical panels. Zoomed-in panels were automatically generated on the basis of fixations from prior participants' eye movements to the crucial content of panels (Foulsham & Cohn, 2020). We found that these fixation panels evoked a smaller N300 than full-scenes, indicative of reduced cost for object identification, but that they also evoked a slightly larger amplitude N400 response, suggesting a greater cost for accessing semantic memory with constrained content. Panels in sequences where fixation panels persisted across all positions of the sequence also evoked larger posterior P600s, implying that constrained views required more updating or revision processes throughout the sequence. Altogether, these findings suggest that constraining a visual scene to its crucial parts triggers various processes related not only to the density of its information but also to its integration into a sequential context.

… Here we introduce seven factors that contribute to visual narrative flow along with illustrations of the various properties for each flowfactor. This design space framework captures …

PurposeThe purpose of this paper is to explore a semantics representation framework for narrative images, conforming to the image-interpretation process.Design/methodology/approachThis paper explores the essential features of semantics evolution in the process of narrative images interpretation. It proposes a novel semantics representation framework, ESImage (evolution semantics of image) for narrative images. ESImage adopts a hierarchical architecture to progressively organize the semantic information in images, enabling the evolutionary interpretation under the support of a graph-based semantics data model. Also, the study shows the feasibility of this framework by addressing the issues of typical semantics representation with the scenario of the Dunhuang fresco.FindingsThe process of image interpretation mainly concerns three issues: bottom-up description, the multi-faceted semantics representation and the top-down semantics complementation. ESImage can provide a comprehensive solution for narrative image semantics representation by addressing the major issues based on the semantics evolution mechanisms of the graph-based semantics data model.Research limitations/implicationsESImage needs to be combined with machine learning to meet the requirements of automatic annotation and semantics interpretation of large-scale image resources.Originality/valueThis paper sorts out the characteristics of the gradual interpretation of narrative images and has discussed the major issues in its semantics representation. Also, it proposes the semantic framework ESImage which deploys a flexible and sound mechanism to represent the semantic information of narrative images.

… , a taxonomy of visual narrative types described later in section 4.3. The second division identifies visual narrative tactics: visual devices that assist and facilitate the narrative. This …

… image sequential narratives (cf. Cohn, 2013b; Cohn et al., 2012, 2014; Cohn & Paczynski, 2013; Gernsbacher, 1985; Magliano, Kopp, McNerny, Radvansky, & Zacks, 2011; Nakazawa, …

Reading fiction for pleasure is robustly correlated with improved cognitive attainment and other benefits. It is also in decline among young people in developed nations, in part because of competition from moving image fiction. We review existing research on the differences between reading or hearing verbal fiction and watching moving image fiction, as well as looking more broadly at research on image or text interactions and visual versus verbal processing. We conclude that verbal narrative generates more diverse responses than moving image narrative. We note that reading and viewing narrative are different tasks, with different cognitive loads. Viewing moving image narrative mostly involves visual processing with some working memory engagement, whereas reading narrative involves verbal processing, visual imagery, and personal memory (Xu et al., 2005). Attempts to compare the two by creating equivalent stimuli and task demands face a number of challenges. We discuss the difficulties of such comparative approaches. We then investigate the possibility of identifying lower level processing mechanisms that might distinguish cognition of the two media and propose internal scene construction and working memory as foci for future research. Although many of the sources we draw on concentrate on English-speaking participants in European or North American settings, we also cover material relating to speakers of Dutch, German, Hebrew, and Japanese in their respective countries, and studies of a remote Turkish mountain community.

… a measure of visual narrative intervention to accelerate this … a factual visual narrative (ie, a narrative attached to visual … by verifying that the visual narrative developed is an efficient …

… Yet, visual narratives in works such as comics often combine written language with a “… The multimodal interactions described in this work will be supported by manipulating multimodal “…

… In order to demonstrate different ways in which these visual images may be incorporated into a narrative, I will briefly analyze a photograph in WG Sebald’s novel Austerlitz— the …

… provide accounts of visually expressed narratives by drawing … just what it means to treat visual communication as discourse at all… methodologies for approaching visual artefacts so that it …

… visual narratives of comics involve complex multimodal interactions between written language and the visual … multimodal visual narrative systems, such as comics from other countries. …

In recent years, digital humanities (DH) research has evolved from its textual origins to encompass film and video studies as critical areas of inquiry as well. Nevertheless, much of this research has remained tied to the formal levels of description most readily revealed by automatic processing. This maintains a gap between treatments in terms of formal technical features and the concerns of many researchers involved in film analysis of a more qualitative, interpretative nature, thereby reiterating the classic tension within DH as such: that is, how to relate levels of description that are “computable” and those more responsive to broader humanities-oriented interests. In this article, we set out an approach to this challenge that incorporates a multi-layered analytic framework capable of specifying increasingly abstract descriptions in terms of patterns at lower levels. This enables us to start bringing concerns of narrative organization and interpretation into analysis at scale. We set out the overall approach and show several examples of its use.

… This chapter explores narrative understanding of multimodal novels, including consideration of … The examination of visual elements will be aided by visual perception and multimodal …

ABSTRACT TV advertisements are multimodal and can effectively unfold social meanings through the representation of narratives and storytelling. To explore the social meanings through the multimodal narrative construction in the visuals of TV advertisements, this article analyses a Pakistani TV advertisement featuring Shan Thematic 2020's #MoreThanJustACook. It is argued that a multi-perspective approach can significantly facilitate interpreting the social meanings of visual texts. Therefore, the current study draws on social semiotics by Kress & van Leeuwen for its analytical framework, along with Ryan’s narratological insights and Fog et al.’s storytelling elements. The investigation of multimodal narrative processes in the TVC unveils physical and psychological behaviours of the actors in the visuals, which represent social relationships through the description of a family from a Pakistani socio-cultural context. The story in the visual composition of the TVC aims to promote the idea of strong family ties, gender roles and women empowerment. This paper contributes towards knowledge on the application of multimodal socio-semiotic and narrativity theories. It is hoped that the proposed analytical approach can serve as a foundation for effective multimodal narratives in TV advertisements.

Abstract News reporting has long been seen as involving a form of storytelling but techniques for revealing narrative constructions in audiovisual news remain limited. As the forms of expression mobilised for news become ever more diverse and multimodal, the challenges posed for analysis grow accordingly. The present paper asks to what extent we can pursue more differentiating accounts of the increasingly diverse audiovisual features employed in news video by employing recent advances in multimodal discourse analysis. Specifically, we explore how to recognise storytelling strategies deployed in audiovisual news reporting both more reliably and in ways that complement conventional journalistic labels, such as those discussed in research into news sensationalism. As an illustration, we offer a contrastive analysis of the specific reporting strategies of ‘individualisation’ employed in 166 news reports from two leading German news channels, Tagesschau and Bild TV, produced between 1 January 2022 and 15 March 2022. We show how we scale analysis methods to achieve greater coverage of data and discuss how this meets several recurring challenges for multimodal analysis more generally.

This chapter is dedicated to the critical analysis of multimodal texts - i.e., texts that incorporate semiotic resources beyond verbal language. Our focus here is, in particular, on the relationship between the verbal and the visual mode of communication. In a first section, we touch briefly on the ubiquity of multimodality in contemporary society and provide definitions of core concepts. We then continue, in a second section, to systematically develop an argument for the relevance of multimodality within critical disocurse analysis (CDA). The third section summarizes a number of exemplary studies that have adopted a critical approach in multimodal discourse analysis. These studies cover a variety of issues and areas of scholarly inquiry, and therefore aptly demonstrate that multimodal CDA can be applied in various forms. In the fourth section, we introduce - as a practical example - one particular methodological appraoch in more detail, and illustrate its various analytical steps on the basis of two selected multimodal texts. We close with a brief reflection and some concluding remarks.

Abstract This paper aims to contribute to the construction of multiliteracies pedagogy. We argue that the analysis of focalisation is an essential dimension in multiliteracies pedagogy aimed at promoting the development of critical analysis of multimodal narratives. Our point is sustained by a case study of focalisation in an animated narrative comprising a hybrid multimodal text offered for students learning about refugees in a public digital platform. We performed a critical analysis of the visual narrative supported by a grammar of focalisation in animated images and a framework for critical analysis of multimodal discourse. The analysis shows that viewers (and characters) are differently positioned throughout the text as uninvolved observers of the represented characters as ‘others’; as emphatic witnesses of the others’ suffering; and as committed social actors who see the refugees as ‘one of us’. We interpret these findings as conveying different ideological meanings associated with assimilatory or liberating ideologies. We discuss the major implications of our findings concerning the role of focalisation in the enactment of critical analysis of multimodal texts, the interdependence of critical analysis vis-à-vis the other learning processes as well as the need for teachers’ professional development as a pre-requisite to construct the pedagogy of multiliteracies.

… for visual–verbal cohesion. This study may provide insight into multimodal communication … the construction of viewpoint for facilitating the semiotic process from sensation to narration. …

This chapter presents an overview of the field of multimodal discourse analysis. Describing multimodality as a term for the integration of different modes of communication into coherent texts and communicative events, the chapter first documents the emergence of multimodal research, in turn discussing the Prague School, Paris School structuralist semiotics, 1960s American research in nonverbal communication, mediated discourse analysis, and Hallidaian social semiotics. It then gives some key examples of recent work by linguists in the Hallidaian tradition, including Kress and van Leeuwen's visual grammar, van Leeuwen's semiotics of the voice, and multimodal genre analysis. The chapter ends by discussing a number of applications, focusing especially on educational applications and the critical analysis of media discourse

Abstract Marketers today are increasingly using storytelling to engage their audiences. However, the design of narrative visuals is often inspired by a text-centric understanding of narratives. Despite the fast increase in visual content and the distinct processing it induces, extant research on visual narrativity remains fragmented, lacking a comprehensive framework to explain how a single still image can convey a narrative. Our literature review addresses this gap through the lens of narrative transportation theory. Based on a systematic review of 64 articles from marketing and adjacent disciplines, the authors propose that an image must narrate, act, and resonate (NAR) to stimulate narrative processing and transport viewers into its narrative. They also identify specific visual features that can facilitate this process and explore how characteristics of the storyteller, story receiver, and story settings can influence the strength of visual narrative transportation (VNT). Finally, the authors highlight affective, cognitive, and behavioral responses of transported viewers. This research extends narrative transportation theory to the visual domain, offering practical design principles that can be easily applied by marketing professionals. It also outlines an actionable research agenda for marketing scholars to further explore visual narrativity.

… are supplemented with important visual, acoustic, kinetic, and other structures. Such transformations are providing new multimodal opportunities for learning a foreign language. …

… In both these examples, and all other multimodal sites, meaning lies within what we make of … hardly begun to deal adequately with the multimodal nature of communication. Yet there …

Visual narratives sometimes depict successive images with different characters in the same physical space; corpus analysis has revealed that this occurs more often in Japanese manga than American comics. We used event-related brain potentials to determine whether comprehension of “visual narrative conjunctions” invokes not only incremental mental updating as traditionally assumed, but also, as we propose, “grammatical” combinatoric processing. We thus crossed (non)/conjunction sequences with character (in)/congruity. Conjunctions elicited a larger anterior negativity (300–500 ms) than nonconjunctions, regardless of congruity, implicating “grammatical” processes. Conjunction and incongruity both elicited larger P600s (500–700 ms), indexing updating. Both conjunction effects were modulated by participants’ frequency of reading manga while growing up. Greater anterior negativity in frequent manga readers suggests more reliance on combinatoric processing; larger P600 effects in infrequent manga readers suggest more resources devoted to mental updating. As in language comprehension, it seems that processing conjunctions in visual narratives is not just mental updating but also partly grammatical, conditioned by comic readers’ experience with specific visual narrative structures.

… However, because images contain more semantic information than individual words, this narrative grammar operates at a “discourse” level of meaning, rather than at a sentence level. …

… discourses in their narratives. Within this larger … visual grammatical analysis revealed about the meanings constructed by the children through the use of visual features in their narratives…

ABSTRACT

… ‘a grammar of visual design’ with children’s literature. This ‘visual grammar’ is an account of the meaning-… The basic ideas of the visual grammar are firstly illustrated with a description of …

After the outbreak of COVID-19, the literary and artistic works about COVID-19 have appeared one after another. As a new branch of discourse analysis, the Multimodal Discourse Analysis has always been an important way for studying multimedia discourses. Based on the theory of visual grammar, this study intercepts and makes a qualitative analysis of the images with research significance in the documentary Together Against COVID-19 produced by CGTN. In this way, this study has drawn a conclusion that the documentary editors use picture language to create a responsible, friendly, and also dignified national image of China, to describe the emotional state of the masses in China in the process of COVID-19, and to achieve the purpose of conveying emotions and shaping positive national image through different aspects.

The traditional discourse analysis focuses on the language analysis, but ignores the effect of non-language sources to the textual construction. At present, however, with the development of technology, pure discourses gradually decrease. There are other elements existing in the discourse more or less. The discourse analysis blending various communication semiotics is called multimodal discourse analysis. Kress and van Leeuwen (2001:2) hold that multimodality is one of the features of modern society. Multimodal Discourse Analysis is paid much attention in recent discourse analysis. The Visual Grammar founded by Kress and van Leeuwen can help to analyze the multimodal discourse. This text, based on the Visual Grammar to analyze the Lesaffre’s website, will find the charming of the combination of language and pictures, and finally give some points in designing our own websites. Through the study of Lesaffre’s website, when building the website of the company, first the arrangement of information should be paid much attention to. Except some essential conventional information, such as the introduction of the company, other new information, such as the latest news of the company, should be put in obvious place. Then website gives people intuitionistic feeling, so the collocation of the company’s information in the website should be reasonable.

VR has now come from industry to everyday application. Mainstream software and devices allow artists to create contents with a fast learning curve. Since 2014, with the launch of Google Cardboard and 360 cameras at a reasonable price, with the massive success of Unity 3D and Unreal UDK, real-time immersion no longer stands in the hands of experts but spreads to creative enthusiasts which result in a huge production of content. Like at the early age of photography and then cinema, slowly emerge questions about composition, narrative structure and visual grammar. This article is a raw presentation of issues of narrative grammar in 360.

This article outlines a visual text reading based on social semiotics approach, that is the visual grammar. It is an account of the explicit and implicit knowledge and practices around a resource, consisting of the elements and rules underlying a culture-specific form of visual communication. It required a general comprehension of social semiotics to obtain a deeply understanding to visual grammar. The differences between social semiotics and general semiotics expressed to accomplish its purpose. The concern of visual grammar is the relationship between ‘drawn participants’ and social life. Visual grammar can be positioned as a contemporary approach to visual texts meaning-making. Study of visual arts seems to entail visual grammar to play a more important role amid the phenomenon of visual culture that increasingly characterizes the lives of today’s society.

… If the functions and the actants are the constitutive elements of this narrative grammar, if the narrative utterances are its basic syntactic forms, the narrative units-an example of which is …

… neglect of multilinear narrative or of linguistic sequence or of … Since these are all staples of narrative as a time art, their fate … for a theory of sequence-not even of narrative temporality …

Classical artists often portrayed events in a narrative out of sequential order. From an examination of well-known classical pictorial narratives, I have found two patterns of organization: hierarchical and spatial time. In the former, figures and events are arranged according to their importance and role in the narrative. In the latter, the placement of figures and events is determined by the physical location in which the event occurred, because time in classical antiquity was mistakenly thought to be movement through space and not duration. Hence, to show that time has elapsed, the setting or location of a scene must change.

… narrative in the contemporary sequential and fictionalized photography, but the possibility and usefulness of rereading from a narrative … deprived of any major narrative dimension. This …

… intended sequence of panels contained in narrative art when compared to Group 1, the control group (no SGD). This measure indicates that, for example, when viewing a narrative art …

Abstract Digital domains render possible new forms of narrative creativity. This article explores to what extent it is practicable to inform the invention of new storytelling techniques in location-based media, such as augmented reality (AR). When carrying out research and development with explorative storytelling in indirect AR one often encounters a recurring problem. When digitally reconstructing and displaying sequences of historical events in situ, a paradox tends to emerge. While the linear sequence of actions and events might often benefit from in-depth information on historical contexts of various sorts, the moment the user embarks on a contextual digression to seek a better understanding, the sequence itself is abandoned and/or fragmented. This is a type of conflict where the designer must make difficult choices to provide a prolific story experience. How may we best combine and balance sequence and access, storytelling and in-depth exploration to the benefit of rich locative perceptions and adventures? In the following article we consult narrative theory to find a design and implement the solution in three different simulations of on-site historical events. These are selected from antiquity and the Second World War. We discuss the challenges and elucidations so far, as well as feedback from visitors testing the situated simulation AR applications on location.

… Figure 1 shows a sequential polyscenic mode of visual narration whereby the narrator opts … as a sequence of four- to eight-panel episodes by creators of many comics. The sequential …

… the key ideas and concepts in narrative theory, in order to make … The chapter first gives an account of what narrative is, and … a sequential account of a solar eclipse as a narrative—and I …

Abstract Focalization, prolepsis, analepsis homodiegetic, heterodiegetic, intradiegetic (are we having fun yet?), heteroglossia, the narrative audience, tensions and instabilities, disclosure functions, character zones, fuzzy temporality. Who else is ready to cry, “Hold, enough!”? I begin with this eclectic and incomplete litany of terms introduced by narrative theorists over the last forty years in order, first, to indicate that narrative theory has been advancing on a number of fronts, and, second, to acknowledge that the large Terminological Beastie looming over the field is likely to be intimidating to the nonspecialist. My goal here is to do justice to the advances most relevant to The Nature of Narrative’s focus on literary narrative while keeping the Beastie at bay. Rather than proceeding through an inventory of narratological neologisms or even through an analysis of the interrelations between the history of critical theory and the study of narrative over the last forty years, I shall, in effect, construct a three-part narrative: a big picture account of major trends in the field, followed by a more detailed telling about work on elements of narrative, and then, finally, a brief look at the current scene. More specifically, Part One will (I) consider the expansion of narrative theory’s focus over the past forty years-from literary narrative to narrative tout court-and the implications of that expansion for the study ofliteraiy narrative; and (2) describe three prominent general conceptions of narrative during this period: narrative as formal sys­tem, narrative as ideological instrument, and narrative as rhetoric. These conceptions authorize different theoretical and interpretive projects, though both the conceptions and the projects also overlap and influence each other at times. In a sense, this discussion will be an update of Scholes and Kellogg’s chapter on Meaning. Part Two will then consider how these conceptions of narrative have influ­enced work on the three elements of narrative treated by Scholes and Kellogg: plot, character, and point of view-a topic I will modify to the broader category of narrative discourse. Part Three will briefly sketch some especially significant issues being addressed in cur­rent narrative theory.

… contexts that are essential to understanding their narrative art, meanings, and importance. … the ways in which the rabbis used narratives to grapple with fundamental tensions of their …

… superior to literature in narrative power because every gain in the visual, aural or even … eg for the relation between audiovisual and voice-over narration in film Kozloff 1988: 8–22). …

… first decade, film was more concerned to demonstrate its powers of visual representation than … of the narratological tools employed earlier in this chapter. Warren Buckland asks: ‘Can we …

… narratology to the study of audiovisual narrative in translation, and discusses a variety of narratological … case, the narrative suspense) here hinges on those visual cues that continuously …

… To see this, we need to draw on a familiar distinction in narratology and the philosophy … isn’ta controlling narrator, but if fictionally the telling is being reported visually, then we can …

… narrative films lies not primarily in crossmodal conversion per se. Instead, it lies in learning to select the visual … of an audio describer of narrative film; selection oriented toward realized …

Both scenario development and design practices incorporate elements of storytelling, but this use remains undertheorised. This paper will draw upon literary theory, film theory and science fiction criticism to develop an analytical model of narrative structure and rhetorics which speaks to the concerns of scenario developers and designers when engaged in shaping the final outputs or deliverables of a futures project. After highlighting the differing role of telos in art and futures and defining the metacategory of “narratives of futurity”, this paper then defines the terms “story”, “narrative”, “narrator” and “world” in the literary context. It then shows how those concepts map onto futures practice, before going into detail regarding the variety of narrative strategies available across a range of different forms and media, and the qualitative effects that they can reproduce in audiences. There follows the construction of a 2 × 2 matrix based on the critical concepts of narrative mode and narrative logic, within which narratives of futurity might be usefully catalogued and compared, and from which certain broad conclusions may be reached as regards the relation between choice of medium and rhetorical effect. The implications of this analysis are explored in detail.

… how film can be implemented in it, it is useful to look at research in many other areas such as film, games, theatre, narratology … The blue bars represent story elements with any visual or …

… narration and point of view which modern narratology has tried to solve in the field of prose narrative … , even though it is obviously textual, in the sense that it produces visual signs 12. …

… of Narrative" was a discursive event for the narratological … to the systematic study of narrative into historical perspective for the … mode or seen as visual art happening in time.) "Perhaps …

… ") to question the autonomy of story with respect to print and film narratives, given that cinema draws on two information tracks (visual and auditory) instead of just one. Indeed, for some …

As more and more countries start to provide audio description services for a growing range of products and events, research into this new discipline is growing and diversifying as well. Two questions that seem to be at the heart of much of this research focus on what should be described and how this should be done, in other words on content selection and formulation of the description. The present article looks at the first of these two questions and approaches it from a narratological point of view. After a general discussion of the use of narratology for audio description, the focus will shift to one particular constituent of narrative, namely time. The different temporal aspects will be discussed in greater detail, after which a strategy for the audio description of time in film will be proposed.

… So, while it is primarily semiotic in orientation, this book represents such a blending of approaches; it constitutes an exploration of the nature of picture-book art that is shamelessly …

Abstract Children’s literature scholars, specifically picturebook theorist and researchers, need to better understand the complicated nature of the separation and coming together of textual matter (words) and visual matter (images) and the range of relations between these entities. Various scholars have conceptualized the relations between word and image in vastly different ways, advocated for a range of analytical frameworks to understand these relations, and subsequently have provided a theoretical foundation for exploring the roles and functions of words and images in narrative picturebooks. More attention focusing on how picturebooks are instantiated as meaningful multimodal ensembles across technological, sensory, material, semiotic, modal, mediational, as well as ideological dimensions is necessary if we are to fully understand the ways words and image work in picturebooks and the educational potential of available and future multimodal ensembles.

… The fact that the focalizing character of the visual narrative is a dog in an otherwise realistic story—that is, the dog is not a humanized, talking animal—creates an interesting situation for …

… , whose differences mainly consist in the exposure to visual narrative. She pays particular attention to translations of wordless picturebooks, since the changes of book titles, and the …

… picture book. Yet critical theory dealing with the narrative function of illustrations, as distinct from … This paper will demonstrate the application of narrative theory to a seminal book in the …

… visual arts. People who work in the field of children’s literature, preschool education and picture book … on systemic functional theory and Kress and van Leeuwen’s visual grammar, it is …

The multimodal and visual nature of children’s picturebooks has been documented in research emanating from multiple fields of inquiry. In this article, the authors present three types of analytical frameworks that are useful for conducting research on contemporary picturebooks as multimodal entities. Each framework draws upon different aspects of visual images, design features, and written language, and uses different theoretical lenses to call forth particular aspects of contemporary picturebooks. The three analytical frameworks are: (1) social semiotic frameworks, (2) literary frameworks, and (3) artistic frameworks. This article suggests that only through an orchestration of a range of analytical frameworks can scholars and educators begin to understand the complexity of contemporary picturebooks and their role in educational settings.

… two kinds of visual narrative, picture books and comics, differ. … the single-panel pages as picture book-like visitors in comics… either a comic or picture book that I propose to focus on here. …

… grammar that should be considered when approaching and interpreting an image or series of images in or across picturebooks: narrative processes, visual symbolism, composition and …

… With regard to picturebooks, picture theory would primarily … picturebook analysis on the basis of Dan Santat’s The Adventure of Beekle: The Unimaginary Friend (2014). This picturebook …

Contemporary picturebook theory has produced a wide range of concepts and terms for the analysis of the various aspects of conventional picturebooks. However, as picturebooks are rapidly entering the digital age, there is an urgent need to keep picturebook theory up to date. The multimodal nature of picturebooks, that so far has predominantly implied a combination of the verbal and the visual modes, is expanding to include auditory, tactile, and performative dimensions. This article explores the ways that digital picturebooks, or apps, demand not only new approaches, but also new terminology to describe features characteristic of the new medium, as well as conventional picturebook features acquiring a new significance in digital picturebooks. These include materiality, paratexts, page layout and performance modes. Special attention is paid to the ways app developers employ the spatio-temporal affordances of digital visual texts. The article also investigates the various levels and types of user participation, in a range from merely swiping between screens to co-creating the narrative. The predominantly theoretical argument of the article is illustrated by a selection of digital picturebooks, where relevant in comparison to printed versions. Keywords:  picturebook apps; picturebook theory; digital literacy; children’s media; interactivity; multimodality (Published: 23 January 2015) Citation : Nordic Journal of ChildLit Aesthetics, Vol. 6, 2015  http://dx.doi.org/10.3402/blft.v6.26971

Folklore shows how a culture brings its point of view and values. It is also an agent of social values such as honesty, kindness, forgiveness, and many more. Through picture book, message from folklore can lead children understanding their society. These aspects are reasons why folklore becomes a favourite genre in picture book. Hence, some argue that folklore also store up cruelty and intimidating content which are not suitable for children. This leads creator and publisher to keep up with new way of adaptation. For example, by combining the method of modern storytelling technique and the art visual narration into the plot. The objective of this study is to design a new adaptation method for Indonesian folklore story by elaborating visual narrative into its story and illustration. By creating the formula, this study will not only help conserving Indonesian folklore stories, but also help delivering social values to children without the need of frighten the readers. This study follows a qualitative method by observing and existing Indonesian folklore books, which then categorized into three genres: Mythology, folktales, and fables. Samples from each category were then picked based on its popularity. A data collection of modern storytelling method and visual narrative literature were also done, which then mapped out into an adaptation concept suitable for children. The results show that visual narrative approach especially in visualizing characters and stage does help creating a modern stage of folklore adaptation. Adjustment of textvisual ratio along with plot simplification and reduction or removal of violence aspects also help creating a childfriendly folklore adaptation. Moreover, a picture book prototype was created to evaluate the result. It received positive response from The Asian Festival of Children’s Content (AFCC) 2018 and London Book Fair 2019. Three of its illustration won awards from ASEAN Children’s Book Illustrator (ICCRF) 2018.

ABSTRACT Teachers have faced difficulties in selecting acceptable picturebooks for young students, particularly in terms of image selection, content, and the integration of both. The lack of meaning-making and interaction between text and images in picturebooks contributes to this trend. This study analyzes how images represent varieties of context and how they function to construct meaning in learning foreign language for young learners. Grammar of visual images by Kress and Van Leeuwen and picturebook typology framework by Gregersen are employed to analyze text-image relationship in the top 10 most rented picturebooks in China. This study indicated that the images provide the nature of the social interaction taking place and the setting familiar to young learners, which can help them to find new vocabulary to recognize their surrounding environment. The data on human depiction also indicated that the images representing Chinese/Asian appearance recognized young learners as global citizens in literature. We also found that the most popular text-image relationship is the one that shares equal representation. The study provided pedagogical implications to help teachers deal with different types of text-image interactions in picturebooks.

… scholarly interest in picturebooks requires a sound theoretical basis. While various seminal approaches to picturebook theory exist, the fundamental relatedness of picturebooks to the …

… Thus this chapter will focus on research into picturebooks and their … In mapping the research into picturebooks, I will start by looking into the role of picturebooks throughout history and …