Відео

Your compliments are much appreciated, also on behalf of the makers of the animation (HKU Utrecht). Thanks!

Glad you find this useful (and perhaps the other 4 videos as well?)! ChF

Dear Saber Emam, honoured by & happy with your compliments!

I'm honoured & pleased. Thanks!

Becca, hmm, in retrospect the shlong was perhaps a bit thoughtless; the animators and I did not realize that not everybody might find this funny. I am glad, though, you like the animation as a whole.

Hello Xiaoyang, what a nice thing to say! What more can a scholar & teacher ask for?

Glad to hear it. Much appreciated!

@@charlesforceville Dear professor, I would like to make sure that you are the first one to define and theorize Multimodal Metaphor, right?

@@jackieeesu9611 To the best of my knowledge this is indeed correct. To be sure, multimodal metaphor owes a lot both to (conceptual and creative) metaphor theory and to multimodal discourse theory.

@@charlesforceville Got it and thank you. Your message helps me a lot. I will keep it in mind and try to be careful on it.

@@jackieeesu9611 To be precise: I first proposed my definition of multimodal metaphor in a chapter published in Kristiansen et al (eds), Cognitive Linguistics: Current Applications and Future Perspectives (Mouton de Gruyter 2006). This definition was in turn suggested to the contributors of Forceville & Urios-Aparisi (eds), Multimodal Metaphor (Mouton de Gruyter 2009), in which my 2006 paper was reprinted with only very minor changes. By and large all authors in the 2009 volume took this definition as a starting point for their contribution.

"Embedded discourse" is a quite complicated issue. I would advise you to check pertinent passages in Mieke Bal's "Narratology" (U. of Toronto Press, 4th edition, 2017). Otherwise you might search for material pertaining to "free indirect discourse" or "free indirect thought."

Thankyou ('አመሰግናለሁ' in Amharic Amesegenalehu)

Joshua, thanks for your kind words. Of course a large part of the credits needs to go to the HKU students who made it the film. I'd love to do more of such animated films, but making such a film is enormously time-consuming. But I am a great believer in animation as a medium for communication, so I will keep an open eye for other opportunities.

Dear Yagmur, happy to hear you find this video (the last of a series of five) useful for your course. Of course most of the credits need to go to the HKU (polytechnic) students who actually did the time-consuming work of animating my ideas! This series is now complete, but I am thinking about other topics that it would be worthwhile to explore in one or more animation films.

Thanks!

Kudos for J.C. Voicemale!

Hello Rick, thanks for your thoughts. First of all -- yes of course this cannot be more than a "basic introduction." Ideally, it is used as a "teaser" to get people more interested, and read a handbook to understand concepts in more depth if they really want to (or must) become good narratologists. As for "unreliable narration" -- indeed that is precisely what we wanted to convey: not just an external/extradiegetic, but also a diegetic, character-bound narrator (or focalizer) can be unreliable (e.g. the first-person narrator in Irvine Welsh's Filth; and Maisie in What Maisie Knew (Henry James). You are right that focalization works differently in animation and film than in written fiction. Inevitably we ran up against the limitations of the medium we chose to explain focalization. The same, of course, holds for explaining focalization-in-film in writing! The course from which this series of animations arose is called "Narrative across Media," and a key idea running through it is that while pertinent narratological concepts occur in ALL forms of narration, irrespective of medium, most of these concepts have medium-specific modes of expression. The text book on narratology in written fiction I use in my course is Bal (2017). Her model is strongly inspired by Genette's work, but she ignores, if I am not mistaken, "mood" and "voice." That does not mean, of course, that the difference between them is necessarily unimportant -- but again, creating an animation takes an incredibly long time, and the HKU students only had a limited amount of that resource. There is only so much you can do in a four-minute film!

Thanks for the compliment, for which I share the credits with to the HKU animation students who actually made the film!

Hello Rosana, thanks for the compliment! The students and I worked hard on this by far the most difficult of the five short animations about storytelling ...

Hello Rosana, thanks for your positive response. The last one will be the most interesting but also most difficult one, as narration and focalization are complex issues, that are not so easily audiovisualized! But we'll try our best! ChF

Hello Rosana, Thanks for your kind words. Narration and focalization are surely the most interesting, but also the most complicated elements of story-telling, so making the fifth film will be the most challenging of all! ChF

@@charlesforceville, it surely is a challenge to work on focalization. It´s complex and hugely interesting. Mark Turner showed me your videos, which have been insighful and helpful for my current research under his supervision at CWRU. I´ll keep checking here for when the video comes out. Thank you very much! Rosana

I really need to see the 5th video. I need to study the topic (narration/focalization) for university