4th Global Conference
Wednesday 7th July 2010 – Friday 9th July 2010
Mansfield College, Oxford
Modular Composition and Japanese Visual Literacy
Sean McGovern
Setsunan University, Osaka, Japan
In this presentation I explore ways in which meaning can inhere in spatially constructed relations. My purpose is to demonstrate how organizational structures observed in the Japanese orthographic system and syntax of writing can be considered manifestations of fundamental cultural patterns. My analysis follows the work of Kress (2007, 2010), who has convincingly shown that meanings that emerge in specific ways in alphabetic writing are consistent with broader semiotic organizational principles, including directionality. But while alphabetic writing follows a syntagmatic model that sets up an imposed relationship of ordering that is linear, sequential and directional, Japanese favors a more flexible paradigmatic orientation. In my research I have identified this organizational structure as ‘modularity’. Modular organization encourages alternatives and choices, both for those creating the text and for those coming to and engaging with it. Using examples from written texts and cultural artifacts, I show evidence to suggest that modular composition is a key organizing principle that operates at the fundamental levels of the Japanese semiotic, and explain how modularity, as a conceptual form, implicates interpersonal, social dimensions of meaning.
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Therapeutic and Empowering Aspects of Visual Literacy Programmes in Israeli High Schools
Jonathan Friesem
Department of Educational Policy and Administration, Constantiner School of Education, Tel-Aviv University, Israel
The educational visual literacy programmes in the 21st Century are perceived as an effective pedagogical method of empowering adolescent students, who deal with a flaw of visual information. In particular, the Israeli high-school education system includes 300 classes in which the students learn the diverse aspects of visual literacy. The creative part of their learning includes a division of the class into small production teams of four or five members. Each team creates a 15 minutes film. Each member of the group has a specific role, and her/his contribution influences the group’s grade. Contemporary high school students usually experience alienated digital, virtual and consumerist cultures. In this situation, the educational system is interested not only in acquiring the youth professional cinematic skills, but also in practicing and improving of their social and interpersonal interactions. Their practical work integrates a creative technological education and an enhanced social interaction between the adolescents. This article analyses the students’ empowerment in different phases of their cinematic project: (1) creating filmmaking groups; (2) researching the film’s subject; (3) writing script; (4) preparation for shooting (preproduction); (5) filming; (6) editing; (7) sound editing; (8) screening. Notably, these phases are deeply involved with the participants’ own emotions and their group dynamics. My intention is to explore the therapeutic aspects of this creative educational process and to analyze the emotional facets of Visual Literacy programmes in the Israeli educational system.
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Layers of Meaning: Children’s Understanding of Cinematic Literacy
Phil Fitzsimmons and Edie Lanphar
No abstract is presently available
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