Thrills in the dark: Young people’s moving image cultures and media education

Abstract

RESUMENEl autor de este trabajo examina la atracción hacia el sentimiento de terror en los medios de comunicación, y especialmente en el cine, desde la perspectiva de la emoción contenida que genera el terror, lo angustioso y agradable… ¿Cuál es la naturaleza del miedo y el «placer» que se experimenta? ¿Por qué es importante que los educadores tengan en cuenta esta conexión que relaciona a los espectadores con la película? En este sentido, abordar el tema desde la perspectiva de la cultura cinematográfica de los jóvenes de Reino Unido, analizando la influencia del cine en la vida cultural de los jóvenes y cuál es la lección que deben obtener los educadores. Partiendo de una ejemplificación con dos chicas, en las que analiza sus identidades sociales, más tarde pasa a bosquejar la situación general de la educación en el cine y en los medios de comunicación, presentando brevemente dos investigaciones desarrolladas con jóvenes británicos sobre «Psicosis» y sobre creación de videojuegos. Concluye este autor que podemos introducirnos en el fascinante mundo de la imagen en movimiento a través de las películas y videojuegos, examinando las estructuras lúdicas y narrativas que existen, enseñando a los alumnos de qué forma se interrelacionan y explorando sus procesos creativos de producción. ABSTRACTThis author deals with the attraction of that feeling of terror generated in the media, especially in cinema, and from the perspective of the controlled emotion behind that fear, pleasure and pain. What is the nature of the fear and pleasure the spectator feels? Why is it important for educators to take account of this connection between the viewer and the film? This subject is treated from film culture as experienced by young Britons, with an analysis of the influence of cinema on the cultural lives of young people and the lessons that can be drawn. The author takes two young girls as an example, identifying their social identity and later outlining the state of education in cinema and the media. He presents two projects developed by young Britons on Psychosis and the creation of videogames. The author concludes that the fascinating world of moving images is open to us via films and videogames, by examining ludic structures and narratives and teaching students how these are interrelated and exploring their creative processes of production.

Virtual Reality and Embodiment in Multimodal Meaning Making

“…The grammar of visual imagery has been categorized extensively, such as two-dimensional images (Kress & van Leeuwen, 2021), picture books (Painter et al, 2013), social interactions (Norris, 2004), kineikonic or moving image texts (Burn, 2013), and other technology-mediated practices for learning (Jewitt, 2012). Our aim is to understand the role of embodiment in the VR painting mode, focusing primarily on the sensorial and bodily interactions (e.g., body movement, haptics, and locomotion) of the user or author in the process of designing a virtual painting.…”

Exploring game grammars: a sociosemiotic account of young people’s game-making practices

“…Multimodal approaches were applied to several research objects, from graphic design (Kress and Van Leeuwen, 2001b) to films (Burn, 2013) to social media (Moschini, 2018); however, (multimodal) social semiotics perspectives were seldom invoked to explore videogames (Hawreliak, 2018). Pérez-Latorre et al (2017) relate this gap to an ontological understanding about games.…”

“…Nevertheless, as we consider game design as a(n orchestrating) mode (see Burn, 2013; Pérez-Latorre et al, 2017), we cannot forget that there is a third layer represented here, discourse semantics (Bateman, 2011). It is in this layer that sign-makers organize semiotic resources in order to make them intelligible to a sign interpreter, and it is where we can find most of the intertextual relationships articulated to construct different modality coding orientations.…”

“… 1 In my particular understanding, game design can be considered a mode akin to moving image’s kineikonic mode (Burn, 2013). Game design, therefore, would be an orchestrating mode, organizing how contributory modes (e.g.…”