观看、聆听和阅读:网络连续剧《SKAM》中观众参与的语言和多模态结构

E. Andersen, S. Poulsen
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引用次数: 1

摘要

本文研究了SKAM观众如何通过网络系列中的符号学资源,即电影的意义制造手段,包括人物的具象化和数字媒介传播的表征,被定位为参与者。为此,我们结合了交际模式的语言多模态研究和戈夫·曼(Goff man, 1981)关于参与框架的研究,即参与共同在场和/或中介交际的各种方式。这篇文章的目的是补充现有的关于SKAM中的即时性和观众与网络系列中的角色共同存在感的媒体研究(Jerslev 2017, Sundet 2017)。它通过展示参与者框架是如何在虚构层面和交流层面上以多模态方式构建的来做到这一点。在这些框架中,查看器以不同的方式定位。我们描述了观众是如何被放置的,即物理位置,在所描绘的角色的互动空间中,以及角色的交流方式是如何被互动地组织、完成并使观众可以解释的。此外,我们展示了角色如何在校园的共享空间中相互监视,具体的和数字媒介的交流特征是如何被突出的,以及观众如何以反映和创造角色交流框架中特定的观看位置的方式获得这些资源。我们认为,这些符号学模式的整合利用了与言语、写作和体现相关的启示,这些定位主要是为观众创造一种存在感和认同感,而观众屏幕上的数字媒介交流(写作)的表现具体地揭示了其中一个角色的数字媒介交流空间是如何与数字媒介的观看空间相结合的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Viewing, listening and reading along: Linguistic and multimodal constructions of viewer participation in the net series SKAM
This paper investigates how SKAM viewers are positioned as participants through semiotic resources in the net series, i.e. the filmic means for making meaning, including representations of the characters’ embodied and digitally mediated communication. For this purpose, we combine perspectives from linguistic-multimodality studies of modes for communication and studies building on Goff man’s (1981) work on participation frameworks, i.e. the various ways of participating in co-present and/or mediated communication. The article aims to complement existing media studies of immediacy in SKAM and viewers’ sense of co-presence with characters in the net series (Jerslev 2017, Sundet 2017). It does so by showing how participant frameworks are multimodally constructed at a fictional level and a communicational level. Within each of these frameworks, the viewer is positioned in distinct ways. We describe how the viewer is placed, i.e. physically positioned, in the interactional space of the depicted characters, and how the characters’ communicative means are interactionally organised, accomplished and made available for interpretation by the viewer. Furthermore, we show how characters monitor each other in the shared space of a schoolyard, how embodied and digitally mediated communicative features are foregrounded, and how the viewer is provided access to these resources in ways that reflect and create specific viewing positions in the communicative frames of the characters. We argue that these integrations of semiotic modes exploit affordances related to speech, writing and embodiment, that the positionings mainly work to create a sense of presence and identification for the viewer, and that representations of digitally mediated communication (writing) on the viewer’s screen specifically expose how the digitally mediated communication space of one of the characters is integrated with the digitally mediated viewing space.
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