МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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THE MULTIMODAL TAPESTRY OF EMOTION: A
FRAMEWORK FOR ANALYZING EMOTIONAL EXPRESSION IN
FILM DISCOURSE
Ollomurodov Arjunbek Orifjonovich
Asia International University
English chair, the Department of History and Philology
ollomurodovarjunbekorifjonovich@oxu.uz
Abstract:
This article proposes a framework for analyzing the multimodal
construction of emotion in film discourse, moving beyond a reliance solely on
verbal cues to encompass the intricate interplay of visual, aural, and kinesthetic
elements. Film, as a composite medium, utilizes a rich tapestry of semiotic
resources to evoke and communicate emotions, drawing on the synergistic
power of dialogue, facial expressions, div language, music, sound design,
camera angles, lighting, and editing. We argue that understanding emotional
expression in film requires a holistic approach that acknowledges the dynamic
interaction of these diverse modes. This framework draws upon theories of
multimodality, semiotics, and film studies to analyze how specific emotions
are constructed through the strategic orchestration of various semiotic
resources.
Key words:
semiotic, ambiguity, polysemy, dynamic interplay, interaction,
mode, framework, multimodality, kinesthetic element.
Film, a quintessential multimodal medium, weaves a complex tapestry
of meaning through the interplay of image, sound, and language. While
dialogue contributes significantly to narrative and character development, a
film's emotional impact resonates most powerfully through the intricate
orchestration of diverse semiotic resources. This article proposes a framework
for analyzing the multimodal construction of emotion in film discourse,
moving beyond a reliance solely on verbal cues to encompass the dynamic
interplay of visual, aural, and kinesthetic modes. We explore the ways in which
different modes can reinforce, complement, or even contradict each other in
the construction of emotional meaning, highlighting the potential for
МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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ambiguity and polysemy. Furthermore, we examine how cultural and historical
contexts influence the interpretation of emotional cues in film, emphasizing
the culturally situated nature of emotional expression. Through detailed case
studies of selected film scenes, we demonstrate the applicability of this
framework, providing insights into the complex processes through which
filmmakers craft emotionally resonant cinematic experiences. This research
contributes to a deeper understanding of the multifaceted nature of emotional
communication in film and offers a methodological toolkit for analyzing the
dynamic interplay of semiotic modes in the construction of affective meaning.
In the same way that literature was the artistic expression that had a great
repercussion in the nineteenth and twentieth centuries, the cinema stands out
today as the most unifying of the arts, one that unite the biggest number of
stakeholders. According to Bluestone (1973: 3), one third of the films produced
in the studios of RKO, Paramount and Universal are adaptations of novels.
This is why, besides being works more inclined to win awards, the public
shows great interest in watching them, because they consider the renowned
novels as having a highest quality.
Cinematic discourse is multimodal in character, driven by its ability to
realize social interaction by communicating between filmmakers and viewers.
Multimodality is treated as “modus operandi for conducting research for
human communication, both mediated and face to face” (Seizov & Wildfeuer,
2018).
In cinematic discourse, the process of emotive meaning making involves
visual and acoustic modes, which interact producing different combinations
aimed at actualizing the meaning sequences. It outlines the multimodal vector
of cognitive-pragmatic analysis of negative emotions in film. Mode, as G.
Kress (2001) puts it, is “a socially defined and culturally conditioned resource
for the process of meaning making” (p. 27), realized through perceptual
modalities. The system of
modes is versatile:
•
the visual mode of cinematic discourse is represented by the image;
•
the acoustic mode is realized through music, sound effects, etc.;
МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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•
the verbal component is presented in both modes in writing on the visual
level and orally on the acoustic one.
The combination of modes varies in time and space producing semantic
sequences. Therefore, a multimodal approach to the analysis of cinematic
discourse focuses specifically on attracting the modes of film meaning making
for the communication between filmmakers and viewers. It leads to
considering cinematic discourse as an integral multimodal phenomenon; a
combination of modes and semiotic resources generates and actualizes emotive
meanings. The selection of modes is based on social and cultural factors related
to the author's befiefs, cultural and social characteristics.
Modes interact as “several modes are always used together, in modal
ensembles, designed so that each mode has a specific task and function. Such
ensembles are based on designs, that is, on selections and arrangements of
resources for making a specific message about a particular issue for a particular
audience” (Kress, 2010, p. 28).
A Symphony of Semiotic Resources:
Emotional expression in film is not a singular act but a carefully
constructed symphony of semiotic resources. These include:
•
Verbal:
Dialogue, narration, and on-screen text contribute to the explicit or
implicit expression of emotions. Tone of voice, pauses, and inflections add
further layers of meaning.
•
Visual:
Facial expressions, div language, gestures, costuming, and makeup
provide visual cues that communicate a character's emotional state. Mise-en-
scène, the arrangement of elements within the frame, creates an emotional
atmosphere.
•
Aural:
Music plays a powerful role in shaping emotional responses, from
swelling orchestral scores that amplify drama to subtle melodic motifs that
convey specific feelings. Sound design, including ambient sounds, sound
effects, and silence, contributes to the emotional texture of a scene.
•
Cinematographic Techniques:
Camera angles, movement, framing,
lighting, and editing all contribute to shaping emotional responses. A low
angle shot can make a character appear powerful, while a high angle shot can
МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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convey vulnerability. Fast-paced editing can create tension, while slow
motion can emphasize emotional weight.
The power of film lies in the dynamic interplay of these modes. They can
reinforce each other, creating a unified emotional impact. For example, a
character's tearful confession of love (verbal) might be accompanied by a close-
up shot highlighting their sorrowful expression (visual) and a melancholic
melody (aural). However, different modes can also complement or even
contradict each other, creating ambiguity and polysemy. A character might speak
sarcastically (verbal) while maintaining a neutral facial expression (visual),
creating irony and inviting the viewer to interpret the underlying emotions. we
will discuss the literary language and the language of film showing the main
differences between them and how that distance allows the reading and
enrichment of a work that reflects another one. Then we will talk about the
principle of equivalence between word and photo(gram) - since we are facing
two different art expressions it is necessary to make brief remarks about the
differences between film and literary milieu, as the act of writing expressed in
images it is characterized by a greater distance of the literary arts for the film.
Literary language
Cinematographic language
Representations of images
Reproduction of images
Linking of basic ideas (images)
Sequence
of
mental
images
towards sound
and not sound images.
It starts from the word to the visible
image
(Calvin, 1990: 98).
It starts from the visible image to
reach
verbal expression (Calvin, 1990: 98).
Idea
of
imagination
as
communication with the soul of the
world (Calvino, 1990: 103) and of
"imagination as a repertoire of
potential, hypothetical, of what is not,
nor was it and maybe not, but it
could have
Communication from images with the
potential implied. "Around each
image lurk other, they form a field of
analogies,
symmetries
and
oppositions (Calvino, 1990: 104).
МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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been" (Ibid : 106).
Privileges "the direct observation of
the real world, the ghostly and
dreamlike transfiguration, the world
figurative (...) and a process of
abstraction, condensation inteorização
of sense experience" (Calvin,
1990: 110).
Privileges immediate reception,
ready and linear.
Conceptual and of media effects -
space seems to be “temporalized"
(Brito 2006:
146).
Actualizing show, made present -
time seems "spatialized" (Brito 2006:
146).
It is necessary a creative collaboration,
subjective and emotional (illusion of
ownership of what was thought).
Simple and easy understanding, "the
viewer is more frivolous, more
committed to entertainment, to have
fun, to thrill or
not" (Lopes, 2004).
In conclusion
, understanding the emotional impact of film requires
moving beyond a simplistic analysis of dialogue and delving into the rich
tapestry of multimodal expression. Filmmakers artfully orchestrate a
symphony of verbal, visual, aural, and cinematographic elements to evoke
specific emotional responses in viewers. This intricate interplay of semiotic
resources creates a dynamic and often polysemous emotional landscape, where
meanings are constructed not only through individual modes but also through
their interaction and juxtaposition. By recognizing the synergistic power of
these different modes and considering the cultural contexts in which they
operate, we can gain a more nuanced appreciation for the complexities of
emotional communication in film. The proposed framework, emphasizing the
analysis of individual modes and their interplay, offers a valuable tool for
unraveling the threads of this multimodal tapestry. Further research exploring
the specific affordances of different semiotic resources, their cultural
МЕДИЦИНА, ПЕДАГОГИКА И ТЕХНОЛОГИЯ:
ТЕОРИЯ И ПРАКТИКА
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variations, and their dynamic interplay within diverse cinematic contexts will
undoubtedly enrich our understanding of the powerful and pervasive role of
emotion in the language of film. As the field of multimodality continues to
evolve, so too will our appreciation of the intricate ways in which film
constructs, conveys, and manipulates our emotional experiences.
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