1887
Trends in Media and Communication Research in Malaysia
  • ISSN 0957-6851
  • E-ISSN: 1569-9838
USD
Buy:$35.00 + Taxes

Abstract

Using a history documentary ‘The Kinta Story (1949)’, this article explores the ‘grammar’ of visual metaphor. Numerous images can be found in history documentary, while many more are being planned, which can be accessed by people all around the world. These images technically represent producers’ ideas. They construct connotation and meaning for audiences to read as what the readers want. The visuals are highly posed and set in descript locations to make them usable across the globe. They represent actual places or tragedies and they document witness, which symbolically represents moods such as ‘contentment’ and ‘freedom’. It is argued that visual metaphors cannot be described adequately in formal terms only. Rather, they must be considered as visual representations of metaphorical thoughts or concepts and the changing of time and mass. A cognitive definition of metaphor must not, however, distract from potential variations in meaning and impact which arise from the mode of communication through which metaphors are expressed. This study suggests that many of the dissimilarities between verbal metaphor and its visual counterpart are results from the differences regarding what the two modes are able to express easily and efficiently.

Loading

Article metrics loading...

/content/journals/10.1075/japc.23.2.06sha
2013-01-01
2019-08-24
Loading full text...

Full text loading...

References

http://instance.metastore.ingenta.com/content/journals/10.1075/japc.23.2.06sha
Loading
This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error