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Media Ecologies and Composition: The Animated Sequence and Rhetorical Potential of Media.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Media Ecologies and Composition: The Animated Sequence and Rhetorical Potential of Media./
Author:	Shaw, Zack.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	199 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-10, Section: A.
Contained By:	Dissertations Abstracts International83-10A.
Subject:	Rhetoric. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28648190
ISBN:	9798209991656

Media Ecologies and Composition: The Animated Sequence and Rhetorical Potential of Media.
Shaw, Zack.

Media Ecologies and Composition: The Animated Sequence and Rhetorical Potential of Media. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 199 p.

Source: Dissertations Abstracts International, Volume: 83-10, Section: A.

Thesis (Ph.D.)--University of Florida, 2021.

This item must not be sold to any third party vendors.

This dissertation considers the role of the animated sequence in live-action cinema, as well as the overall compositional utility of animated media amidst a spectrum of visual media. Gunther Kress argues in Literacy in the New Media Age for what he terms the "functional specialization" of modes, or that different modes of communication are best equipped to communicate different kinds of messages. Building on Kress' ideas, I argue that while any media can convey almost any rhetoric, a media's ontology makes it uniquely equipped to convey specific meanings and evoke specific rhetorical situations. Thus, what comprises each media and how it relates to other media leads to the most common rhetorical situations depicted. I call this the "rhetorical potential of media." Andre Bazin lays the foundations for rhetorical potential by contrasting the functions of photography, painting, and film, devoting particular attention to the realism that different visuals present. If the rhetoric of the photographic image is that of realism, as Bazin and others suggest, how can we reconcile this rhetoric with the history of photographic manipulation, which is almost as old as the history of photography itself? Even today, in the age of Photoshop and digital manipulation, viewers still perceive the photograph as a closer depiction of the real than paint media or animated media. I consider the ontology of four popular, nonalphanumeric visual media (photography, cinema, paint media, and animation) to present a working theory for the rhetorical potential of each, as well as a larger theory of media ecology and rhetoric. Additionally, my project concludes by examining the implications of these rhetorical potentials for composition pedagogy.

ISBN: 9798209991656Subjects--Topical Terms:

516647
Rhetoric.
Subjects--Index Terms:

Animation sequence

Media Ecologies and Composition: The Animated Sequence and Rhetorical Potential of Media.
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500 $a Source: Dissertations Abstracts International, Volume: 83-10, Section: A.
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520 $a This dissertation considers the role of the animated sequence in live-action cinema, as well as the overall compositional utility of animated media amidst a spectrum of visual media. Gunther Kress argues in Literacy in the New Media Age for what he terms the "functional specialization" of modes, or that different modes of communication are best equipped to communicate different kinds of messages. Building on Kress' ideas, I argue that while any media can convey almost any rhetoric, a media's ontology makes it uniquely equipped to convey specific meanings and evoke specific rhetorical situations. Thus, what comprises each media and how it relates to other media leads to the most common rhetorical situations depicted. I call this the "rhetorical potential of media." Andre Bazin lays the foundations for rhetorical potential by contrasting the functions of photography, painting, and film, devoting particular attention to the realism that different visuals present. If the rhetoric of the photographic image is that of realism, as Bazin and others suggest, how can we reconcile this rhetoric with the history of photographic manipulation, which is almost as old as the history of photography itself? Even today, in the age of Photoshop and digital manipulation, viewers still perceive the photograph as a closer depiction of the real than paint media or animated media. I consider the ontology of four popular, nonalphanumeric visual media (photography, cinema, paint media, and animation) to present a working theory for the rhetorical potential of each, as well as a larger theory of media ecology and rhetoric. Additionally, my project concludes by examining the implications of these rhetorical potentials for composition pedagogy.
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