DEC Scan Journal : February 2013
Volume 32, February 2013 35 Contents Editorial Currents Teaching & learning Research Curriculum support Share this Resource reviews Figure 7 Saying goodbye in the movie – aligning with the boy In this case, although it is a long distance view, the rear view image does indeed position the audience view along with that of the boy. Engagement with him is increased through this distance rear view image because of the impact of the intensified involvement and contact images that have preceded this scene. The camera lingers on this rear view of the boy for some seconds, and as the sanctuary door closes, the boy’s head is tilted to one side so that he can maintain his view through the remaining opening, as seen in Figure 8. This second rear view with the head tilted also intensifies the involvement and empathy of the viewer with the boy and suggests the emotional nature of the parting for the boy. Figure 8 The last parting glance – empathy with the boy in the movie Conclusion and implications for multimodal authoring pedagogy Animated movies of literary picture books are an important site for investigating the nature and extent of a metalanguage for multimodal literacy development at different stages of schooling. It has long been recognised that, for children now growing up in an online multimedia world, their experience of a great deal of literary narrative is such that they take the multiplicity of media and versions for granted (Mackey, 1994, p.19), and that discussing children’s literature in terms of paper media texts alone ignores the multimedia expertise of our children (Ma ckey, 1994, p.17). However, while work with new media forms of literary texts in classrooms is crucial (Mackay, 1999; Mackey, 2001; Unsworth, Thomas et al. 2005; Unsworth, 2006), It cannot be simply assumed that experience of multiple versioned stories equips students to know how they work and to understand how interpretations are shaped by different media. Despite a very significant proportion of young people being highly adept at using digital media for creative expression, research and social life, they are not necessarily correspondingly adept in understanding how multimedia affordances influence the interpretive possibilities of the texts they are negotiating (Jenkins, 2006; Kellner & Share, 2007; Luce-Kapler, 2007). While contemporary curriculums such as the new Australian National Curriculum can mandate such outcomes through the requirement for Year 9 students to, for example, Explore and explain the combinations of language and visual choices that authors make to present information, opinions and perspectives in different texts (ACELY1745), the pedagogy needs to draw on systematic semiotic accounts of how meaning is constructed jointly by language and images in different contexts. Experience in researching the initiation of teachers and students into digital animated narrative movie making, suggests that while movie making affordances such as different camera angles and close-up or distance views are either well-known, or awareness is quickly acquired, what is essential is to build an understanding of how these influence narratives and to acquire, over time, a common metalanguage for describing and discussing images (Chandler, O’Brien et al. 2012; O’Brien, Chandler et al. 2010) (Figure 9). It cannot be simply assumed that experience of multiple versioned stories equips students to know how they work and to understand how interpretations are shaped by different media.