When paired with the language of design and rhetoric as described above, or another basic language based on media (see Supplement 2: Table of Multimodal Terms Categorized by Discipline and Mode), multimodal elements can be read as signs in relationship to each other, which can foster a debate about the implications of the overall composition, and therefore, create the basis for an argument. The following terms include the five modes of communication found in multimodal texts as defined by the field of composition. Reading multimodal texts as signs can be considered similar to a close reading of an alphabetic text. Keep in mind that a comparison essay should only be assigned after students have analyzed a single subject. Provide students with models of art reviews and ask them to do a brief rhetorical analysis to determine the expectations of the genre. Claims about multimodal texts should be both logical and debatable. Most, if not all texts today, can be considered “multimodal texts,” as they combine modes such as visuals, audio, and alphabetic or linguistic text. Discuss popular portraits - Gather a large number of images of iconic figures from the news that can be categorized as “good” or “bad,” including sports figures, political candidates, celebrities winning awards or being criticized, heroic citizens and criminals. Determine evaluation criteria - After students have analyzed an artwork, ask them to determine what criteria would make sense when judging the work. For an example of a general assignment sheet that can be adapted to various multimodal media and genres, see Supplement 4: Assignment Sheet for Analyzing Multimodal Texts. A step-by-step strategy for modeling analysis is presented in the In Practice section below. Before assigning multimodal analysis as a major writing assignment, you should scaffold the skills needed for these tasks by including smaller stakes exercises, such as the exercises offered above. We respectfully acknowledge the Traditional Owners of country throughout Victoria and pay respect to the ongoing living cultures of First Peoples. 33, No. Step 2: Labeling and Navigating Modes and Media - During this stage students should continue their observations, but at this point they should be given specific language relevant to the media in question that will help them label aspects of the text and understand how media elements work in relationship with each other. The key to helping students interpret visual data is to offer students a chance to carefully observe the components of visual data, including not only the key findings and implications of the data, but also the design aspects used to illustrate the data. - Who is this text for (who is the audience)? Live multimodal texts, for example, dance, performance, and oral storytelling, convey meaning through combinations of modes such as gestural, spatial, spoken language, and audio. Require them to use evidence from specific scenes of both films and to discuss the scenes in terms of film elements. These three parts ideally work together, with the choices of form affecting the message sent about the content. For example, the French Impressionist paintings are often appreciated for their expressive brushwork, and initial emotional reactions often include peacefulness and relaxation, but contextual factors, such as critics’ outrage over their work and their tendency to paint subjects rife with social controversy, will challenge an initial emotional reaction. This requires teaching children how to comprehend and compose meaning across diverse, rich, and potentially complex, forms of multimodal text, and to do so using a range of different meaning modes. Let students choose their own ads, offering them guidance for ways to find ads that will allow for complex analysis, including looking for stereotypical representations of groups of people, such as groups based on gender or race or age.
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